"Variations on Psycho Killer" for solo violin, inspired by the Talking Heads song, was composed by Eric Lyon for violinist Pauline Kim Harris. Premiered on April 14, 2012 at the DiMenna Center for Music on the NYsoundCircuit v3.2, "Variations" has also been performed at Bargemusic and the Bowery Electric in New York City.

14 July 2012 - Thailand International Composition Festival, Mahidol University College of Music (Bangkok, Thailand), Thailand Philharmonic Orchestra, Jeffery Meyer, cond., Pauline Kim Harris, vln.

Squires Salon, Virginia Tech - Blacksburg, VA. on April 7th, 2015. Recording available on: http://www.tzadik.com https://itunes.apple.com/us/album/lemma/id599084316 http://www.amazon.com/Lemma-John-Zorn/dp/B00AX5HIP2

"When We Were" for choir, organ, cello and soprano by Pauline Kim Harris was commissioned and performed by St. George's Choral Society. Matthew Lewis, Director David Ball, Organ Christine Kim, Cello Sunday, November 20, 2016 Church of the Incarnation New York City, New York ruminations upon returning to seoul from busan return to seoul, having departed early and travelled lightly / rain and clouds in the storm desolate land, shuttered storefronts / tall weeds and moss grow in empty rooms one poem to annotate the ambivalence / three glasses of wine to accompany worldly complexity fame and wealth elide the sight / wander alone in the westerly wind Translation by Joanne Cheung PROGRAM NOTES: “When We Were” is a song poem for choir, organ, cello and soprano. It is in three parts: "Then," "Now," and "When.” Each part consists of distinct roles: the nostalgic chorale, reminisces memories; a solo cello, emulates the voice of the present reality, and conscience; the organ, records the passing of time; and a solo soprano, invokes innocence and hope. The text is driven by fragments from a poem that my grandfather, Dr. Dong Whan Lee wrote shortly after the Korean War in ancient Chinese calligraphy: one in a collection of eight-six poems translated and published in Korean titled “ Field of Tea/Snowy Mountain/Spring Mountain.” This text in particular depicts the devastation and displacement that war leaves behind - - time unwarranted. These fragments are sung in Korean, written out phonetically in English for the choir. In the eight minutes of the piece, the music pushes and pulls in and out of the feeling of the present and past, eventually letting go completely. This is depicted in the ascending line of the cello harmonics, which disappear on a high “-E-” tremolo, closing the piece. The chorus holds onto the key of D minor while the organ counterpoints a dissonant B minor stubbornly against it. The cello lives in a sound bubble of five notes C, D, E, F# and Bb. Much like Messiaen, inspiration was found in the birds that would sing me awake at dawn. A rhythmic notation unveiled itself, working its way into the solo cello. In the “Now” middle section, the choir blows through organ pipes and sings articulated percussive sounds which collectively mimic a sense of the rustling of the leaves and wind blowing through the trees. One of the many discoveries in writing this piece was that my grandmother was a church organist. This is how my grandfather met her. My mother, Moon Hie, the youngest of six children, grew up to be a soprano and sang in church when my sister, brother and I were growing up. I am especially grateful to Christine Kim, my beautiful and talented sister, who is playing this premiere performance on solo cello at the invitation of Music Director, Dr. Matthew Lewis. Unintentionally, this has become a deeply personal piece. My hope is that it might resonate with you in a personal way too, providing needed solace, strength, and peace - a respect for the fragility of life. My dear friend Joanne Cheung, who took on the task of translating this poem, found, in reaching out to her grandfather for guidance in translating, that he had fought in the Korean War. He currently resides in Los Angeles where my grandfather also lived.