Ventotene and Shon Iksung: Difference between pages

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{{Infobox musical artist
{{Infobox settlement
| name           = Shon Iksung
|name                   = Rectory of Ventotene
| image           = Shon_Iksung.jpg
|native_name            = Isola d'Ventotene
| caption         =  
|native_name_lang        = Acirian
| background      =Classical composer
|settlement_type        = Overseas territory of [[Urcea]]
| origin          = [[Inyang]], [[Metzetta]]
|image_skyline           = Town of Marettimo.jpg
| genre          = Classical
|imagesize              =
|native_name=손익숭|instrument=Cello|associated_acts=[[Hanzeong Symphony Orchestra]]}}
|image_alt              =
|image_caption          = Ateleta, the Cathedral City of Ventotene, from above
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|established_title      = Annexed from [[Vachena]]
|established_date        = 1943
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'''Ventotene''' is an island to the west of the [[Sarpedon]] mainland in the [[Taínean Sea]] that is part of [[Urcea]].  
'''Shon Iksung''' (1846-1904) was a [[Metzetta|Metzettan]] composer, conductor and cellist. Considered the country's first great classical musician, he penned many firsts for the nation; Metzetta's first symphony was particularly noted as a milestone achievement. He is also notable for having composed the score for the [[National anthems around the world|national anthem]], [[Atop Mount Riwa]] in 1883 under the instruction of [[Anru Daeku|Emperor Daeku]]. His works have been extensively recorded, particularly by the [[Hanzeong Symphony Orchestra]] of which he was the conductor from its 1885 until his death.


Thought by most historians to be first settled during the [[Latin Heroic Age]], Ventotene - named for the word ''vento'', or windy - underwent various phases of settlement and depopulation, with the island having been continuously populated since around 800 AD. Although the island is near the equator, its strong winds lower the perceived temperature, making the island an attractive destination for tourists and settlers alike. It is thought by most archaeologists that the island's current continuous settlement was spurred on by the construction of a palace for the [[Imperator|Imperator of Caphiria]], although the ruins that may be the palace have been disputed by other archaeologists as a potential fort or even unconventional Church structure. For most of its modern history, the island has held military significance as a garrison location which can control entry into the [[Taínean Sea]]. For this reason, it was taken by [[Urcea]] as part of the [[Treaty of Kartika]] which ended the [[Second Great War]], and it hosts a large base for the [[Royal Navy (Urcea)|Royal Navy]].  
His musical style was considered direct and unornamented, with simple melodies underpinned by deceptively complex harmonies.


== History ==
== Early life ==
Iksung was born in [[Inyang]]. During his teenage years, western musical instruments began to trickle into [[Metzetta]]. Intrigued by these new sounds he took up the cello and wrote some pieces for the instrument. In 1871, at 25 he attended Metzetta's first symphonic performance and vowed to create a symphony Metzetta could call its own; doing so took an entire year of work.


