World Premiere: October 8, 2006 by
National Taiwan Symphony Orchestra conducted by Amy Chang. Marimba Soloist:
Chia-hsin Dai
Commissioned by the National Taiwan Symphony Orchestra, this concerto
consists of three movements and was completed in August 2006 in Taipei
City. In 2005 and 2006, Chung composed two marimba concertos. The Concerto
No. 1 is for solo marimba and wind ensemble and was served as the compulsory
work of a marimba competition presented by the Taiwan Band Assoication. It
requires high skills, especially in the fugue at the end of the second
movement. Concerto No. 2 is not as difficult as No. 1 and is for soloists
of college level. The composer always associates floods and forests with
the Taiwanese indigenous people. Therefore, the flowing sixteenth-note
figure is the main element of the first and third movements. One always
associates forests with wood. As a result, the beautiful marimba sound and
string pizzicato sound become the core tone color of this concerto. The
second movement is the composer’s response to the beautiful singing voices
and songs of the indigenous people.
Orchestral SuiteEchoes in Mountain
Valleys
World Premiere: October 8, 2006 by
National Taiwan Symphony Orchestra conducted by Amy Chang
This work was also commissioned by
National Taiwan Symphony Orchestra and was completed in September 2006 in
Taipei City. The work is based on many indigenous people’s songs in five
movements:
1. Sun Shooting
According to ancient Atayal tribal legend,
there were two suns making people unable to live in peace. This movement
illustrates that there were three brave warriors volunteering to shoot down
one sun in order to prevent the tribe from extinction.
2. Nursery Rhymes
This movement consists of two sections.
The essence of the first one is the lively Bunun children song Who Is
Shooting the Gun in the Mountain? The second sections is based on
several nursery rhymes.
3. Floods
The most well known legend about the
origin of the Taiwanese indigenous people is the flood legend of Atayal
Tribe. This is the only movement without any indigenous people’s songs as
basic material.
4.
Ritual Dance
With the introduction based on the Song
of Praying for Millet Harvest of Bunun Tribe, this movement is a lively
two-beat joyous dance based on the Song of Happiness and Dance
Song of Harvest Year Rite of Amis Tribe. Finally, the brass section
plays Chu Cao Song of Tsou Tribe as the transition to the next
movement.
5. Tsou Tribe Triumphant Song
Upon the continuous eighth-note march
figure played by the piano, timpani and low strings, the composer develops
this grand and intense finale by using several war songs’ motives of Tsou
Tribe.
For Eva
Concerto for Guitar and String Orchestra
RealAudio demo
World Premiere: October 19, 2004 at
the Melina Mercury Cultural Center, with the Athens State Orchestra conducted by
Costis Papazoglou. Guitar Soloist: Eva Fampas
For Eva
Concerto for Guitar and String Orchestra was commissioned by and dedicated
to the renowned Greek guitar soloist Eva Fampas. The first performance was
given by Eva Fampas on guitar and the Athens State Orchestra conducted by
Costis Papazoglou at the Melina Mercury, Athens Cultural Center, on October
19, 2004.
This concerto consists of three movements and they are linked together by a
germinal motivic cell E-A-F-E which is derived from the soloist’s name “EvA
Fampas.” Both the first and third movements are bipartite
and opened with a virtuosic cadenza which can be treated like an
improvisation in ancient Eastern folkloric style with free, but not
arbitrary, manner recalling ritual chant. These two “sacred” and spiritual
cadenzas are followed by “secular” sections with graceful melodies and
lively rhythms. The nocturnal second movement is indeed a contemplative
interlude. The solo part is almost continuous, requires a formidable
technique, and encompasses a wide variety of clearly defined moods. Although
this concerto is rooted in the native Chinese cultures, the composer does
not attempt to transfer the Chinese traditional plucked-string instruments
such as Pipa’s and Ruan’s techniques and sonorities to the guitar, but
rather keeps the modern guitar’s nuance, colour, and idiomatic technical
styles. For Eva is a synthesis of Eastern and Western cultures;
however, such synthesis is built upon Chinese folk music language to expand
the technical and musical horizons of modern guitar. Instead of creating
musical tension by letting two cultural forces struggle with one another,
the composer strives for the beauty of their co-existence in harmony.
