
Ludovico Einaudi: composer behind soundtrack of our lives
You may not recognize the name Ludovico Einaudi, but chances are you've heard his music. The Italian composer's delicate piano melodies have resonated worldwide, featured in films, advertisements and streaming playlists. His compositions have surpassed 39 billion global streams -- more than Mozart or Beethoven in the digital era -- while his track 'Experience' has amassed 15.6 billion views on TikTok.
His music has left a lasting impact on cinema as well, appearing in Academy Award-winning films such as 'Nomadland' and 'The Father.'
On April 2, Einaudi, who recently released his 17th studio album, 'The Summer Portraits,' will perform at the Grand Theater of the Sejong Center for the Performing Arts in Seoul, marking his first visit in eight years after a 2020 trip was canceled due to the COVID-19 pandemic.
Life of endless inspiration
Einaudi's inspirations are vast. His early exposure to Chopin, Bach and Schumann, thanks to his pianist mother, led him to explore European folk music, the Beatles and other 1960s rock. Over time, his influences expanded to include Vivaldi, Stravinsky, Bartok and even Billie Eilish, Eminem and Radiohead.
'I've listened to such a variety of music throughout my life, and I know I will continue to, as music remains a constant source of inspiration,' he said during a recent online interview with Korean media.
Books are another creative wellspring. He always carries Henry David Thoreau's 'Walden' and 'The Journal."
"Walden" is a classic reflection on simple living and nature, while "The Journal" is a collection of Thoreau's personal writings and observations. Both books explore themes of self-sufficiency, solitude and humanity's connection to nature.
'Reading Thoreau's work every day provides me with new inspiration. Each time I turn a page, I discover something fresh — not only about where we are now but also about where we should be heading in the future,' he added.
For Einaudi, making music is like writing a book -- each album tells a different story.
'I see creating an album as similar to writing a book. It's about searching for the stories that will go into it. For example, my latest album, 'The Summer Portraits,' is about memories of summer. I once created an album centered around the theme of waves, and I like to think of each album as a book with its own unique story. The music within them is like the chapters of that book,' he said.
Constant search for new territories
The 70-year-old composer emphasized that he has no interest in repeating himself musically.
'Even if I had a successful piece from five or 10 years ago, I have no desire to repeat it. The power of what you create is always to find a new territory to explore something new. I like to be involved in the excitement of exploring new territories with new ideas with my music,' he said.
When facing creative challenges, instead of actively searching for inspiration by traveling to specific places, he simply sits at the piano, follows his instincts, and refines his ideas.
'I analyze them and I develop the ones that I think are good and sometimes I find new territories of my soul,' he explained.
His upcoming visit to Korea might be another source of new discoveries.
'I'd love to explore something interesting during this visit -- maybe even dive into the K-pop scene and its possibilities,' he said.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
2 days ago
- Korea Herald
Liquid Sound strips traditional street performance to its core
Performance collective reimagines pungmul through contemporary movement In pungmul, a traditional Korean form of folk music and dance, the performer leading the troupe wears a hat called sangmo topped with a long paper streamer known as piji that can stretch nearly 180 centimeters. As the drumming builds and the rhythms swell, the streamer whirls in perfect arcs and waves, never tangling, serving as a kinetic emblem of pungmul's identity. But what happens when you take away that visible identity, wondered Lee In-bo, director of the performance collective Liquid Sound. What remains in the body? And how can it expand from there? To find an answer, Liquid Sound deconstructs elements of pungmul and rebuilds them through the language of contemporary dance in 'OffOn: Yeonhee Project 2,' presented Friday and Saturday at Seoul's Sejong Center for the Performing Arts as part of its summer festival, Sync Next. Yeonhee, also spelled yeonhui (literally "play" or "performance" in Korean), is a broad term for traditional performing arts such as pungmul, mask dance, shamanistic rituals, puppet theater, traditional circus and folk music, and dance often rooted in folk rituals and community celebrations. 'From the very beginning, we asked our performers, 'What if we took away your instruments, your costumes — everything you're most confident in. Could you still exist onstage, purely as movement?'' Lee said in an interview with The Korea Herald last week. He called their creative process the 'OffOn' approach: taking something 'off' from traditional performance and attaching it 'on' to something new, in search of what Lee calls the DNA of traditional performance. It is the group's second contemporary dance project following 'Long: Yeonhee Project 1,' which they showcased last year at the Aurillac International Street Theatre Festival in France. In this genre-crossing Yeonhee Project series, traditional pungmul artists and dancers deconstruct movements that once flowed instinctively, studying them bit by bit, without the familiar music, rhythms, costumes or instruments. 'It's challenging even for seasoned performers,' said choreographer Shim Ju-young. 'They have to search for the movement itself — down to the core of their bodies. But it's also fascinating: you realize that spinning the sangmo requires precise, rhythmic head movements executed in distinctly different ways.' The show draws on various elements of pungmul and folk performance. One segment focuses on seoljanggu, traditionally a solo janggu drum showcase, reinterpreting its rhythmic footwork through hand gestures. Another segment references piroji, a moment in folk performance when female dancers take the stage, but here, male dancers join them, layering the rhythm with new textures. Shim, who trained in both Korean and contemporary dance, said she was fascinated by the possibilities. 'Even just visually, there's so much to play with. Each traditional element holds endless creative potential once you break it apart.' Founded in 2015, Liquid Sound aims to explore traditional Korean arts with diverse genres, from melding avant-garde gugak with electronic music, to contemporary dance, installation art and Western classical traditions. The name Liquid Sound reflects the group's sensory ambition of merging tactile fluidity with the auditory experience of music. 'It's about how we meet the audience,' Lee said. 'Traditional performers used to approach audiences in very direct, interactive ways. We're asking how to do that now — whether by adopting new methods or, sometimes, returning to older, simpler ones.' Next year, the company plans to continue its experimental exploration of traditional performance with the third edition of the Yeonhee Project. The two envision a future performance in which yeonhee artists and dancers blend so seamlessly that they create an entirely new genre. 'Rather than a technical blending of traditional and modern elements, I hope for a day when the fusion is so natural that you can't tell them apart," Shim said. Liquid Sound will take its work to several major festivals later this year, including the Busan Street Art Festival in September, the Performing Arts Market in Seoul in October, and an outdoor performance in Myeongdong hosted by the National Theater Company of Korea.


