Opening Concert of MUSICACOUSTICA-BEIJING 2016

Time:20:00 26th Oct 2016

Place: Concert Hall, CCOM

 

1. Violin Power —For violin soloist and interactive digital media(2013/6’30’’/ China Premiere)

Composer: Mark Phillips (USA) , Violin: YI Jingming(China)

Violin Power is composed for solo violin and interactive media. The accompaniment consists of three main components: 1) many layers of granular synthesis of the opening few measures of the violin solo; 2) nearly continuous doublings, distortions, and filtering of the solo line that mimic those used by many rock guitarists; 3) percussive outbursts and bass tones created from processing noise-based samples (tapping on the instrument, bow scratching, etc.).

 

2. Flowing Sleeves —Interactive electronic Music for Kymy and eMotion system(2015/9’00’’/ China Premiere)

Composer:WANG Chi (China)

In Chinese Opera, Water Sleeves can be an essential part of different types of characters’ costumes. During performances, long flowing sleeves can be flicked and waved like water, to facilitate emotive body movements. My composition Flowing Sleeves is inspired by a Ci setting Pu Sa Man by Wen Ting Yun of Tang Dynasty that depicts the women’s ritual of preparation in dressing up and spiritual routine before the daily exposure to the public.

In Flowing Sleeves, the performer operates an eMotion Twist with the left hand and an eMotion Accelerate with the right hand. The chorographical movements as well as performative actions together shape the visual and musical experience in real time.

 

3. Proxima — For percussion and electroacoustic music(2016/9’00’’/World Premiere)

Composer: Marc Battier (France), Percussion: Thierry Miroglio (France)

In Proxima, for vibraphone, percussions and 4 channels, the electroacoustic sounds are like a far away cosmos. They shine and float around the percussions. The metallic sounds of the vibraphone, crotales, glockenspiel, gong and tam-tam vibrate and resonante in the physiscal world.

The vibraphone part is built around a set of chords, thus creating harmonic fields. The chords are interpolated and generate carpets of sounds, while the artificial sounds highlight and respond to the harmonic fields.

 

4.Havoc in heaven — For Clarinet and Electronic Music(2016/8’00’’/China Premiere)

Composer: Li Qiuxiao (China), Clarinet: Lv Shuqing (China)

The music structure is based on the original plot in play Journey to the west.

The story Havoc in heaven tells about how Monkey is born when a magic stone on the Mountain of Flowers and Fruit splits open, how he becomes the Handsome Monkey King,how he sails across the seas to learn great magical powers, and how he comes back home to deal with the demons who have taken over the Mountain of Flowers and Fruit.

I apply various music elements of Beijing opera in the whole music. The electronic section extensively uses percussion sound, which centers around drum sound to describe the drama scene of the Havoc in heaven.

 

5. BetweentheWords — Interactive realtime performance composition for Wacom tablet and Kyma(2016/14’00’’/China Premiere)

Composer: Jeffery Stolet(USA)

BetweentheWords is the gentle and quiet composition I have been trying create for the last six years. With the musical material taken from spoken Chinese texts, the musical meaning arises not from the meaning of the words, but from sounds of the words themselves. If a listener is able decode the sonic nuances and scrabbled words that are intelligible the secret messages of the composition will be revealed.

 

6. “Nuo Ri Lang”

Multimedia Symphony for 3 Multi-Groups Percussions, Digital Image and Electroacoustic Music1996-2016/ 20’00’’ / World premiere

Composition and Realization: Zhang Xiaofu

Image: Ma Ge, Zhao Junmeng, Zhang Chao (China)

Percussion: Thierry Miroglio (France), Yin Fei (China)

In Tibetan faith, Nuo Ri Lang is the title of the god of masculinity. The composer transformed the Tibetan cultural concepts into a specific kind of electroacoustic musical language that is characteristic of the utilization of “loop” (characteristic of Lamaism sutra chanting style) technique of different kinds of acoustic material. The loops and the spiral structure are highly symbolic of the cosmological outlook of “round” in Tibetan culture. In contrast to electoacoustic technique, the percussion instruments made out of bronze, leathern, wooden or stone material, are savage and primitive. The works explores the imagined dialogue between man and god.