The early history of the island is heavily disputed by mainstream historians and the Montagnardi people, who claim that their ancestors settled the island during the [[Latin Heroic Age]]. While it is true the island was likely first settled during that time, with archaeological evidence suggesting the first [[Latinic people|Latin]] settlers arriving in around 800 BC. Most historians agree that settlement has not been continuous. Montagnardi people claim that they have continuously inhabited the island since that time and were pushed inland by successive waves of colonists, creating the modern division between them and the Ateleti people, who dwell on the coasts. The island fell under the sway of [[Caphiria]] during the 9th century, and the Caphirians undertook a massive construction project whose ruins can still be found outside Ateleta today. Mainstream historians believe it to be some kind of palace for the [[Imperator|Imperators of Caphiria]], though many are skeptical that the Imperator would journey so far outside of the normal military perimeter of the Imperium. The structure, on the eastern side of the island, was almost certainly the impetus for the settlement of Ateleta around that time. This structure was abandoned in the 10th century and a massive fortification called Piona was constructed by the Caphirians on the western side of the island beginning in the 11th century, and the fortress there was continuously updated through the fall of the Second Imperium in 1172. The island was largely self governing during the dark period, with locals garrisoning the fortress and continuing their fishing-oriented way of life. It is during this period that Montagnardi oral traditions speak of a war between them and the Ateleti, as the Caphirians having abandoned the island opened the possibility of ejecting the Ateleti, and attempts by the Montagnardi to seize Piona during the 13th century are recorded, though it seems the conflict was less of an organized one and more like continuous raids against Piona by the Montagnardi. The island's population dwindled in the 13th and 14th centuries, but it was largely shielded from the worst effects of the [[Great Plague]]. [[Caphiria]] reestablished control of the island in 1484, though more than three centuries of independence had lead to significant cultural divergences. The fortress of Piona was once again occupied by the Caphirians and updated with gunpowder weapons in the coming century, and the land around Piona was also cleared for a major naval base to be constructed. The island, like much of the rest of western Caphiria, went into revolt in the years following the [[Great Schism of 1615]], but initial efforts by an alliance of the Montagnardi and Ateleti to take the fortress of Piona were unsuccessful. The island was eventually abandoned once again by the Caphirians and became part of [[Vachena]], which held the island for the next three centuries. Unlike the Caphirians, the Vachenans failed to keep the fortress of Piona up to date, and the structure was essentially abandoned by the 19th century. During the [[Second Great War]], the island was easily taken by the [[Royal Marine Corps (Urcea)|Royal Marine Corps]] of [[Urcea]], with a small Vachenan garrison based out of Ateleta not firing a shot. The island was ceded to Urcea in the [[Treaty of Kartika]] in [[1943]], and the [[Royal Navy (Urcea)|Royal Navy]] took control of the entire Piona complex, completely rebuilding most of the structures there and turning it into a major naval base. The island held significant strategic significance during the [[Occidental Cold War]], ensuring Urcean presence in the west of [[Sarpedon]]. Significant land reclamation projects began in 1950, allowing the construction of an airbase and airstrip capable of landing and launching jet aircraft. The island was divided by Urcea into two ''pievi'', one largely for the coastal Ateleti and one for the interior Montagnardi. A highway was constructed from Ateleta into the interior by Urcea in 1970, significantly decreasing tension and distance between the two ethnic groups.
== Career ==


== Geography ==
=== Early works ===
Iksung had written several short pieces of cello music in his late teens, among the first pieces of [[Metzetta|Metzettan]] music written in the western idiom. His 1868 suite for string quartet with accordion and clarinet proved successful by virtue of being one of only a few high-quality native works available at the time. As one of the country's only serious classical musicians he was selected by [[Anru Daeku|Emperor Daeku]] to travel to [[Levantia]] to study for a year starting in the spring of 1869; he spent time in [[Burgundie]], [[Yonderre]] and [[Anglei]] learning from various composers and returned to the country in time to witness the 1871 symphonic premiere in [[Hanzeong]]. Immediately after he began work on his own symphony, which debuted in the same concert hall in 1872. The symphony was an immediate hit and a source of much national pride, incorporating several traditional Metzettan folk melodies into the closing movement. The symphony still sees regular performances today and is perhaps the most recorded Metzettan symphony of all.


The island is characterized by coastal lowlands and rocky outcroppings along the coast with large mountains and highlands inland. Many of the highlands are difficult to access, and traversing the island through the mountains and highlands is extremely difficult if not possible. Besides the mountainous interior, the most prominent feature of the island is the large, rocky-coasted harbor on the western side of the island. This harbor is shielded from oceanic waves, but until the advent of explosives was unsuitable for use as a port due to rocky outcroppings and poor land access. This harbor has been significantly altered by the human presence on the island, with many jagged edges demolished and significant increases in reclaimed land, making the harbor usable for human and military purposes.
=== Golden period ===
The symphony's publication is considered to have kickstarted Shon's "Golden period" which was a highly productive time for the artist. Following the first symphony Shon composed a slew of concertos, string quartets and short orchestral works, but longed to pen a second symphony. After finishing his only work for organ in 1875 he began writing early drafts for his second symphony, trashing many attempts that were not up to his standards. He would work almost exclusively on this project for nearly two years, publishing very little until the second symphony was ready to debut in 1877. Once again the premiere was well-received, however the stress of the creation led Shon to never again compose a full symphony, focusing on other kinds of music for the rest of his career, though he kept this decision to himself at first. For the remainder of the decade, Iksung invested himself heavily in the writing of operas, penning 4 between 1877 and 1880. Though not the country's first operas, especially if traditional analogues are counted, they were still warmly received by the press, though notably not as strongly as his symphonies had been. Pressure was mounting for a third, but Shon would not relent and continued writing what he felt passionate about rather than subjecting himself to the pressure of another monumental task.


