Building bridges between contemporary Korean music and the classical Western canon through a novel pedagogical approach.
About the DARI Project
The Dari Project aims to build and strengthen bridges between contemporary Korean compositions and the classical Western canon. Dari accomplishes this connection through its novel paradigm: commissions paired with co-created pedagogical companion violin works.
Dari—meaning “bridge” in Korean—builds vital, overlapping connections among music students, performers, and pedagogues; between new music and the Western canon; and beyond, all while amplifying the voices of Korean composers. Dari’s companion pieces, carefully designed for pedagogical use, help overcome the unfamiliarity and limited exposure that students often have to contemporary repertoire.
Five distinguished Korean composers have created an innovative body of new works—from solo violin to violin duo to piano trio compositions. Dari’s companion pieces, specifically pedagogically crafted, directly address the unfamiliarity and limited exposure students face when approaching contemporary repertoire.
The project is championed by violinist, Salley Koo, who commissioned the works with funding from the Research Board at the University of Illinois Urbana Champaign.
More than music.
DARI is a movement to inspire, educate, and bridge people together
5 world premieres by Korean Composers
Kyong Mee Choi
Hee Yun Kim
Texu Kim
Matthew Jihoon Pellegrino
Juri Seo
KYONG MEE CHOI | The unreal never lived (2024)
Violin and Piano
About This Work
The piece is based on the book “I Am That” by Sri Nisargadatta Maharaj who is known for nondualism, and emphasizes the primary practice of self-realization. The title of the piece came from one of Maharaj’s quotes, “The real does not die, the unreal never lived.” The piece is commissioned by Salley Koo with the Research Board Grant of the University of Illinois at Urbana-Champaign.
Companion Piece
What is never lived (2024) - violin and piano
About The Composer
Kyong Mee Choi, composer, visual artist, painter, organist, and poet, received several prestigious awards and grants, including the John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, and John Donald Robb Musical Trust Fund Commission. Choi received awards from Concurso Internacional de Música Eletroacústica de São Paulo, Musique et d’Art Sonore Electroacoustiques de Bourges, Musica Nova, Society of Electroacoustic Music of Czech Republic, Luigi Russolo International Competition, Destellos Competition, the Contest for the International Contemporary Music Contest "Citta' di Udine, Concurso Internacional de Composicai eletroacoustica in Brazil, and ASCAP/SEAMUS. Choi’s music was published at CIMESP (São Paulo, Brazil), Détonants Voyages (Studio Forum, France), MUSLAB-CERO Records, Ablaze, NOVA, SCI, EMS, ERM, and SEAMUS. Ravello Records published her multimedia opera, THE ETERNAL TAO, supported by the John Simon Guggenheim Memorial Foundation Fellowship, and her second opera, Pale Courage, received critical acclaim. Aucourant Records published her album, SORI, featuring her eight compositions for solo instruments and electronics. Choi is a Professor of Music Composition and the Program Director of Music Composition and Music and Computing Programs at the Chicago College of Performing Arts at Roosevelt University in Chicago. Her music and art can be found at kyongmeechoi.com
Listen to an ExcerPt
May 1, 2025 | Dari Chicago Premieres Concert, Guarneri Hall | Salley Koo and Alexander Solomon
HEE YUN KIM | Reboot (2024)
Violin, Cello, and Piano
About This Work
Commissioned by Salley Koo
Reboot began on a long car ride with my teenage daughter. We were stuck in our usual compromise: half the time her playlist (mostly Techno), and half mine (mostly Classics and Jazz). While the pounding beats and some of the harsh electronic sounds often irritated me, I found myself wondering—what if I tried channeling the essence of techno into a world I know and love: acoustic chamber music?
This piece is my attempt to “reboot” my own perception. Using piano, violin, and cello, I play with pulse, rhythm, and texture in ways that echo the energy of techno—but filtered through a more organic, expressive lens. It became a kind of musical love letter to my daughter: part curiosity, part connection, part challenge.
Somewhere along the way, I surprised myself—I actually started to enjoy techno.