Nuo Ri Lang was commissioned by the INA-GRM (France) in 1996 and world premiered with success in its “96 PRESENCES” in Paris. After twenty years, the composer rebuilt this music with three mixed percussion groups and electroacoustic music to expand the symphonic sound and space. These different percussion sets and exploration of contemporary performing technics depicted a virtual space of the dialog of human and gods.

The multimedia symphony Nuo Ri Lang was financially funded by National Arts Fundings 2016, the large scaled stage performaning arts category.

 

A Concert of David Fiuczynski MicroJam with Yazhi Guo

Guitar: David Fiuczynski, Bass: Aruthur Sadteler, Percussion: Ayinde Weber, Keyboard: Utar Artun, Suo na: Guo Yazhi

Time:19:30 27th Oct 2016

Place: Concert Hall, CCOM

 

  1. Looney Tunes, Dance of the Uirapuru, FLAM!, Q&A Solitaire, Oiseaux JDillique, Gagaku chord candy ( 2016/27‘00’’/Beijing Premiere)

Composer: David Fiuczynski (USA)

FLAM! Pan-Asian MicroJam – Homage à JDilla et Olivier Messiaen is a Guggenheim Fellowship composition where all melodies and resulting harmonies are based on microtonal bird song transcriptions. I would like to the audience to hear the actual bird songs that we use and see how this is interwoven into the music. Some sections are through composed, others improvised, some parts are free, others in time. There are many textures in this piece with East Asian, Indian and Turkish inflected melodies with a nod to Jazz Improvisation and hard grooves inspired by the Hip Hop producer extraordinaire JDilla.

 

  1. Drunken Longing ( 2016/8‘00’’/Beijing Premiere)

Chinese Traditional

“Drunken Longing” is based on sections from the Chinese traditional Gucin piece “The Drunkard” and the Ghuzeng piece “Longing for the mortal world”. The baseline is derived from “The Drunkard” and melodic fragments are used from “Longing for the Mortal World”. Some times I ask myself, why do I love these melodies? Although I have a varied background – African-American, German, a bit Native American, Polish, Hungarian….but definitely not Chinese. Maybe because the Gucin sounds a bit like the Blues? It can be haunting, longing and lonely, just like the Blues and the Guzheng melody has a majestic and royal character to it, but they both sound timeless, very old yet fresh and new, if that makes sense. The “Longing….” melody also caught my ear because the 4th and 7th degree of the scale are microtonal. Microtonality for us means using more than 12 notes per octave and I have tried to play this melody as accurately as possible and I have derived microtonal harmonies from this mode, you may hear some very strange chords emanating from stage, I hope you will enjoy them!

 

  1. Ying Hua (Sakura)(2016/6‘00’’/Beijing Premiere)

Composer: David Fiuczynski (USA)

Ying Hua has an unusual pentatonic scale. Its my attempt to show how my spirits are lifted when the cherry blossom season arrives every year in Spring.

 

  1. Golden Snake Dance and Da Zao(2016/5‘00’’/Beijing Premiere)

Composer: David Fiuczynski (USA)

Golden Snake Dance and Da Zao are traditional Chinese melodies where we will incorporate modern dance rhythms in a jazz/groove context. Yazhi Guo wants to incorporate more improvisation into Chinese traditional melodies and show them in a completely new light.

 

  1. Fung Wah Express(2016/8‘00’’/China Premiere)

Composer: David Fiuczynski (USA), Mike Rivard (USA)

Fung Wah Express is a funny composition about a bus company that used to operate between Boston and New York City. It was a budget bus that was always in the news for the wrong reasons: it would get into accidents, tip over, even catch fire!! You will hear this in the middle of the piece when wild microtonal harmonies and lines are improvised. So sit back, relax and enjoy the ride!! (You may want to put your seat belt on!!

