Holliger, Ursula Holliger, and Francis Travis, later by Roswitha Staege and Hans Zender. Yun was invited to attend a festival of his music in South Korea in 1994, but the trip was broken off after internal and external conflicts. Yun was told by South Korean officials that to return, he would have to submit a written confession of “repentance,” which he refused. On 3 November 1995, Yun died of pneumonia in Berlin. The International Isang Yun Society was founded in Berlin in February 1996. Yun has often been criticized for his "pro-North Korean activities", i.e. musical activities in North Korea, and his close ties with the Kim Il-sung regime. Oh Kil-nam has said that Yun persuaded him to relocate to North Korea with his family. When Oh's wife Shin Suk-ja and her little daughters were imprisoned in Yodok camp, Yun helped them and took photos and a tape from North Korea to Berlin. Music Yun's primary musical concern was the fusion of traditional Korean music through Western avant garde musical techniques. After experimenting with 12-tone techniques Yun developed his own musical personality beginning in his post-serialistic "sound compositions" of the early 1960s. Yun's music employed techniques associated with traditional Korean music, such as glissandi, pizzicati, portamenti, vibrati, and above all a very rich vocabulary of ornaments. Essential is the presence of multiple-melodic lines, which Yun called "Haupttöne" ("central" or "main tones"). Yun's composition for symphonic forces started with "sound compositions", i.e. of works in which homogeneous sound planes are articulated and elaborated: Bara (1960) until Overture (1973; rev. 1974). A period of discursively structured instrumental concertos followed, beginning with the Concerto for Violoncello and Orchestra (1975–76) and climaxing with the Violin Concerto No. 1 (1981). From 1982 until 1987 he wrote a cycle of five symphonies, which are interrelated, yet varied structurally. Striving for freedom and peace is above all Symphony V for high baritone and large orchestra (1987) with texts by Nelly Sachs. In 1984, he developed also a new, intimate "tone" in his chamber music. At that time peace and reconciliation on the Korean Peninsula was his political goal. His lifelong concern with his native country and culture was expressed in several of his compositions, including the orchestral piece Exemplum in Memoriam Kwangju (1981) which he composed in memory of the Gwangju massacre, Naui Dang, Naui Minjokiyo! (My Land, My People) for soli, chorus and orchestra (South Korean