Special thanks to violinist Salley Koo for commissioning this piece and encouraging this unexpected creative detour. Reboot wouldn’t exist without her spark.
Companion Piece
Reboot Prelude (2024) - violin and piano
About The Composer
Hee Yun Kim is a versatile composer whose works for orchestra, wind ensemble, chamber groups, chorus, and solo instruments have been performed worldwide. A laureate of the Pablo Casals International Composition Competition, her music has been praised as “fully convincing” and “masterfully orchestrated” (La Lettre du Musicien, Paris). After a long hiatus, she returned to composing in 2020. Her 2023 album Voyage Within aired on NPR stations nationwide. She holds composition degrees from Seoul National University, Penderecki Academy of Music in Kraków, and the University of Illinois at Urbana-Champaign.
Listen to an ExceRPt
May 1, 2025 | Dari Chicago Premieres Concert, Guarneri Hall | Salley Koo, Daniel McDonough, and Alexander Solomon
TEXU KIM | Lots of As and a Bunch of Bs (2024)
2 Violins
About This Work
The idea of writing a piece for educational purposes made me revisit one of the compositional exercises: composing using a single pitch, for the entire piece, or as a starting point. So, I began the piece from there, but with two pitches instead of one (as a more experienced composer, I felt I should do something differently). I chose A and B, since A is likely the first pitch you would produce in learning the violin. And B is probably the first non-open string note. (I also thought about the stories I heard from my Korean-American friends about their parents’ expectations for them to get mostly A’s and maaaaybe B’s).
“A Lot of As and a Bunch of Bs” is in multiple movements, and the first one does have only As and Bs. All the other movements begin with various motives or patterns using A and B (many of the movement titles are simply the patterns, like AB, BAA, BAB), which develop into different universes. Some are related to others, while others are more distinct. Among them, there is one movement where the second violin player is supposed to imitate the sound of a beginning violinist, again reflecting our care for the next generation of musicians. This piece is commissioned by violinist Salley Koo, with the support of the Board of Trustees of the University of Illinois.
Companion Piece
ABA or ABA + AAB from Lots of As and a Bunch of Bs (2024) - 2 violins
About The Composer
Texu Kim (김택수, he/him) is “one of the most active and visible composers of his generation” (San Francisco Classical Voice) who writes music that is fun, sophisticated, and culturally connected. Having served as the Composer-in-Residence of the Korean National Symphony Orchestra, he is an associate professor at San Diego State University. His music has been programmed by the New York Philharmonic, San Francisco Symphony, LA Phil, San Francisco Opera, Philharmonia, Seoul Philharmonic, Minnesota Orchestra, Saint Paul Chamber Orchestra, Oregon Symphony, Detroit Symphony, San Diego Symphony, Ensemble Intercontemporain, Ensemble Modern, Alarm Will Sound, etc. Winner of the 2021 Barlow Prize, he has received honors from the Fromm Foundation, Civitella Ranieri Foundation, the Copland House, Ilshin Foundation, Isang Yun Foundation, SCI/ASCAP, and more.
Listen to an ExcerPt
May 1, 2025 | Dari Chicago Premieres Concert, Guarneri Hall | Salley Koo and Dawn Wohn
MATTHEW JIHOON PELLEGRINO | Sanjo Sonata (2025)
Violin
About This Work
Sanjo is a genre of Korean traditional solo instrumental music that roughly translates to “scattered melodies.” Having studied sanjo during my time living in Korea, I couldn’t help but notice the parallels between sanjo and its western counterpart; the sonata. Sanjo, much like sonata, progresses through a variety of sections (movements) while exploring and elaborating on various themes, however unlike sonata form each section of a sanjo gets faster and faster through a combination of natural accelerando and metric modulation. The arrangement of the melodies, or themes, in a particular sanjo vary among schools; sanjo is an oral tradition, wherein thematic material may be adjusted, extended, or omitted depending on the unique practices of a given school. Sanjo is also highly virtuosic, combining the expressiveness of Korean traditional music with a plethora of unique attributes executable by a given instrument.