 

  1. Sakalahachi(2016/6‘00’’/Beijing Premiere)

Composer: David Fiuczynski (USA)

Sakalahachi is a lyrical ballad based on a Japanese pentatonic scale.

 

 

  1. Arcadia Finlandis(2016/3‘00’’/China Premiere)

Composer: David Fiuczynski (USA)

Arcadia Finlandis is inspired by the land of 1000 lakes – Finland! The countryside is filled with lakes surrounded by moss covered rocks and Birch and Pine trees. Maybe you can imagine a serene afternoon where you relax and meditate and sip Pear spiked cider!!

 

  1. Almond Pear(2016/10‘00’’/Beijing Premiere)

Composer: David Fiuczynski (USA)

Almond Pear is a longer composition based only on a few motifs that keep re-occuring in different manners, the piece is based on a failed love song I tried to write a long time ago, when an Almond falls in love with a Pear. Not sure what else to say – haha!!  😉

 

  1. Yazhi’s Turkish Delight(2016/Beijing Premiere)

Composer: Utar Artun (USA)

Yazhi’s Turkish Delight is written by one of my microtonal microjam star students! – Utar Artun! who is now teaching at Berklee College of Music. The title is based on the sweets called “Turkish Delights” and Utar will feature Yazhi on this composition in new ways where you will Turkish flavors and overtones ring out in the music!

 

  1. Chinese GoGo(2016/7‘00’’/China Premiere)

Composer: Utar Artun (USA)

Chinese GoGo is my first attempt at mixing Chinese musical elements and funk rhythms. I tried to write a simple Chinese melody over a washington DC GoGo groove. I hope you’ll be inspired to get up and dance!

 

Les temps modernes Concert(France)

Director: Stéphane Marvy

Flute: Michel Lavignolle, Clarinet: Jean-Louis Bergerard, Violin: Claire Bernard, Cello: Florian Nauche, Piano: Emmanuelle Maggesi

 

Time:19:30 28th Oct 2016

Place: Concert Hall, CCOM

 

  1. Ricercare —Pour flûte and électronique(1984/7’00’’/China Premiere)

Composer: Jonathan Harvey (USA)

Written for trumpeter Jonathan Impett, Ricercare una Melodia is a beautiful and interesting composition that takes advantage of tape delay technology to expand the voice of the trumpet far beyond its usual limits.  It begins by using a delay of three seconds between two four-track tape recorders (one to record the solo trumpet and one to play it back) to transform a solo trumpet melody into a five-part canon, eventually using the half-speed function of the tape system to expand the canon by progressive augmentation at the interval of an octave.  This technique creates a wide range of textures and colours, especially as the half-speed setting gradually deepens and broadens the trumpets voice, transposing it far beyond the trumpet’s lowest registers.

In addition to its setting for trumpet, Ricercare una Melodia exists in versions for flute, oboe, cello, and trombone, and each of these versions is published by Faber Music.

 

  1. Les treize couleurs du soleil couchant —For flûte, clarinet, violin, Cello and piano – with electronics(1978/12’30’’/ China Premiere)

Composer: Tristan Murail (France)

This work for flute, clarinet, piano, violin and cello, written to a commission from the Goethe-Institut in Paris, is one of the composer’s most frequently performed and the earliest realization of live electronics. For the first time in his production of the 1970s, Murail inaugurates the technique of ring modulation in an electroacoustic situation, optional for public performance. The work’s form can be deduced from the 13 generating intervals played by the flute and clarinet. The modulator calculates the additional and differential frequencies and enriches the sounds played by the strings. The objective of the modulation is to create shadows in certain transitional passages between sections, often announcing or doubling the sounds played by the strings in those same places.