=== Climate ===
In 1881 Iksung wrote several vocal pieces and piano etudes, as well as returning to his beloved cello sonatas. The next year he wrote another opera, which garnered only lukewarm praise and seemingly killed off the composer's operatic ambitions; he did not write another for over ten years. In 1883 he was commissioned by the [[Emperor of Metzetta|Emperor]] to compose the music for a new national anthem, a prestigious task for the nation's now most famous classical musician. [[Atop Mount Riwa]] was highly praised by the imperial family and immediately adopted as the official song of the nation. Though his passion had been dampened by his opera's lacklustre reception the success of the anthem reinvigorated the artist, and he wrote prodigiously throughout 1883 and 1884. In 1885 he became the conductor of the [[Hanzeong Symphony Orchestra]], leading the group in performance, composing material for them and deciding the artistic direction and repertoire they would pursue. He would hold this position for the rest of his life. Being busy with the orchestra slowed his output, but cello pieces were still published regularly in addition to his orchestral songs.


The island has been described by scientists as one of the windiest places in the world, lowering the practical temperature of this essentially equatorial island. The weather never falls below 40 F and never rises above 89 F, and accordingly the island's climate has been described as ideal, if windy. The island's natural beaches are host to a wide array of fauna, including a type of turtle which is {{wp|Endemism|endemic}} to the island.
=== Later works ===
In 1887 Iksung returned to string quartets, a genre he had not visited in some time, also penning an unusual wind octet. In 1888 and 1889 the composer was so busy with various orchestra tours around the nation he found little time to write, only publishing sporadically. Starting in 1890 he began to feel the need to write another opera, to prove he could do it right, and started sketching ideas. He also began to write for the traditional tanso flute, a Metzettan instrument rather than a western one, which lead to writing several other pieces for native instruments, with some definite influence from the western style he was comfortable with. In 1893 he debuted his newest opera; ''Dalrae and Byeol,'' which vindicated the artist and became his most beloved opera. He arranged several of his older pieces for performance by a full orchestra and arranged several foreign piano pieces for performance by the HSO too, in an attempt to expand their repertoire with unique works that other orchestras would not already be performing. In 1895 he scored his first ballet, an experience he reportedly enjoyed and felt energised by.


== Politics and government ==
=== Final works ===
Having been considered a "safe" artist for most of his career, Shon began to compose darker, more somber music, including a litany of elegies. In 1898 he scored his second ballet, and in 1900 composed perhaps his final "great" score, The Magnolia Waltz, a patriotic and vigorous piece which would remain a mainstay of [[Hanzeong Symphony Orchestra|HSO]] performances until the present day. In 1901 an obsession with canons began to take hold of him, with increasingly complex canons being written right up until his death; indeed the final score he published before he died was for a canon which, if correctly performed, would take hundreds of years to complete. It is considered an early work of avant-garde music.


