April
Is The Cruellest Month for Solo Percussionist
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RealAudio demo, click the right button
World Premiere: November 15, 2000
at the National Concert Hall, Recital Hall, Taipei. Percussion:
Jer-huei Chen
Based on the first
section The Burial of the Dead of the famous poem The Waste Land
by T.S. Eliot, April is the Cruellest Month for Solo Percussionist
is the first piece of The Waste Land cycle and was completed in
September 2000. I started to write the cycle, which consists of 5 pieces
corresponding to the 5 sections of the poem, in 1998; all of them are
written for percussion instruments. The third piece Phlebas’Undersea
Journey for Solo Marimba and 3 Percussionists and the fourth piece The
Fire Sermon for 3 Percussionists was completed in 1998, and the last
piece What The Thunder Said for 6 Percussionists in 1999. The
second piece The Game of Chess for 2 percussionists will be
completed in 2001. April is the Cruellest Month comprises 12
sections representing the 12 months, as well as a prologue and epilogue.
Except in the prologue and epilogue, the soloist may start either from
January, April, July, or October and complete all 12 sections in
chronological order. In this piece, I select a limited choice of
percussion instruments that based around rattles, membrane, wood, and
metal. All instruments are arranged in a closed circle based on their
materials and their attack and decay characteristics. The soloist moves in
a circle clockwise while performing; therefore, this piece is indeed a
process of timbral and rhythmic transformation.
Victoria
for Solo Tenor Saxophone
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RealAudio demo, click the right button
World Premiere: March 28, 1998 at
the North American Saxophone Alliance 1998 Biennial Conference.
Saxophone soloist: Shyen Lee
Completed in
February 1998, seven months after China's exercise of sovereignty over
Hong Kong, Victoria was written for Shyen Lee and was first
performed at the North American Saxophone Alliance Biennial Conference in
March 1998 at Northwestern University. The piece begins with an
introduction in the manner of music theatre in which the soloist utters
phonetic texts and the saxophone is treated like an ancient percussion
instrument. After the introduction, the developmental process of Victoria
runs from forceful melodic patterns established on some focal pitches,
through brilliant rhythmic passages in extreme registers featuring large
intervallic leaps, to short lamenting expressive transitions and a violent
coda characterized also by focal pitches and soloist's recitation. The
text recited in the coda is extracted from the preamble of the Basic Law
of the Hong Kong Special Administrative Region of the People's Republic of
China.
Peach
Blossoms after the Rain for Piano
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RealAudio demo, click the right button
World Premiere: March 31, 1998 at
the National Concert Hall, Recital Hall, Taipei. Piano
soloist: Hui-eing Lin
By
the Willows and Poplars; Morning Breeze, Waning Moon for Vibraphone
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RealAudio demo, click the right button
World Premiere: March 31, 1998 at
the National Concert Hall, Recital Hall, Taipei. Vibraphone
soloist: Chia-pin Lin
In
a Faraway Garden for Violin and Piano
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RealAudio demo, click the right button
World Premiere: March 31, 1998 at
the National Concert Hall, Recital Hall, Taipei. Violin: Ting-yu Wu,
Piano: Hui-eing Lin
Flower Drum Song for
Solo Violin
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World Premiere: June 17, 1995 at
the National Concert Hall, Recital Hall, Taipei. Violin: Wei-ming
Huang
The process of
composing means reproducing the complex universe in miniature by
reflecting the interacting flow of yang and yin through time. Written in
1992, one year the invention of the above-mentioned system, this
composition exhibits a structure created in accordance with the Yin-yang
doctrine and the Law of Cyclic Interaction. The piece contains sixty-four
sections and each represents a stage of yin-yang interaction. Two primal
musical ideas, yang (014) trichord and yin (025) trichord, are stated at
the outset and the entire composition is in the physical representation of
the interaction and constant transformation of these principal musical
cells. In the central section the influence of the traditional Chinese
drumming music is inescapable. Subtle predetermined arrangements of
articulation, timbre, and rhythm in the original music have been closely
followed and magnified to a more perceptible level. The beauty of this
piece lies in the expert way in which the composer not only draws
inspiration from the tensions between the Chinese and Western musical
languages but also reconciles those tensions.