After an introductory sequence around the frequency E, the polar but fluctuating note, the entrance of the piano marks the first colour on E flat. Murail offers us variations of light with relations of one colour to the next by harmonic drift. He explains his process as follows: “Starting from medium brightness in the first sections, the timbre progresses towards a reverberating light marked by a very tight interval in the upper range (6th colour), to arrive at a dusk that, at the very end, sounds like a knell.” With his series of paintings of the same subject at different times of the day (haystacks, poplars, cathedrals), Claude Monet attempted to measure the degrees of light and tints. Murail, in an analogous process, through the repetition of the same musical object within each section, transports the listener from one round colour to another through thirteen successive shades, going from dim to brilliant, pure to saturated, from incandescent bursts to the progressive removal of light intensity.

 

  1. Jardin Zen —Pour clarinette et électronique(1999/10’30’’/ China Premiere)

Composer: Allain Gaussin (France)

Every morning, tirelessly, the Buddhist monks Zen, with their wooden rakes in their gravel garden, draw enigmatic geometric lines, different each time. The few very big stones (sometimes rocks) selected and placed from the beginning here or there, in an equally enigmatic and symbolic way, are for their part immutable.

Facing these gardens and during long hours, the monks meditate on emptiness, between what is fixed and what is changing, to search life’s essence itself and attempt to reach the Satori (the supreme enlightenment).

The work is divided in five parts: Selflessness – The Unanswered Question – Tense meditation – Tearing away from one’s body – The spirit of light.

JARDIN ZEN is dedicated to Gérard GRISEY

 

  1. Five interstellar illusions — for Flute, Clarinet, Violin, Cello, Piano and Electronics(2016/10’00’’/ China Premiere)

Composer: Zhang Xiaofu(China)

Inspired by Song Dynasty poet Su Tungpo’s meditation on seeing snow-covered footprints on the mud, incidentally left by a passing wild swan. The fantastic images of the interstellar space so beautiful and stunning, are comparable to the footprints of the wild swan, easily overlooked, shedding fugitive light from eternal unknown darkness.

The mysterious universe and the enormous space of cosmos inspired the composer to dictate his imagination with electroacoustic music.

Five interstellar illusions explore the sparkling moments of the universe and create many different soundscapes with five different musical languages between instruments and electroacoustic music. The new combination of these sounds builds and explores a fresh beauty of sound and space.

 

  1. Série Blanche et Série noire—For piano and electronic(2007/7’00’’/ China Premiere)

Composer: Pierre Jodlowski (France)

Série blanche” belongs to the “series” cycle devoted to piano works. This cycle which started with ” Série noire” in 2005 was commissioned by the Orléans International Piano Competition.

In this cycle, each colour provides an opportunity to investigate a particular link of music with image. The latter may be cinematographic or mental ; it is a reference space, the writing starting point.

This project based on a cumulative writing principle develops the feeling of a meaningless,rather mechanical world. It might be considered as a possible transcription of “Un Roi Sans Divertissement “, a novel by Jean Giono that was published at the end of The Second World War. In this book and its film adaptation by François Leterrier, absurdity and violence are the result of man boredom.

There are pictures of white snow-covered landscapes around a grey village with its black figures . Red is added to this colour range only when blood is shed as if it were the only possible way of solving an absurd situation. Music, therefore, is characterized by an apparent nonchalance, by a sort of very simple sweetness, but the layers stack on, every recorded sign  (ou mark ?) remaining and weaving the line of a crescendo that ends in excess. As Albert Camus did in “L’Etranger “, Giono wrote this book to say the people’s lack of understanding when concentration camps were discovered.

 

 

  1. Ka III —Pour flûte, clarinette, violon et violoncelle + électronique(2002/11’00’’/ China Premiere)

Composer: Luis Naon (France)

The very first version of Ka was written for clarinet, horn, violin, cello, percussion and two synthesizers in real time. This new version, the third, is a transcription for flutes, clarinet, violin and cello. The percussion and the synthesizers have been reorganized in fixed electronic sequences. The four acoustic instruments are processed in real time. In the original version the five acoustic instruments were amplified, in this new version the treatments are in precise relation with a time line and evolved all over the 5 parts of the piece, they are a kind of smal orchestra in a strength relationship with the electronic part.