=== Administrative divisions ===
== Works ==
{| class="wikitable"
!Name
!Genre
!Year
!Notes
|-
|Cello Sonata No. 1
|Solo
|1865
|
|-
|Cello Sonata No. 2
|Solo
|1865
|
|-
|Metzettan Dance
|Chamber
|1866
|For cello, viola and flute
|-
|Three Pieces for Piano
|Solo
|1866
|
|-
|Suite for Cello and Percussion
|Chamber
|1867
|
|-
|Metzettan March
|Chamber
|1867
|For trumpet, tuba, 2 horns and trombone
|-
|Suite for String Quartet with Accordion and Clarinet
|Chamber
|1868
|
|-
|Cello Sonata No. 3
|Solo
|1870
|
|-
|Solo Horn Suite
|Solo
|1871
|
|-
|Symphony No. 1 in D
|Symphony
|1872
|In 3 movements
|-
|Cello Concerto No. 1
|Orchestral
|1872
|
|-
|Suite for String Quartet and Flute
|Chamber
|1872
|
|-
|Delicate Orchids
|Chamber
|1873
|String quartet
|-
|Horn Concerto
|Orchestral
|1873
|
|-
|Piano Concerto
|Orchestral
|1873
|
|-
|Cello Concerto No. 2
|Orchestral
|1873
|
|-
|Yang-jo's Journey
|Chamber
|1874
|String quartet
|-
|Nightmare of Lukantos
|Chamber
|1874
|String quartet
|-
|Adamant Hill
|Orchestral
|1874
|
|-
|Plum Blossoms
|Orchestral
|1874
|
|-
|Mossy Stones
|Chamber
|1875
|String quartet
|-
|Fugue
|Solo
|1875
|Shon's only piece for organ
|-
|Bassoon Sonata
|Solo
|1876
|
|-
|Solo Piece for Harp
|Solo
|1876
|
|-
|Symphony No. 2 in G
|Symphony
|1877
|
|-
|The Wife of A Sailor
|Opera
|1877
|
|-
|Monsoon
|Opera
|1878
|
|-
|Solo Piece for Recorder
|Solo
|1878
|
|-
|Canon in A Flat
|Chamber
|1879
|String quartet
|-
|The Stolen Dagger
|Opera
|1879
|
|-
|A Piece for Two Pianos
|Chamber
|1879
|
|-
|An Ancient Istroyan In Empress Anru's Court
|Opera
|1880
|
|-
|Memory No. 1
|Vocal
|1881
|
|-
|Memory No. 2
|Vocal
|1881
|
|-
|Piano Etudes Nos. 1-6
|Solo
|1881
|
|-
|Memory No. 3
|Vocal
|1881
|
|-
|Cello Sonata No. 4
|Solo
|1881
|
|-
|Maker of Dyes
|Opera
|1882
|
|-
|Cello Sonata No. 5
|Solo
|1882
|
|-
|[[Atop Mount Riwa]]
|Score
|1883
|Music only; Shin did not write the lyrics. National anthem.
|-
|Piano Etudes Nos. 7-9
|Solo
|1883
|
|-
|Cello Sonata No. 6
|Solo
|1883
|
|-
|Cello Etudes Nos. 1-3
|Solo
|1883
|
|-
|Memory No. 4
|Vocal
|1883
|
|-
|Clarinet Sonata No. 1
|Solo
|1883
|
|-
|Monologue for Flute
|Solo
|1884
|
|-
|Cello Etudes Nos. 4-6
|Solo
|1884
|
|-
|Cello Sonata No. 7
|Solo
|1884
|
|-
|Clarinet Concerto No. 1
|Orchestral
|1884
|
|-
|Violin Concerto
|Orchestral
|1884
|
|-
|Cello Sonata No. 8
|Solo
|1885
|
|-
|Cello Sonata No. 9
|Solo
|1885
|
|-
|Clarinet Concerto No. 2
|Orchestral
|1885
|
|-
|Chusu In Mwolla
|Orchestral
|1885
|
|-
|Clarinet Concerto No. 3
|Orchestral
|1886
|
|-
|Cello Sonata No. 10
|Solo
|1886
|
|-
|The Riverbed
|Chamber
|1887
|String quartet
|-
|Suite for Wind Octet
|Chamber
|1887
|
|-
|Canon in A Minor
|Chamber
|1887
|String quartet
|-
|Cello Sonata No. 11
|Solo
|1888
|
|-
|Clarinet Concerto No. 4
|Orchestral
|1888
|
|-
|Cello Concerto No. 3
|Orchestral
|1889
|
|-
|Trombone Concerto
|Orchestral
|1889
|
|-
|Waltz for Tanso
|Solo
|1890
|
|-
|Suite for Tanso Trio
|Chamber
|1890
|
|-
|Suite for Tanso and Bipa
|Chamber
|1890
|
|-
|Cello Concerto No. 4
|Orchestral
|1891
|
|-
|Etudes for Haegeum Nos. 1-4
|Solo
|1891
|
|-
|Suite for Tanso and Piri
|Chamber
|1891
|
|-
|Hun Sonata
|Solo
|1891
|
|-
|Cello Sonata No. 12
|Solo
|1891
|
|-
|Haegeum Concerto