The sections of this piece are outlined as three movements which are based on rhythmic cycles found in traditional Korean music – Jinyangjo, Jungmori, and Jajinmori-Hwimori. Jinyangjo is a word derived from the South Jeolla dialect, “jil-da,” meaning “very sluggish.” The slow nature of Jinyangjo makes it suitable for expressive, lamenting passages of music with profound vibrato and dramatic pitch bends. Jungmori can be thought of as something similar to andante. The word “jung” in “Jungmori” means “not too fast and not too slow,” while “mori” means to “drive” something forward. Jajinmori is a fast rhythmic cycle that is frequently used across all genres of Korean traditional music, characterized mostly by the implied 3:2 polyrhythm that it creates. Lastly, the finale is Hwimori, the fastest rhythmic cycle, meaning “as fast as a whirlwind.”
Companion Piece
Sanjo Sonatina (2025) - violin
About The Composer
Matthew Jihoon Pellegrino is an award-winning composer, Fulbright researcher, and devoted music educator. He has enjoyed an eclectic musical upbringing; one which combines Western classical, traditional Korean music, and a brief stint in a metal band. Uncompromising in his work, Pellegrino seeks to create music that engages equally with casual audiences as well as the most serious of listeners. In his music he most enjoys exploring personal themes while incorporating touches of dark humor. Matthew is a Korean American Adoptee researching Korean music both old and new as well as traditional and popular. His research explores the intersections of Korean music with Western culture, the influence of cultural taste and aesthetic on musical sound, and deconstructing the impact of colonization on global musics. An advocate for Adoptee voices, his more current work and interests lie in studying Korean music while creating music in the space between being Korean and American. Born in South Korea, Matthew was raised on Long Island, New York. He is currently serving on faculty at New York University Steinhardt while completing a Doctor of Musical Arts degree with Oscar Bettison at the Peabody Conservatory of Johns Hopkins University, where he also completed his Master of Music degree. During his time at Fredonia State University of New York he studied Music Composition with Dr. Rob Deemer, Dr. Sean Doyle, and Dr. Karl Boelter.
Listen to an ExcerPt
May 1, 2025 | Dari Chicago Premieres Concert, Guarneri Hall | Salley Koo
JURI SEO | July Mountain (2025)
Violin, Cello, & Piano
About This Work
July Mountain was composed in the winter of 2024–2025 and was commissioned by the violinist Salley Koo with support from the University of Illinois at Urbana-Champaign. July Mountain is summer music composed in winter. As another spring approaches, I am reminded that every beginning mirrors its end. In the images of metasequoia stretching to the horizon, bright golden bells blossoming, and the evergreen Sonamu (Korean red pine) standing still, my anticipation for summer becomes a memory.
This winter was a dark time. I was in a state of grief as I composed this work, surrounded by many deaths of loved ones and those unknown to me. I hope this music offers a bit of respite, a solace to anyone experiencing loss.
Companion Piece
Wildflowers (2024) - 2 violins
About The Composer
Juri Seo* (b. 1981.12.31) is a Korean-born American composer and pianist based in Princeton, New Jersey. She seeks to write music that encompasses extreme contrast through compositions that are unified and fluid, yet complex. She merges many of the fascinating aspects of music from the past century—in particular its expanded timbral palette and unorthodox approach to structure—with a deep love of functional tonality, counterpoint, and classical form. With its fast-changing tempi and dynamics, her music explores the serious and the humorous, the lyrical and the violent, the tranquil and the obsessive. She hopes to create music that loves, that makes a positive change in the world—however small—through the people who are willing to listen. Her composition honors include a Guggenheim Fellowship, a Koussevitzky Commission from the Library of Congress, a Goddard Lieberson Fellowship and the Andrew Imbrie Award from the American Academy of Arts and Letters, the Kate Neal Kinley Memorial Fellowship, the Ilshin Composer Prize, and the Otto Eckstein Fellowship from Tanglewood. She has received commissions from prominent organizations including the Fromm Foundation, the Barlow Endowment, the Folger Shakespeare Library, Goethe Institut, and Tanglewood. She has released three portrait albums: Toy Store with Carrier Records, and Mostly Piano and Respiri with Innova Recordings. She holds a D.M.A. (Dissertation: Jonathan Harvey's String Quartets, 2013) from the University of Illinois at Urbana-Champaign where she studied with Reynold Tharp. She is Associate Professor of Music at Princeton University. Juri lives in Lawrenceville, just outside of Princeton, with her husband, percussionist Mark Eichenberger and a little mutt named Roman. *Note on pronunciation: In North America, my name is pronounced [Jew-ri Suh].