This “translation” of the original piece was realized for the ensemble Diagonal and supported by the Mixtur Festival of Barcelone where the pièce was premiered in April 2015.

The “Ka” is a sort of double in the ancient Egypt culture. The “Ka” is related to the power of creation and the divinity, but also the forces of conservation which preserves the universal order. There are Five different “musical” poems.

There is not a narrative point of view. The rhythm and the metrical organization are here the image of grammatical approach near the poetry. The goal is to reinforce the emotion in the first level with a large palette of musical metaphors.

The number five is here very important. Five Poems. The 5 organizes and summarizes by nature. For the Maya, it represents the god of corn, which was not without importance, and for ancient Japanese culture were five former orients: Earth, water, fire, air and space.

These five poems can be “opened” using a key word :

The body

The breath

The battle

The vibration

The depths of contrasts

 

 

 

Proxima Centauri Concert(France)

Sax: Marie-Bernadette Charrier. Flute: Sylvain Millepied, Piano: Hilomi Sakaguchi, Percussion: Clément Fauconnet,

Electronic music: Christophe Havel

 

Time:20:00 29th Oct 2016

Place: Concert Hall, CCOM

 

  1. Artificiel —Pour flûte, saxophone, percussion et électronique(2001/6’00’’/China Premiere)

Composer: Thierry Alla (France)

Like in Fireworks of Haendel or Feux d’artifice of Debussy, I wanted to retranscribe a festive atmosphere in Artificiel. In the pyrotechnical spectacles, it is at the same time the sight but also the ear which is requested at the time of the settings with fire. In this part, they are thus sounds without lights, projected in a space electroacoustic. The sound environment reproduces the sounds of downward rockets, the violence of the detonations, the effects of surprise. The title also refers to the «artifices» of electronics ; the acoustic sounds are subjected to transformations generated by two boxes of effect. The unit amalgamates with a tape electroacoustic offering of the prolongations to the instrumental writing.

 

  1. Versus — Flûte, saxophone baryton, piano, vibraphone et électroacoustique(2015/15’00’’/ China Premiere)

Composer: Gilles Racot (France)

The duality and the confrontation is expressed in the title to be associated with different textures superimposed or articulated piece moments. The face to face opposite musical register, especially the flute and the baritone saxophone, associated with verticals and fluidity of the keyboards (piano and vibraphone).

The opposition also refers to multiple resistance which often opposes the creator and his work in progress …

  1. XX —Pour saxophone soprano, piano et dispositif électroacoustique(2010/11’00’’/ China Premiere)

Composer: Christophe Havel (France)

XX weaves a network of cross-links between the saxophon and the piano based on the idiomatic gestures of each instrument, which inspires the game of tensions. Thus, everything is played into the interstice which connects the specificities of each one, in the singularities which separate them, in the distance which bring them together.

 

  1. Hawking Radiation — For percussion and electronics(2016/9’00’’/ China Premiere)

Composer: Michael Edward EDGERTON (USA)

Forty-two years ago, Stephen Hawking made predictions that radiation does escape from black holes. Known as “Hawking radiation” this phenomenon is too weak to observe with current techniques, and remained the “Holy Grail” for astrophysics. It has remained as such until recently when Prof. Steinhauer observed radiation emanating from an analogue black hole created in his lab at the Israel Institute of Technology.

Steinhauer’s findings, published in Nature Physics, describe the first observation of thermal, quantum radiation emanating from an analogue black hole. He found that pairs of phonons (particles of sound), appear spontaneously at the event horizon of the black hole. One of the phonons travels away from the void as Hawking radiation, while the other falls back in. The pair shares a spectral connection, referred to as ‘entanglement’, that allow for the detection of Hawking radiation.

It is those properties that my composition will partially model.

