Interview: Invitation to "The Myth of Katabasis" 🔮 // Pianist Hayoung Lyou's <The Myth of Katabasis>

April 22, 2025. [Original interview article in Korean // 한글 인터뷰 원문]

Pianist Hayoung Lyou's showcase for her second album <The Myth of Katabasis> will be held on Friday, Apr 25th. Katabasis means bottom, fall, hell, and specifically here, it refers to a journey to the underworld. In Greek mythology, Orpheus visits the underworld to save Eurydice, Dionysus to save Semele, and Hermes to save Persephone.

Why was "The Myth of Katabasis," a seemingly intimidating and mythical theme, chosen as the album title? I had a direct interview with pianist Hayoung Lyou, who studied, worked, and produced this album in New York.

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Hyojin: Your first album released in 2020 was titled <Metamorphosis>. Are you intentionally working with mythical and literary expressions as a concept?

Hayoung: That happened purely by coincidence... (laughs) But I think it turned out that way because I'm very interested in human affairs, life, and death.

Hyojin: Then how did you come up with the title 'The Myth of Katabasis' for this album?

Hayoung: I always want to talk about definite themes. I think the most certain fact is that we have limited time, and that we will eventually die. And when I put what meaning there is in making music as an artist alongside 'death,' I thought the process of exploring music by using my energy and time resembles the stories of descending into the underworld.

Hyojin: There's something profound there. But there could also be themes like going to the forest, the sea, or ascending to the sky to find music - the idea of specifically descending to the underworld seems unusual.

Hayoung: I think it's more like I personally interpret it that way. Actually, I believe the creative process can be lonely and painful for me. Of course, I can share and discuss with colleagues, but ultimately, these are decisions I have to make, processes where I need to have confidence in myself. And this was a difficult process for me.

Hyojin: So for you, the process of making music feels like going down to the underworld and touching the river.

Hayoung: Yes, that's right. I think about death when I compose, and it reminds me of journeying to the underworld. If composing is an act of remembering death, then performing could be 'life.' Because once performed, it disappears with the flow of time.

Hyojin: I assume some of your pieces were written with the overall 'katabasis' theme in mind.

Hayoung: The suite called 'Descent' is most directly related. While other pieces are performed by a trio, these are solo piano pieces. That connects with the theme too. I wrote them sitting alone, ruminating on the past (descending to the underworld).

The main motif itself develops as a descending melody, and I wrote it while considering how to internalize and develop a simple theme.

In the case of 'Windup,' I wrote it while imagining the underworld as depicted in the movie <Coco>, where Mexicans visualize it. The atmosphere of festivals happening, souls eating and drinking. After death, a moment will pass, and I wanted to create a brilliant atmosphere that celebrates such moments. (Wind up: finishing)

Hyojin: Music is an abstract art, and there's room for it to be conveyed differently than the composer's intention. How do you handle this?

Hayoung: When performing, I usually explain the theme. But there were cases where I forgot to explain, and people still asked, "Was that the message of the piece?" Sometimes I want the music to be heard as it is. Everyone has their own interpretation, and everyone thinks differently about death.

Hyojin: Looking at YouTube, I saw clips of your performances in New York. I'm curious how the audience there seemed to receive this album.

Hayoung: The most interesting review was 'dark humor.' Dark but humorous, and not trying to find a definitive answer to it... There were also comments that it seemed influenced by classical music, or that it had influences from free players like Monk or Andrew Hill.

Hyojin: Did you actually receive a lot of influence from such music?

Hayoung: Yes, I do like Monk, and recently I've been immersed in contemporary classical music, reading and analyzing scores, trying to understand it in my own way by adding jazz chords to it.

Hyojin: What part of the album did you pay the most attention to?

Hayoung: I think the part I paid the most attention to was composition. Recently, I gave a special lecture at KAIST, and the most enjoyable part was discussing composition. Among the tracks, a piece called 'Ombre' was inspired by Luigi Dallapiccola's (an Italian pianist) work, using the twelve-tone technique. As I mentioned earlier, 'Windup' was also inspired by Alexander Scriabin's (a Russian pianist) harmony.

Hyojin: While listening to the album, I thought it might have worked well in a format other than a trio. Is there a reason you recorded with a piano trio?

Hayoung: Actually, when I started writing these pieces 4-5 years ago, the first formation I envisioned was a Sextet. I've tried performing with a Quintet formation and various combinations, but having many members made it difficult to perform not only in Korea but even in New York. There were also practical reasons, like a friend I was working with moving away.

What I realized when it became a piano trio was... now I had to express various timbres within the piano. Using the piano's extreme low register, using the pedal, or making sparkling sounds in the high register. It also became an opportunity to explore the piano more.

Hyojin: Did you plan to have a showcase in Korea from the time you were making the album in New York?

Hayoung: Yes, I definitely had that intention... though I would have liked to do it with the members who recorded the album with me, which is unfortunate. I hope a good opportunity arises soon.

Hyojin: How are your preparations going?

Hayoung: I've been continuously working online with friends in Korea, but I haven't been back from the US for long, so it's been hectic. There are also many scores to read, so I feel a bit sorry for my friends.

Editor's Afterword

While I've listened to, analyzed, and talked with many composers about their music, a conversation with this theme felt quite new to me. It might be because of my personal tendency to distance myself from keywords like underworld, hell, and death.

However, I know that many people have an interest in or natural thoughts about these aspects of life. I think this performance might resonate more with such people. How about taking the opportunity to encounter more detailed stories and music at the showcase?

📍 Performance Date: Friday, April 25th, 7 PM & 9 PM 📍 Location: Kind Seoul, Seongsu-dong (5th floor of Seoul Brewery)

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PS. About Hyojin Kim (@jazzdocent_)

Hyojin Kim, known as "Jazz Docent," is a prominent figure in the Korean jazz scene with a significant following on social media. Self-described as "The man who explains jazz, especially Korean jazz!", he is the founder of Jazz Avenue and Kohyo House, and has evolved from being a jazz musician who played both piano and contrabass to becoming a respected content creator.

Throughout his 15-year journey in the jazz field, Hyojin has dedicated himself to documenting, promoting, and enriching the Korean jazz scene. He publishes a semi-monthly newsletter featuring jazz news and recommended music, along with occasional interviews and personal insights. Based in Tongyeong, he continues to bridge the gap between jazz musicians and audiences, making the genre more accessible to Korean listeners while highlighting local talent.