Korea Herald
15-07-2025
- Korea Herald
The sound of now: young Korean creators redefine tradition and form
At Sejong Center's Sync Next25, haeum player-compsoer Joo Jeong-hyeon meets classical music composer Choi Jae-hyuck Composer-conductor Choi Jae-hyuck and haegeum player-composer Joo Jeong-hyeon have been on the Sejong Center for the Performing Arts' radar since the launch of its summer contemporary music series, The Sync Next, in 2022. This year, for the first time, the center brought them together to explore what kind of synergy might emerge. The performance, part of the Sync Next 25 program running from July to September at the Sejong Center's S Theater, pairs Choi's ensemble, Ensemble Blank, with Joo, an experimental haegeum player whose work spans performance, composition and video. It also marks their first-ever collaboration. 'Joo is an expert improviser — she's especially known for combining the haegeum with other elements in bold, experimental ways,' Choi said during a recent interview. 'We, on the other hand, are trained to play strictly notated scores. So we thought, why not try blending the two? Some parts are composed, others are improvised. It's a challenge for both of us, which is exactly why we think the audience will experience something truly new.' Choi, who first gained international attention as the youngest-ever winner of the Geneva International Music Competition's composition category in 2017, leads Ensemble Blank, a contemporary group known for its adventurous programming. 'Both Ensemble Blank and I are people who constantly think about what it means to be contemporary, and how we can achieve that. So I think the main focus of this collaboration will be creating sound together — building something collectively, rather than just presenting individual pieces,' Joo said. Joo is a 2024 recipient of the Korea National Academy of Arts' Young Artist Award. The program on Friday and Saturday opens with Alexander Schubert's 2014 piece "Serious Smile," a hyper-digital, rhythmically driven piece. This is followed by a striking contrast: Giovanni Pierluigi da Palestrina's "Ave Maria a 8 voci," written in 1572, arranged for wind and string instruments, offering a moment of Renaissance polyphony and meditative calm. Joo takes the stage solo with a haegeum improvisation, highlighting her signature blend of embodied technique and spontaneous expression. The program continues with Choi's own 'Straight to Heaven,' a large-scale ensemble work that moves with cinematic intensity. The evening will also see Ensemble Blank and Joo perform the Asian premiere of Jessie Cox's "Quantify,' an experimental piece from 2017 that explores the interplay of sound, identity and time. The program concludes with the world premiere of Joo's 'Primitive Happiness,' a new audiovisual work written for Ensemble Blank that fuses live instruments and video. The stage design for this performance reflects the playful creativity of the two artists. The setup features a small triangular stage and a larger triangular stage positioned opposite each other, like an hourglass, with the audience seated in between. As Choi and Joo, both born in 1994, and Ensemble Blank explore a borderless space where familiarity gives way to unexpected listening, Choi emphasized the importance of simply knowing that certain artistic experiences exist. 'Even if it's unfamiliar at first, having that encounter becomes part of one's inner world — something you can return to, draw from and eventually express,' he said. Joo echoed that sentiment, offering a reflection on Korean audiences. 'Lately, as I've been doing more work in Korea again, I've really come to feel that Korean audiences are far more open to a wide range of things and are actively seeking out new experiences. Especially among younger generations, I think we're now in a time when people embrace stimulating, dopamine-releasing experiences without resistance,' she said. 'In that sense, maybe what we're doing won't feel all that unfamiliar after all.' Two performances will take place at Sejong Center's S Theater: At 7:30 p.m. on Friday and at 5 p.m. on Saturday. gypark@


Korea Herald
11-07-2025
- Korea Herald
In Japan, calorie-busting ‘sinful gourmet foods' taking taste buds by storm