 

  1. Erhu-Flute — six movements for flute and two or four-speaker audio(2011/9’00’’)

Composer: Anthony de ritis (France)

Erhu-Flute, six movements for flute and two or four-speaker audio was composed while I was a Senior Fulbright Research Scholar in residence at the Central Conservatory of Music (CCOM) in Beijing, Fall 2011. It was first performed at CCOM on September 17, 2011, by Orlando Cela, flute, and reprised at YuGong YiShan (in Beijing) on October 30, 2011.

The work consists of six short movements for solo flute and electronic music accompaniment. The accompanying sounds are all derived from erhu sounds that were manipulated in various ways, such as reversed, transposed, chopped into small parts, and time stretched. Before the flute part was created, each movement was “sketched” as a free standing electroacoustic piece, which, in turn, served as the basis for deriving the flute part. That is, the entire score of the flute was generated via selections from transcriptions of the original electroacoustic sketch.

In live performance, the flutist listens to a click track which aids in keeping the solo in sync with the accompanying electronic music.

 

  1. Musique de tables — Pour trois percussionnistes(1987/8’00’’/ Beijing Premiere)

Composer: Thierry De Mey (France)

Musique de tables is based on a work of the same name, composed for three musicians who each use a little table as their musical instrument. The diversity of tones is produced by striking the tables in different ways. The position of fingers and hands, the rhythmic figures are coded in a repertoire of original symbols introduced into the score.  The idea of Musique de tables is to trace the link between the music and the gesture that produces the sound, and to pinpoint the demarcation line between dance and music: the visual and choreographic aspects are on the same plane of importance as the tones and the musicality of the performances.

 

  1. City of Dis — flûte, saxophone, piano, percussion et électronique(2016/8’00’’/ World Premiere)

Composer: Benoit Granier (France)

they had their faces twisted toward their haunches
and found it necessary to walk backward,
because they could not see ahead of them.
… and since he wanted so to see ahead,
he looks behind and walks a backward path …

 

Dante divine comedy’s City of Dis, is a composition that is part of the cycle of pieces based on Dante Devine comedy (hell, Purgatory and heaven). This first cycle (hell) is comprised of two set of 9 pieces plus one prelude (it follows the structure of the three realms which follows a common numerical pattern of 9 plus 1). The second piece s to be played at the same time in France and is written for large ensemble. It depicts Dante’s travel through inferno and its 9 circles of hell, until he and his guide Virgil reach the City of Dis

 

 

A Ferry Tale: An Interactive Musical Theatre for Folk Singers, Computer and 3D Projection

Time:11:00 30th Oct 2016

Place: Concert Hall, CCOM

 

A Ferry Tale: An Interactive Musical Theatre for Folk Singers, Computer and 3D Projection(2016/40’00’’/ China Premiere)

Book, lyrics and music composition: Ping JIN(China/USA)

Graphic programming and computer operation: MA Shihua (China)

Audio programming and computer operation: WANG Xinyu (China)

Performance: WANG Xin (China), LI Dongsheng (China), CAI Jianxing (China)

 

Three strangers met at a ferry: a young girl who needed to make a pilgrimage at a Buddhist temple across the river urgently; a woodcutter who was looking for a rare herb to sell to prove his value; an elderly ferryman who was trying to restore his lost power through taking people across the river. The choices of the characters showed human drama of desire, salvation and selfless devotion. A Ferry Tale combines elements of folk theatre, folk song, computer music and new media arts. It is an exploration of new media arts in the fields of musical theatre.

 

 

Closing Concert of MUSICACOUSTICA-BEIJING 2016

Time:20:10 30th Oct 2016

Place: Concert Hall, CCOM

 

【Shennongjia in Ink Paintings】: Wuhan Conservatory Concert

 

  1. Solo choir —For voice and electronic (2016/7’00’’/ World Premiere)

Composer: Xiasun huimei (China), Voice: Lao Yuanyuan

Solo Choir, for voice and electronic. This piece aims to expand the range, volume, and timbre of the voice, through manipulating live and pre-recorded voice, and exploring the variety of possibilities on voice. The singer gradually discover the sound in the show, and try to control her new voice.