|Orchestral
|1892
|
|-
|A Handful of Cherries
|Chamber
|1892
|For cello, viola and flute
|-
|Clarinet Sonata No. 2
|Solo
|1892
|
|-
|Dalrae and Byeol
|Opera
|1893
|
|-
|Dance of The Magpies
|Chamber
|1893
|For cello, viola and flute
|-
|Delicate Orchids (Arr.)
|Orchestral
|1893
|The 1873 string quartet arranged for full orchestra
|-
|Metzettan Dance (Arr.)
|Orchestral
|1894
|The 1867 chamber piece arranged for full orchestra
|-
|The Riverbed (Arr.)
|Orchestral
|1894
|The 1887 string quartet arranged for full orchestra
|-
|Clarinet Sonata No. 3
|Solo
|1894
|
|-
|Red Onions (Arr.)
|Orchestral
|1894
|Arrangement of a folk song from [[Lutsana]]
|-
|Yonderre Our Land (Arr.)
|Orchestral
|1894
|A new orchestral arrangement of Leon de Saue's [[Yonderre|Yonderian]] national anthem
|-
|Waltz for Tanso (Arr.)
|Orchestral
|1895
|The 1890 solo piece arranged for full orchestra
|-
|Suite for Tanso Duo
|Chamber
|1895
|
|-
|Suite for Viola and Flute
|Chamber
|1895
|
|-
|Six Bears
|Score
|1895
|Ballet score
|-
|[[Mine Eyes Have Seen the Glory|Mine Eyes Have Seen The Glory]] (Arr.)
|Orchestral
|1895
|A new orchestral arrangement Conchobar Memius's [[Urcea|Urcean]] national anthem
|-
|Lament for Horn
|Solo
|1896
|
|-
|Elegy in E Minor
|Solo
|1896
|For piano
|-
|Elegy in F Minor
|Chamber
|1896
|String quartet
|-
|Elegy in E Minor (Arr.)
|Orchestral
|1896
|The 1896 piano piece arranged for full orchestra
|-
|Lament for Piano
|Solo
|1896
|
|-
|Stretton Market (Arr.)
|Orchestral
|1896
|Arrangement of a traditional piece from [[Anglei]]
|-
|Mossy Stones (Arr.)
|Orchestral
|1897
|The 1875 string quartet arranged for full orchestra
|-
|Elegy in B
|Solo
|1897
|For horn
|-
|Clarinet Sonata No. 2 (Arr.)
|Chamber
|1897
|The 1892 solo piece arranged for string quartet, accordion and clarinet
|-
|Elegy in G Minor
|Orchestral
|1897
|
|-
|Elegy in G Sharp
|Solo
|1898
|For cello
|-
|A Dream of Death, A Nightmare of Life
|Score
|1898
|Ballet score
|-
|Canon in B Flat
|Chamber
|1898
|String quartet
|-
|Lament for Cello
|Solo
|1899
|
|-
|The Inyang Variations
|Solo
|1899
|48 pieces for piano based on a single theme
|-
|Lament for Horn (Arr.)
|Orchestral
|1899
|The 1896 solo piece arranged for full orchestra
|-
|Cello Sonata No. 13
|Solo
|1899
|
|-
|Lament for String Quintet
|Chamber
|1900
|String quartet with added double bass
|-
|The Magnolia Waltz
|Orchestral
|1900
|
|-
|Etudes for Guitar Nos. 1-5
|Solo
|1901
|
|-
|The Tiger Canon
|Chamber
|1901
|String quartet with added double bass
|-
|Twelve Tone Canon
|Chamber
|1901
|String quartet, accordion and clarinet
|-
|The Tiger Canon (Arr.)
|Orchestral
|1901
|The 1901 chamber piece arranged for full orchestra
|-
|Canon in B Flat (Arr.)
|Orchestral
|1902
|The 1898 string quartet arranged for full orchestra
|-
|Canon in Honour of Dalrae
|Chamber
|1902
|String quartet
|-
|The Magnolia Waltz (Arr.)
|Chamber
|1902
|The 1900 orchestral piece arranged for string quartet
|-
|The Hanzeong Variations
|Solo
|1903
|48 pieces for piano based on a single theme
|-
|Canon in C Minor
|Chamber
|1903
|String quartet
|-
|Cello Sonata No. 14
|Solo
|1903
|
|-
|Lament for Haegeum
|Solo
|1904
|
|-
|Constructed Canon
|Chamber
|1904
|String quartet, horn, trumpet and trombone
|}