Taiwan Panorama
for Orchestra
RealAudio demo
Concerto for Timpani and String
Orchestra
RealAudio demo
Under
the Red Eaves for
Orchestra
To play its
RealAudio demo, click the right button
World Premiere: May 14, 1997 at
the Shanghai Concert Hall. Shanghai Symphony Orchestra conducted by
Yousheng Lin
Hugo
Music, like the
complex universe, is a well-coordinated whole. The beauty of myriad things
lies in their movements of change caused by the systematic yin-yang
interaction, not in things in their state of being. A masterpiece should
be created in accordance with the Law of Nature and be able to reproduce
the complex universe in miniature by reflecting the interacting flow of
yang and yin through space or time. To further elaborated these yin-yang
musical concepts, I invented the I-Ching Compositional System (ICCS) based
upon the Western set theory and prolongational theory in 1995. Completed
in 1996 and world premiered by the Shanghai Symphony Orchestra, Under
the Red Eaves is one of the most important musical outputs after the
invention of ICCS. Expressed at the outset of the composition, two yang
set classes 3-3 (014) and 4-9 (0167) represented by the strings, brasses,
and metal percussion instruments; and two yin set classes, 3-7 (027) and
4-23 (0257) represented by woodwinds and wooden percussion instruments,
served as the yin-yang primordial musical cells. The procedure of their
further interaction and development throughout the piece is guides by my
own musical explanation of the orderly sequence of the sixty-four
hexagrams in I-Ching.
Festive
Celebration
for Orchestra
RealAudio demo
World Premiere: December 8, 1993
at the National Concert Hall, Taipei. Taipei Municipal Symphony
Orchestra conducted by Lien-chang Kuo
Festive
Celebration was originally written for
nine percussionists. It was revised and orchestrated for wind
orchestra in 1992 and for symphony orchestra in 1993. This piece consists
of four distinctive continuous sections. The first is a solemn
introduction followed by a majestic fanfare. The second is a ritual canon
with accumulation of layers and instruments; its tempo is slow and
harmonic vocabulary is pentatonic. The third is a vigorous ceremonial
dance and is followed by the fourth section, a cadenza for the percussion
section based upon traditional Chinese drumming patterns. Festive
Celebration (wind orchestra version) was included in the 1995 and 1997
WASBE concert CD sets.
Swelling
Cloud, Drifting Mist Upon Rivers Xiao Xiang for
Solo Cello and Orchestra
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RealAudio demo, click the right button
World Premiere: September 20,
1998 at the National Concert Hall, Taipei. National Symphony
Orchestra conducted by I-ming Hwang. Cello soloist: Yi-ching Cheng
Completed in Taipei,
April 1998, Swelling Cloud, Drifting Mist upon River Xiao and Xiang
is based on melodic fragments taken out from famous Chinese Qin classics
of the same title. Having been introduced at the outset of the
composition, the melodic fragments gradually unfold independently into
various cantinas on different planes by means of integration of myriad
things in the phenomenal world. The contrast between solid and void
timbres, the main characteristic of Qin playing, is preserved in
the orchestration. This composition is the universe in miniature: music is
the microcosm, Nature the macrocosm. Like the Qin original, this
orchestral counterpart is the meditation about nature and man, life and
death, success and failure.
Symphonie
Concertante for Orchestra in 5 Groups Po Zhen Yue
not yet publicly performed
Based on the
performance practice of the court music in Tang Dynasty, the orchestra is
divided into 5 groups. The 1st and the 2nd are made up of string
instruments and percussion and placed at the left and right sides of the
stage. The 3rd consists of wind instruments and percussion and
is placed at the rear of the stage. The 4th consists of only brass
instruments and is placed at the balcony. The 5th group consists of 5
soloists, namely Eb clarinet, English horn, tenor saxophone, trombone, and
percussion, placed in the middle of the stage.
In
a Faraway Garden II
for Solo Violin
and Orchestra
RealAudio demo
Based on a mountain
song A Little Stream from the Yunnan Province of Mainland China, In
A Faraway Garden II is a concertante for violin and orchestra. The
rhapsodic and improvisatory characteristics of the folklore original are
preserved in the solo violin line. The first four notes of the
original mountain song A-C-D-E, stated by the orchestra at the outset,
served as the germinal motivic cell and fragments of the original mountain
song melody are scattered over the span of the entire work. Although
the solo part is not virtuosic as in the traditional concerto, its
reflectiveness establishes the fundamental tone of an exquisite soundscape.
The orchestration is light and transparent, with little risk of the solo
violin's part being overpowered by the orchestral
accompaniment.
Concertino
for Piano and Orchestra
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RealAudio demo, click the right button
World Premiere: December 20, 1999
at the Chiang Kai-Shek Cultural Center, Kao Hsiung. National
Taiwan Symphony
Orchestra conducted by Ching-hsiung Chen. Piano soloist: Cheng Ching
Over the last
two years I have been concentrating on writing single-movement works for solo
instrument and orchestra. These works can be seen as my reassessment
of certain aspects of the European concerto tradition and my personal
response to traditional Chinese music aesthetics. Concertino for
Piano and Orchestra was completed in May 1999. This 12-minute
work is written in one-movement form and comprised of two sections
separated by a cadenza. I try to explore a new and subtle
relationships in timbre between the soloist and the orchestra in the
meditative first section. In the second half, the harsh, hammering aspects
of Ligeti's piano style predominate in a quest for violent sonorities and
constant propelling energy. In this concertino, the thematic materials
presents a clearly recognizable profile and modes of expression
are akin to romantic models.