Whan Ri-Ahn was born in Seoul but spent part of his childhood in New Zealand before returning to Korea. Eventually, he left for the United States to pursue his composition studies and entered Interlochen Arts Academy at the age of 14.
He studied at the Royal College of Music in London with Kenneth Hesketh. During his time there, he was honoured with the James Horner Award, the Dr Knobel Fund Award, and the RCM Scholarship Award. His studies at RCM were kindly supported by Ms Sara Horner. Afterwards, he continued his studies with Michael Jarrell, Luis Naón, and Gilbert Nuno at the Haute École de Musique de Genève.
Being recognized as one of the most promising composers of the young generation, he achieved a significant milestone in 2023 when his composition, L'Oiseau dans le Temps II, was premiered at Radio France's Festival “Présences 2023”, where he stood out as the youngest composer at the festival.
Ensembles and institutions such as Ensemble Proton Bern, and Tongyeong International Music Foundation have commissioned his works.
Whan Ri-Ahn's compositions have been performed and showcased by renowned ensembles, institutions, and musicians.
Currently, Whan Ri-Ahn is finishing his master’s degree in composition under Frédéric Durieux and in electronic music under Yan Maresz, Luis Naón, and Grégoire Lorieux at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP). The Fondation de France and the Fondation Marthe Depelsenaire have generously supported his studies at the Paris Conservatoire, and he was the proud recipient of the Prix Composition Musicale Marthe Depelsenaire 2022.
After completing his master's degree at the Paris Conservatoire in 2023, he is set to enrol at King's College London for his PhD studies under the esteemed mentorship of Sir George Benjamin.
Parole sparse (the title is in Italian, and means Scattered words) is a musical composition that delves into the exploration of language and non-language, interweaving verbal and non-verbal dimensions of human expression. Drawing inspiration from my experiences in filmmaking and building upon the artistic concepts of my previous works, Rituel au tombeau d'Isang Yun and Suicidal Impulse, this piece was further inspired by Alda Merini's words "Spazio, io voglio tanto spazio," as it unravels the dynamic interplay between linguistic elements and their intriguing absence.
In “Rituel au tombeau d'Isang Yun”, I embarked on a transformative journey, translating Korean funeral ritual chants, texts and scenes into a musical narrative. This endeavour allowed me to convey profound emotions and stories solely through the language of sound. Similarly, in the electroacoustic composition Suicidal Impulse I transformed recorded voices and texts to blur the boundaries of identity, creating a narrative figure in a perpetual state of metamorphosis.
Derived from the same root as Rituel au tombeau d'Isang Yun and Suicidal Impulse, Parole sparse approaches its exploration of language and non-language differently, forging a unique path while retaining a connection to its artistic origins. With Parole sparse the instrumental ensemble itself assumes a central role as a unified yet enigmatic entity, seeking to embody language in a verbal manner. Each instrument becomes a vessel for linguistic expression, with phrases and patterns seamlessly conversing in their musical dialogue.
Moreover, the composition scatters and recollects consonants and vowels throughout the musical fabric, drawing inspiration from Alda Merini's "Io voglio tanto spazio." This intentional fragmentation and dispersion of linguistic elements echo the complexities of both spoken and unspoken aspects of the human experience. The resulting sonic tapestry becomes a canvas where meaning, emotion, and sound are woven together, challenging conventional communication and inviting listeners to embrace a more profound level of understanding.
Seong-Hwan Lee/Whan Ri-Ahn