Ventotene is divided into two ''pievi'', the Ateleta Pieve and the Piona Pieve with no additional municipal governments below the pievi. Much of the Piona Pieve is administered directly by the [[Urcean military]], with only small portions of the populated coastland within the pieve's direct jurisdiction; the Piona Pieve, accordingly, is most responsible for governance of the internal highlands and Montagnardi lands of the interior. The Ateleta Pieve stretches along the coastlands of the island, not including the base at Piona or its adjoining areas.
== Legacy ==
 
Shon's impact on the [[music of Metzetta]] cannot be overstated; his fusion of western music with traditional Metzettan sounds paved the way for all who followed him. His national anthem has not been altered since he composed it and much of his music remains regularly performed; all of it is available on recordings. Since 1982 a computer at [[Galko University]] has been performing his Constructed Canon, and will likely never finish it.
== Economy ==
[[Category:Metzettans]]
 
[[Category:Music of Metzetta]]
Historically, most of the island's economy has been centered around fishing, with some economic benefit also derived from the presence of military garrisons. In recent years, the island has become well known as a tourist destination reachable by boat. The advent of major cruise lines in the 20th century greatly enhanced the island's economy, as it has become a regular stop for cruises of the Taínean Sea.
 
== Demographics ==
 
The majority of people living on Ventotene are associated with the [[Royal Navy (Urcea)|Royal Navy]] base at Piona. As they are not permanent residents, and indeed many reside on ships, they are not typically counted towards the population of the island. The island's permanent population of around 20,000 has remained largely the same since the early 20th century.
 
=== Ethnic groups ===
 
Two self-described ethnic groups exist on the island, the Montagnardi and the Ateleti. The Ateleti, named for the primary city of the island, reside along the coasts and in villages adjoining the coast, whereas the Montagnardi reside in the interior highlands.
 
=== Languages ===
 
=== Religion ===
 
The vast majority of people on Ventotene belong to the [[Catholic Church]], with 92.1% being members. The majority of other people living on the island are irreligious, though small amounts of immigrants are adherents to Polynesian religious traditions.
 
=== Health ===
 
=== Education ===
 
== Culture ==
 
=== Music ===
 
=== Language ===
 
[[Category:Urcea]]
[[Category:Subdivisions of Urcea]]

Revision as of 18:48, 14 April 2022

Shon Iksung
손익숭
Background information
OriginInyang, Metzetta
GenresClassical
InstrumentsCello
Associated actsHanzeong Symphony Orchestra

Shon Iksung (1846-1904) was a Metzettan composer, conductor and cellist. Considered the country's first great classical musician, he penned many firsts for the nation; Metzetta's first symphony was particularly noted as a milestone achievement. He is also notable for having composed the score for the national anthem, Atop Mount Riwa in 1883 under the instruction of Emperor Daeku. His works have been extensively recorded, particularly by the Hanzeong Symphony Orchestra of which he was the conductor from its 1885 until his death.

His musical style was considered direct and unornamented, with simple melodies underpinned by deceptively complex harmonies.

Early life

Iksung was born in Inyang. During his teenage years, western musical instruments began to trickle into Metzetta. Intrigued by these new sounds he took up the cello and wrote some pieces for the instrument. In 1871, at 25 he attended Metzetta's first symphonic performance and vowed to create a symphony Metzetta could call its own; doing so took an entire year of work.

Career

Early works

Iksung had written several short pieces of cello music in his late teens, among the first pieces of Metzettan music written in the western idiom. His 1868 suite for string quartet with accordion and clarinet proved successful by virtue of being one of only a few high-quality native works available at the time. As one of the country's only serious classical musicians he was selected by Emperor Daeku to travel to Levantia to study for a year starting in the spring of 1869; he spent time in Burgundie, Yonderre and Anglei learning from various composers and returned to the country in time to witness the 1871 symphonic premiere in Hanzeong. Immediately after he began work on his own symphony, which debuted in the same concert hall in 1872. The symphony was an immediate hit and a source of much national pride, incorporating several traditional Metzettan folk melodies into the closing movement. The symphony still sees regular performances today and is perhaps the most recorded Metzettan symphony of all.

Golden period

The symphony's publication is considered to have kickstarted Shon's "Golden period" which was a highly productive time for the artist. Following the first symphony Shon composed a slew of concertos, string quartets and short orchestral works, but longed to pen a second symphony. After finishing his only work for organ in 1875 he began writing early drafts for his second symphony, trashing many attempts that were not up to his standards. He would work almost exclusively on this project for nearly two years, publishing very little until the second symphony was ready to debut in 1877. Once again the premiere was well-received, however the stress of the creation led Shon to never again compose a full symphony, focusing on other kinds of music for the rest of his career, though he kept this decision to himself at first. For the remainder of the decade, Iksung invested himself heavily in the writing of operas, penning 4 between 1877 and 1880. Though not the country's first operas, especially if traditional analogues are counted, they were still warmly received by the press, though notably not as strongly as his symphonies had been. Pressure was mounting for a third, but Shon would not relent and continued writing what he felt passionate about rather than subjecting himself to the pressure of another monumental task.

In 1881 Iksung wrote several vocal pieces and piano etudes, as well as returning to his beloved cello sonatas. The next year he wrote another opera, which garnered only lukewarm praise and seemingly killed off the composer's operatic ambitions; he did not write another for over ten years. In 1883 he was commissioned by the Emperor to compose the music for a new national anthem, a prestigious task for the nation's now most famous classical musician. Atop Mount Riwa was highly praised by the imperial family and immediately adopted as the official song of the nation. Though his passion had been dampened by his opera's lacklustre reception the success of the anthem reinvigorated the artist, and he wrote prodigiously throughout 1883 and 1884. In 1885 he became the conductor of the Hanzeong Symphony Orchestra, leading the group in performance, composing material for them and deciding the artistic direction and repertoire they would pursue. He would hold this position for the rest of his life. Being busy with the orchestra slowed his output, but cello pieces were still published regularly in addition to his orchestral songs.