 

  1. Changing —For chinese percussion and electronic music (2016/6’30’’/ World Premiere)

Composer: Du Xiaohu (China) , Percussion: Wang Yunming

The track is featured by Chinese ethnic percussive music and compiled through electronic means. In this way, its composer tries to enable audiences to feel a brand new musical expression combining traditional Chinese musical instruments and modern technology.

The only thing that keeps unchanged in this world is “change” itself. The track is dedicated to giving expression to “change” in various aspects, namely, sound material, composition structure, rhythm and time as well as pitch of musical instruments. It aims to present a sensation of uncertainty and instability to its audiences by incessant changes. Meanwhile, it is also an embodiment of its composer’s reflections on this changeable world.

 

 

  1. Listening to the wind in the dead of night —For xiao and live electronic music(2016/6’11’’/ World Premiere)

Composer: Li Yunpeng (China), Xiao: Xu Peng

The Xiao is an ancient Chinese traditional instrument. The sound of the instrument contains air sound, hitting sound and another mixed sound. The work Listening to the wind in the dead of night is based on these sound materials. Meanwhile, the composer had tried to use live electronic music technology on Integra Live and made the exaggerated sound. He hopes it will make you feel that the wind is invisible, but can change the world.

 

  1. Qin —For Yangqin and 8 channels live electronics(2016/7’00’’/ World Premiere)

Composer: Leng Censong(China), Yangqin: Xie Jun

To use pitch processing of the Spectral music and through the computer modulation of Simple wave according to the harmonic series sampled of instrument, and combined it with the deformation of sampling waveform of Nation music Instrument, it tried to express the individual specific imagination, as well as a new acoustics realm of combination an artificial one with natural one.

 

  1. Shen Nong Jia in Ink Painting —For Bass Bamboo flute and live Electronic Music(2016/7’48’‘/World Premiere)

Composer & computer sound processing: Li Pengyun, Bamboo Flute: Zhou Keqi

Shennongjia is located in the west of Hubei Province. As a legend goes, once upon a time, Emperor Shennong, the earliest ancestor of Chinese people, made a ladder there to pick a great number of herbs, taste them and use them in treating people’s illness. Afterwards, he taught people how to plant and harvest. Thus the place was named after him.

In2014, invited by my good friend Mr Liu Ye, I went on a travel in Shennongjia, where I was entranced by the miraculous scenes. Later, after watching the video filmed by Mr Jiang Yong who risked his life filming it, I filled with admiration for the unique temperament contained in it. Instantly, I conjured up the “breath sound”  of bass flute with which flute performer Mr Zhou Keqi was playing my work “Breath Like Lily” many years ago. It sounded not only like the breathing and heart beating of all things on earth, but also like the rhythm of life. I could see the flowing ink-painting-like Shennongjia appearing vividly on my painting paper.

 

【Samsara】: EMAC Concert

 

  1. Qing Lan— For Guzheng and Electronics(2015/10’06’‘/World Premiere)

Composer: ZHAO Yixuan(China), Guzheng: YANGZHANG Handan(China)

The whole melody is composed of the sample timbre and the electronic timbre of Guzheng. The switching of real and virtual scenes illusion reflects the contrast between the two themes. Meanwhile, the integration of the two themes further highlighted the mystery and the rapid change of Qing Lan. The soundsare reassembled with electronic music techniques. This melody attempts to describe the scene by using the virtuality and reality combination method, that the mist wanders far and near suddenly, extends for miles, blots out the sun by concentration, and disperses with wind among the mountains in the early morning.

 

  1. Form、Idea、Image II — For Xiao and Interactive Electronics on Max/MSP (2014/8’40’‘/World Premiere)

Composer: ZENG Yuzhong (China/Taiwan), Xiao: XIONG Xiaohan

Form, Idea, Image ii , the 2nd piece of sereies of Form, Idea, Image, was composed for xiao and Interactive Electronic Music.