TOKYO (Japan News/ANN) -– Heavily seasoned "sinful gourmet foods" that are high in calories and fat content and can never be called healthy have recently become popular, and these delectable guilty pleasures have often been found not only on restaurant menus, but also in corporate product promotions, manga and personal social media posts. On a recent day, Naoki Nomura, 44, the general manager of Meat & Cheese Forne, an Italian restaurant in Tokyo's Nakameguro district, asked me if I would like some cheese on top of a plate of steaming hot pasta. Nomura then placed a round piece of burrata cheese on the pasta and slit it open with kitchen scissors, and melted cheese flowed out like lava. The cheese went perfectly with the spicy tomato-flavored pasta and salty prosciutto, making the dish rich, smooth, distinctive and exquisite. A limited time variation of the Volcano Pasta, one of the restaurant's signature dishes, was offered until the end of June. The restaurant introduced the pasta on social media as the "taste of sin." The dish had more than 2,000 calories, but was popular especially among women who wanted to eat without worrying about their health once in a while or on a "cheat day," a scheduled break in a diet. "The pasta may stimulate an emotional conflict as you want to eat something delicious while, at the same time, you are also worried about what happens later," Nomura said. According to Emi Yamamoto, who analyzes food trends at Gurunavi, a Tokyo-based company that lists restaurant and other related information online, "sinful gourmet foods" refers to dishes that evoke feelings of sin or guilt while providing a sense of gustatory satisfaction. Since they often feature plenty of high-calorie ingredients like meat and cheese, they also are called "high-calorie gourmet" or "guilty gourmet." Menus with names that include the word haitoku, which literally means "immorality" in Japanese, began to appear more frequently one Gurunavi's restaurant information website around the autumn of 2021, with the number of restaurants offering such dishes increasing each year. A survey of 1,000 people in their 20s to 60s found that about 60 percent of them had tried guilty gourmet fare, with 45 percent of them saying they ate such dishes as they wanted to enjoy eating meals. Thirty-five percent said they ate the food to help relieve mental stress. "It may be an indication that people became weary of self-restraint during and after the COVID-19 pandemic. It could have been a backlash to health consciousness, too," Yamamoto said. "Also, the foods' extravagant appearance that looks good in photos appeals to young people who use social media a lot. Sinful foods are no longer a passing fad. They have become established as a genre of cuisine." Spreading beyond restaurants Marudai Food jumped on board the trend in promoting its sausages. The company garnered an unexpected response when it posted a recipe on X for a late-night meal made with instant ramen, cheese, milk and its Kunseiya-brand sausages in autumn last year. The sinful Kunseiya carbonara ramen has about 1,050 calories. "Dokagui Daisuki! Mochizuki-san" ("I Love Dokagui! Mochizuki-san") is a manga series created by Kamome Maruyono and published by Hakusensha. In the manga, Mochizuki-san, the protagonist, relentlessly eats a lot of rich, sinful foods. The ways Mochizuki-san experiences euphoria from the rapid rise in blood sugar as the result of eating are depicted with black humor. Dokagui means "binge eating." The manga quickly gained popularity as soon as the serialization started in May last year, leading to Hakusensha's collaborations with other companies, including Seven-Eleven Japan Co., which released bento box meals themed around the manga. "The protagonist's pursuit of her own happiness through relentless eating in a stressful society may have resonated with readers," said Yuta Yoshinaga, an editor in charge of the manga. Photos and videos of individuals cooking sinful gourmet dishes or eating them at restaurants are popular on social media, too. Cooking expert Ryuji, author of "Bazu Reshipi: Mayonaka-no Haitoku Meshi" (Buzz-recipe: Midnight sinful meals), published by Fusosha Publishing, also shares many recipes for sinful gourmet dishes on his YouTube channel, which has more than 5.25 million subscribers. "In today's society, where people pursue safety and comfort, there are few opportunities in which they face danger, fear or something unfamiliar in their daily lives. They may be creating 'pseudo danger' by eating excessively high-calorie and unhealthy foods and enjoying the thrill of tasting them," said Hideki Kiyoshima, a professor emeritus at Kindai University. "Eating the dishes brings them not only satisfaction but also a sense of accomplishment," the expert on modern culture said. OK once in a while According to Terue Kawabata, vice president of Kagawa Nutrition University and an expert in lipid nutrition, the recommended calorie intake per meal for women is about 600 calories, meaning having a meal of more than 1,500 calories obliges them to reduce their recommended intake by 900 calories in other meals. There is no need to completely abstain from rice to do so, for instance. You can offset the excess calorie intake without difficulty by having less sweets, soft drinks or alcohol compared to usual for about one to two weeks. Since high-fat dishes can take three to four hours to digest, it is best to avoid them before bedtime. Consuming fiber-rich vegetables with the dishes can help prevent overeating and slow down fat absorption. You can eat vegetables in another meal on the same day when it is difficult to eat them with high-fat dishes.