Later works

In 1887 Iksung returned to string quartets, a genre he had not visited in some time, also penning an unusual wind octet. In 1888 and 1889 the composer was so busy with various orchestra tours around the nation he found little time to write, only publishing sporadically. Starting in 1890 he began to feel the need to write another opera, to prove he could do it right, and started sketching ideas. He also began to write for the traditional tanso flute, a Metzettan instrument rather than a western one, which lead to writing several other pieces for native instruments, with some definite influence from the western style he was comfortable with. In 1893 he debuted his newest opera; Dalrae and Byeol, which vindicated the artist and became his most beloved opera. He arranged several of his older pieces for performance by a full orchestra and arranged several foreign piano pieces for performance by the HSO too, in an attempt to expand their repertoire with unique works that other orchestras would not already be performing. In 1895 he scored his first ballet, an experience he reportedly enjoyed and felt energised by.

Final works

Having been considered a "safe" artist for most of his career, Shon began to compose darker, more somber music, including a litany of elegies. In 1898 he scored his second ballet, and in 1900 composed perhaps his final "great" score, The Magnolia Waltz, a patriotic and vigorous piece which would remain a mainstay of HSO performances until the present day. In 1901 an obsession with canons began to take hold of him, with increasingly complex canons being written right up until his death; indeed the final score he published before he died was for a canon which, if correctly performed, would take hundreds of years to complete. It is considered an early work of avant-garde music.