Listen to an ExcerPt
May 1, 2025 | Dari Chicago Premieres Concert, Guarneri Hall | Salley Koo, Daniel McDonough, and Alexander Solomon
DARI Project Residency
Salley Koo invites you to bring the Dari Project to your institution. Through collaboration with you and your musicians, she will design a customized residency experience to inspire students, faculty, and audiences alike.
Performances & Recitals
Dynamic presentations of new Korean-American music, including the option to collaborate with violin, cello, and/or piano faculty in a recital or program tailored to you.
Masterclasses
Violin and/or chamber music classes on contemporary music performance or standard repertoire, tailored to the needs and interests of your students.
Workshops
Introduction of the Dari Project companion pieces
Local Music Partnerships
Structured opportunities to connect with nearby higher education, music schools, and educators through joint workshops, open rehearsals, or informal exchanges—building meaningful relationships between university and pre-college musical communities.
Expert Panel Discussions
Focused discussions on topics such as contemporary music practice, inclusive pedagogy, and Korean-American cultural themes in composition.
Featured Community Guests
Local voices sharing lived experiences and perspectives that enrich the project’s cultural and educational context.
Suggested Performance Programs
Salley Koo is excited to partner with you to bring the Dari Project to you. She can collaborate with you and your musicians to co-create concert program(s) that can include:
2 Violins
Other newer music violin duos including those by:
Kenji Bunch, Texu Kim, Caroline Mallonee, Jessie Montgomery, Toru Takemitsu, Isang Yu
Traditional violin duos including those by:
Bartok, Berio, Leclair, Prokofiev, Telemann
Violin + Piano
Other newer or rediscovered sonatas including those by:
John Corigliano, Texu Kim, Amanda Rontgen-Maier, Irene Britton Smith, Ellen Taffee Zwilich
Traditional sonatas including those by:
Bach, Beethoven, Brahms, Debussy, Faure, Franck, Mozart, Ravel, Schubert, Schumann
Violin, Cello, + Piano
Other newer or rediscovered piano trios including those by:
Amy Beach, Cecile Chaminade, Rebecca Clarke, Reena Esmail, Jennifer Jolley, Shawn Opkebholo, Ellen Taffee Zwilich
Traditional piano trios including those by:
Beethoven, Brahms, Dvorak, Faure, Haydn, Mendelssohn, Mozart, Schubert, Schumann, Shostakovich, Suk, Ravel
Dr. Salley Koo is committed to providing access to all higher education institutions. She would be happy to work within your budget – whatever is possible to build and strengthen bridges between students, performers, and pedagogues, integrate contemporary Korean compositions into the Western classical canon, and more.
Dr. Salley Koo
A violinist of great range and energy, Salley Koo has performed internationally as a solo, chamber, and orchestral musician. Her recent calendar includes engagements as soloist, recitalist, chamber musician, orchestral guest, and faculty in California, Minnesota, New Hampshire, North Carolina, Pennsylvania, and Wisconsin. Salley has appeared in concert at the Musikverein in Vienna, Carnegie Hall, Town Hall, Central Park, Music from Salem, the Kimmel Center in Philadelphia, the National Cathedral and National Gallery in Washington D.C., Columbia Museum of Art, the Harris Theater in Chicago, the Nasher Series in Dallas, the Peoples Symphony Concerts, the Ojai, Tanglewood, Ravinia, Skaneateles, and Caramoor Festivals, and on tour alongside artists ranging from Bela Fleck to Dawn Upshaw to Gil Shaham. She soloed with the Lebanese Philharmonic Orchestra and recently returned a third time to Lebanon as artist in residence with the IMAGINE Workshop and Concert Series at the Lebanese American University in Beirut, Lebanon. She is regularly invited as a guest artist with groups such as the Minnesota Orchestra, Orchestra of St. Luke’s, Saint Paul Chamber Orchestra, East Coast Chamber Orchestra, the International Contemporary Ensemble, and the Knights.