The main of the work is to explore new timbral morphologies of xiao and new gestures of xiao, and to create new vision of xiao performance through the employments of modern digital technology,based on mainly the music program Max/MSP.

The work was commissioned by Shaunhi Music Forum ,and received its premierre by Ding-Hau Wang in 2014

 

  1. QIANTANG — for KYMA and solo violin(2016/5’00’’/ China Premiere)

Composer:WANG Chunming (China), Performer:WANG Chunming (China), WU Luning (China)

Qiantang River is a river in China, its tidal magnificent, this work attempts to use electronic music language to express the Qiantang tide thrilling.This work uses the KYMA system and the violin to carry on the creation performance, uses the scene to interact the way.

  1. Fisherman·Sea— For Pipa and Electronics(2016/9’00’’/ China Premiere)

Composer:YANG Kai (China), Pipa: WU Xuerui

Inspired by Hemingway’s The Old Man and the Sea, the composer tries to describe the vastness and deepness of the sea, as well as the intense scene of the fisherman against the marine by combining Pipa with modern electronic music.

 

  1. Water Dropping into a river — For piano and tape(2016/8’13’‘/China Premiere)

Composer:XIE Dier (China), Piano: XIE Dier (China)

‘Water Dropping into a river ’ is composed for piano and electronic music. This piece of music consists of three parts with different characteristics of sound. The first part, using point pattern of the sound with a toccata rhythm, imitates water drops. The second part is written by the technique of polyphony from plural line-form sounds and melodies. The third part is created with a concept of additive about harmonics, and the frequencies range expand, the direction becomes wider –in order to depict a scene that a river is formed from drops.

 

  1. Samsara—For Multiple acoustic stringed GuZheng and Electronic Sound(2013/11’48’‘/World Premiere)

Composer: JIANGZHE Guangyi (China), Guzheng: GAO Yang (China)

Legend has it that six would become the reincarnation of the road. Buddhism holds that any person who observe the five precepts, six persons. On top of the five precepts, plus ten good, alive to heaven.

This piece is for the right side seven(heptachord) and the left side pentatonic’s multiple acoustic stringed GuZheng with electronic music. Whole song consists of three parts, representing samsara say conceived, struggles and sublimation.

The piece by using multiple acoustic stringed GuZheng’s timbre, tonality, and the left and right side of Ku variability of non-music areas, compatible with modern sound distortion technology combined with each other, the composer tried to use the  vocabulary with music illustrates the flow of procedures.

 

  1. Cinemagic—Interactive Audiovisual Performance(2016/8’30’‘/China Premiere)

Composer/Video Design: MA Shihua (China), Performance: MA Shihua (China)

After film has become a common art form, watching film can be considered recreational fun, which is also very familiar to public. But in the early 20th century, when motion pictures started to develop, cinema just appearance, it was a magical experience watching films in a certain space. Cinemagic is the imagination and reduction of the experience that people anticipated different outcomes throughout the process. The work was composed with Ableton Live and Max, using film clips and sound clips from 1930s-1940s as video materials and sound respectively. With the method of parameter mapping for audio and video linkage section, it constitutes a link of the development between them.

 

  1. General’s Order II-For Dizi, Chinese Drum, Piano and Electroacoustic music(2016/6’10’’/ World Premiere)

Composer/Piano: Wang Xihao (China), Di Zi: Liu Xiaolong (China), Percussion: Bai Kai (China)

Inspired by the Chinese archaic music “Jiang Jun Ling (General’s Order)”, the theme melody presents solemnity and infuriation. In respecting to the essential factors, composer rearranged the original piece, blending some melancholy and euphemistic colors to portray another image of the General’s inner world of homesickness. The whole piece are divided into 5 sections.

With the combination to the traditional Chinese instruments, the composer tried to explore an equilibrium point of new folk music between abstract and concrete.