Works

Name Genre Year Notes
Cello Sonata No. 1 Solo 1865
Cello Sonata No. 2 Solo 1865
Metzettan Dance Chamber 1866 For cello, viola and flute
Three Pieces for Piano Solo 1866
Suite for Cello and Percussion Chamber 1867
Metzettan March Chamber 1867 For trumpet, tuba, 2 horns and trombone
Suite for String Quartet with Accordion and Clarinet Chamber 1868
Cello Sonata No. 3 Solo 1870
Solo Horn Suite Solo 1871
Symphony No. 1 in D Symphony 1872 In 3 movements
Cello Concerto No. 1 Orchestral 1872
Suite for String Quartet and Flute Chamber 1872
Delicate Orchids Chamber 1873 String quartet
Horn Concerto Orchestral 1873
Piano Concerto Orchestral 1873
Cello Concerto No. 2 Orchestral 1873
Yang-jo's Journey Chamber 1874 String quartet
Nightmare of Lukantos Chamber 1874 String quartet
Adamant Hill Orchestral 1874
Plum Blossoms Orchestral 1874
Mossy Stones Chamber 1875 String quartet
Fugue Solo 1875 Shon's only piece for organ
Bassoon Sonata Solo 1876
Solo Piece for Harp Solo 1876
Symphony No. 2 in G Symphony 1877
The Wife of A Sailor Opera 1877
Monsoon Opera 1878
Solo Piece for Recorder Solo 1878
Canon in A Flat Chamber 1879 String quartet
The Stolen Dagger Opera 1879
A Piece for Two Pianos Chamber 1879
An Ancient Istroyan In Empress Anru's Court Opera 1880
Memory No. 1 Vocal 1881
Memory No. 2 Vocal 1881
Piano Etudes Nos. 1-6 Solo 1881
Memory No. 3 Vocal 1881
Cello Sonata No. 4 Solo 1881
Maker of Dyes Opera 1882
Cello Sonata No. 5 Solo 1882
Atop Mount Riwa Score 1883 Music only; Shin did not write the lyrics. National anthem.
Piano Etudes Nos. 7-9 Solo 1883
Cello Sonata No. 6 Solo 1883
Cello Etudes Nos. 1-3 Solo 1883
Memory No. 4 Vocal 1883
Clarinet Sonata No. 1 Solo 1883
Monologue for Flute Solo 1884
Cello Etudes Nos. 4-6 Solo 1884
Cello Sonata No. 7 Solo 1884
Clarinet Concerto No. 1 Orchestral 1884
Violin Concerto Orchestral 1884
Cello Sonata No. 8 Solo 1885
Cello Sonata No. 9 Solo 1885
Clarinet Concerto No. 2 Orchestral 1885
Chusu In Mwolla Orchestral 1885
Clarinet Concerto No. 3 Orchestral 1886
Cello Sonata No. 10 Solo 1886
The Riverbed Chamber 1887 String quartet
Suite for Wind Octet Chamber 1887
Canon in A Minor Chamber 1887 String quartet
Cello Sonata No. 11 Solo 1888
Clarinet Concerto No. 4 Orchestral 1888
Cello Concerto No. 3 Orchestral 1889
Trombone Concerto Orchestral 1889
Waltz for Tanso Solo 1890
Suite for Tanso Trio Chamber 1890
Suite for Tanso and Bipa Chamber 1890
Cello Concerto No. 4 Orchestral 1891
Etudes for Haegeum Nos. 1-4 Solo 1891
Suite for Tanso and Piri Chamber 1891
Hun Sonata Solo 1891
Cello Sonata No. 12 Solo 1891
Haegeum Concerto Orchestral 1892
A Handful of Cherries Chamber 1892 For cello, viola and flute
Clarinet Sonata No. 2 Solo 1892
Dalrae and Byeol Opera 1893
Dance of The Magpies Chamber 1893 For cello, viola and flute
Delicate Orchids (Arr.) Orchestral 1893 The 1873 string quartet arranged for full orchestra
Metzettan Dance (Arr.) Orchestral 1894 The 1867 chamber piece arranged for full orchestra
The Riverbed (Arr.) Orchestral 1894 The 1887 string quartet arranged for full orchestra
Clarinet Sonata No. 3 Solo 1894
Red Onions (Arr.) Orchestral 1894 Arrangement of a folk song from Lutsana
Yonderre Our Land (Arr.) Orchestral 1894 A new orchestral arrangement of Leon de Saue's Yonderian national anthem
Waltz for Tanso (Arr.) Orchestral 1895 The 1890 solo piece arranged for full orchestra
Suite for Tanso Duo Chamber 1895
Suite for Viola and Flute Chamber 1895
Six Bears Score 1895 Ballet score
Mine Eyes Have Seen The Glory (Arr.) Orchestral 1895 A new orchestral arrangement Conchobar Memius's Urcean national anthem
Lament for Horn Solo 1896
Elegy in E Minor Solo 1896 For piano
Elegy in F Minor Chamber 1896 String quartet
Elegy in E Minor (Arr.) Orchestral 1896 The 1896 piano piece arranged for full orchestra
Lament for Piano Solo 1896
Stretton Market (Arr.) Orchestral 1896 Arrangement of a traditional piece from Anglei
Mossy Stones (Arr.) Orchestral 1897 The 1875 string quartet arranged for full orchestra
Elegy in B Solo 1897 For horn
Clarinet Sonata No. 2 (Arr.) Chamber 1897 The 1892 solo piece arranged for string quartet, accordion and clarinet
Elegy in G Minor Orchestral 1897
Elegy in G Sharp Solo 1898 For cello
A Dream of Death, A Nightmare of Life Score 1898 Ballet score
Canon in B Flat Chamber 1898 String quartet
Lament for Cello Solo 1899
The Inyang Variations Solo 1899 48 pieces for piano based on a single theme
Lament for Horn (Arr.) Orchestral 1899 The 1896 solo piece arranged for full orchestra
Cello Sonata No. 13 Solo 1899
Lament for String Quintet Chamber 1900 String quartet with added double bass
The Magnolia Waltz Orchestral 1900
Etudes for Guitar Nos. 1-5 Solo 1901
The Tiger Canon Chamber 1901 String quartet with added double bass
Twelve Tone Canon Chamber 1901 String quartet, accordion and clarinet
The Tiger Canon (Arr.) Orchestral 1901 The 1901 chamber piece arranged for full orchestra
Canon in B Flat (Arr.) Orchestral 1902 The 1898 string quartet arranged for full orchestra
Canon in Honour of Dalrae Chamber 1902 String quartet
The Magnolia Waltz (Arr.) Chamber 1902 The 1900 orchestral piece arranged for string quartet
The Hanzeong Variations Solo 1903 48 pieces for piano based on a single theme
Canon in C Minor Chamber 1903 String quartet
Cello Sonata No. 14 Solo 1903
Lament for Haegeum Solo 1904
Constructed Canon Chamber 1904 String quartet, horn, trumpet and trombone

Legacy

Shon's impact on the music of Metzetta cannot be overstated; his fusion of western music with traditional Metzettan sounds paved the way for all who followed him. His national anthem has not been altered since he composed it and much of his music remains regularly performed; all of it is available on recordings. Since 1982 a computer at Galko University has been performing his Constructed Canon, and will likely never finish it.

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