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Dr. Koo’s engagement with the chamber music community, in particular, has yielded collaborations with world-renowned musicians including Peter Frankl, Yo Yo Ma, and Simone Dinnerstein, as well as with members of the Orpheus Chamber Orchestra, Peabody Trio, Emerson, Takacs, Jupiter, and Aizuri String Quartets. Her expansive musical interests range from early music to contemporary compositions. In the former vein, she has performed in period groups and recorded for Centaur; in the latter, she has worked closely with composers like Caroline Mallonee, Paul Wiancko, Julia Wolf, Mario Davidovsky, Steven Mackey, Osvoldo Golijov, as well as members of the So Percussion Quartet. Salley is also a familiar face at numerous festivals including the Chamber Music Silicon Valley, Yellow Barn Music Festival, Taos School of Music, the Tanglewood Music Center, Pacific Music Festival, and Thy Chamber Festival in Denmark.
Despite a performance itinerary that has covered North America, Europe, the Middle East, and East Asia, Dr. Koo has established a thriving teaching career. As a graduate of Chicago, Lincolnwood, and Skokie schools and the daughter of parents who collectively served as faculty, administration, and staff in an Illinois state university, she is proud and grateful to be a twofold product of the Illinois public school system. Salley was 17 years old when she first performed in the Krannert Center at the invitation of Jack Ranney with the Illini Symphony, and although she has since returned to Krannert’s concert stage, she was thrilled to join old friends and new colleagues at the School of Music at the University of Illinois at Urbana-Champaign as assistant professor of violin in the Fall of 2022. Previously, Dr. Koo has served as violin professor at both Adelphi University in NY, Montclair State University in NJ, visiting lecturer at UIUC, and violin professor and coordinator of chamber music at the University of Connecticut, in Storrs, CT; other faculty appointments include the Green Lake Chamber Music Festival in WI, Apple Hill Center for Chamber Music in New Hampshire, Green Mountain Chamber Music Festival in Vermont, Dwight-Englewood String Society in New Jersey, Vermont’s Young Artist Program at Yellow Barn, the Opus 118 We Want Music! program in East Harlem, New York, Elm City ChamberFest, and the Neighborhood Music School in New Haven, Connecticut.
Hailing from Chicago, where she studied with Almita and Roland Vamos at the Music Center of the North Shore (now Music Institute of Chicago), Salley then earned her undergraduate degree from Harvard University in English and American Literature, continuing her violin studies with Lynn Chang. She subsequently received a Master of Music and pursued Artist Diploma work from the Yale School of Music under the tutelage of Peter Oundjian. She completed her Doctor of Musical Arts in violin performance at Stony Brook University guided by Pamela Frank and Philip Setzer. Over the course of her extensive training, Dr. Koo has studied with numerous other luminaries, including David Taylor, Sylvie Koval, and Dorothy Kitchen.
Salley currently performs on a violin made for her by Mario Miralles. When she’s not playing the violin, she’s likely to be found cooking or planning where to eat next with her husband, Alex, or playing with their dogs in Brooklyn’s Prospect Park.
Interested in Bringing the Dari Project to Your Institution?
Contact Dr. Salley Koo for more information
Acknowledgements
Above | Henry David Thoreau Bridge in Hidden Valley Preserve,
Steep Rock Association, Washington Depot, CT
Photo Credit: Isabel Chenoweth
- 2025. The Dari Project - All Rights Reserved.