Earl Kim was taught to play the piano for free lessons by the organist of the church.
Ty Kim first heard about Earl King (no matter) through what he called “a terrible tone.” Emmy-winning storyteller approached because he previously filmed a documentary about cellist Lynn Harrell and his 60-year career. Lynn Harrell: Life of a Cello Interviews were conducted with Yo-Yo MA, John Williams, Anne-Sophie Mutter, Itzhak Perlman and André Previn. Those movies that try to play the movie eventually become count. Describe it as “a story about a man who is no longer alive, never interviewed, you may never have heard of his music.”
“I said, it was the worst tone I’ve ever heard in my life,” Tay said. “I was interested when I started doing my own research. I was the one I used to 60 minutes reporter. I discovered that Earl Kim was a combat intelligence officer who flew over Nagasaki 24 hours after the atomic bomb was discarded. I think, who is this man? Why did he do this? This is a very strange person and I want to learn more about his character. ”
Then he started listening to music.
“As an amateur cellist, I used to know nothing about his music,” Ty said. “But what deeply touched me is that this is a man who has lived many lives.”
The Earl’s roots are humble. He is a classic American immigration story. Before leaving South Korea, his mother attended the university of Ewha Women and his father was a scholar. After moving to the United States, his father picked and eventually sold vegetables. The Count learned to play the piano through free courses offered by the church organist and then study with a tourer in Los Angeles. He continued to study with UCLA composer Arnold Schoenberg before moving to UC Berkeley. The Count then joined the war and served as the combat intelligence officer.
“His career was interrupted by World War II,” Tay said. “When he returned from the war, he stood in McCarthyism and was expelled from UC Berkeley.”
Ty Kim is fascinated by the many lives of Earl King.
Ty is a self-proclaimed blooming style that also appreciates the story of the Count, as he begins to write in later life. From 1952 to 1967, the Earl taught music at Princeton and then taught at Harvard until her retirement in 1990. The Count created a variety of vocal and musical theatre works, many of which used the text of Samuel Beckett. His works include Practice on the way,,,,, Narrative,,,,, EH Joe and an opera pace. He acquired loyal friends and prominent collaborators across the music industry, but was never interested in publicity. As a result, there is not much information to create a documentary.
“I’m becoming more and more interested, as a narrative, it’s grand,” Tay said. “But it’s not easy. It’s really challenging to do a story about a person, and the photos I’ve discovered from my family. How do you tell the story instead of putting it into a collection of voices about someone?”
Eventually, some long-lost interviews surfaced, and that was when Ty knew he could make a documentary count. For background, 35 resources from three continents were interviewed, including the legendary violinist Itzahk Perlman, who recorded the Earl’s Violin Concerto with Seiji Ozawa and the Boston Symphony Orchestra. The memories of those who touched the lives of those Counts are often exciting. Yes, he was a great composer, they reiterated it, but he had an emotional way of connecting with them. He was also a moral and fearless man, standing on McCarthy, which led him to teach at UC Berkeley. Because of his experience during the war, he co-founded working with the musicians of nuclear weapons.
“Well, the Count is a prodigy on the piano,” Tay said. “Many of them are impressed by the language of music, and he can win Grammys or Karol Bennett on the keyboard with singers like Dawn Upshaw in the movie, who can do it in the movie.
If the Count likes you, he wants to feed you.
“Mr. Perman called the Earl food,” Tay said. “You have this man who likes to entertain and entertain and creates this living room environment with young artists, composers. They quickly realize that they are with a person who is easily accessible and tender. The way he taught is so inclusive. Therefore, people still love him. They still think he is alive, even though we lost his attitude so profoundly toward the existence of lung cancer in 1998. The humility of the statement, and no equity seeking to speak on his behalf.
Creating a piece that could have been played on a small scale limits the number of people who know him.
“He didn’t write a lot of work,” Tay said. “But he wrote brilliant works, mainly targeting the genre of chamber music, if he wanted to. Writing for a big band was not what he wanted to do. It was a man not found in the entire public, but loved by the contemporary and chamber music world.
The Count’s music also caused trouble, with a response from traditional Korean music. He grew up playing Korean music, singing in Korean, where traditional instruments were there, but it wasn’t the only music he came into contact with as a kid. His mother loved the opera and would cry when she listened on the radio.
“He often said that he never considered himself a Korean composer,” Tae said. “He considered himself a composer.”
Documentary count. , The championship ended, opening at the New York Asian Film Festival, and TY was unsure of what would happen next.
He said: “We’ve had academic screenings at Harvard University in Princeton nationwide, but we’re lucky to be able to share something that I think will attract people. It’s not a real art movie, it’s a music movie. It’s a movie about a person who dreams of being an artist and going from scratch, then becoming a professor at Harvard and being respected in his circle. But he’s a very unique person.”
That’s why ty adds a deadline to the title?
“This period is for the focus,” Tay said. “I don’t want to make an exclamation mark. I feel like we have to find a way to communicate with the title, the brand, maybe its brand.”
People often ask him if he has anything to do with the Count, he is not.
“I said, no, but I wish I was.”
The Count died in 1998. count. It is pointed out that one person dies twice. Once, they buried him on the ground, and the second time no one remembered his name. TY wants to make sure the Count is not forgotten.
