For percussion ensemble, piano and string orchestra 為敲擊, 鋼琴和弦樂團而作
Commissioned by Hong Kong Chordophonia 香港弦人
12 min.
Instrumentation: perc-pft-strings
World premiere: Hong Kong Chordophonia; La Salle College Old Boys Percussion Ensemble; David Lee, piano; Johnson Leung, conductor, 3 August 2019, Hong Kong City Hall Theatre, HK
世界首演: 香港弦人; 喇沙書院舊生敲擊樂團; 李嘉典, 鋼琴; 梁學翹, 指揮, 2019年8月3日, 香港大會堂劇院, 香港
Programme note
Located in the southwest side of Europe, the Iberian Peninsula, also known as Iberia, is mostly divided into Spain’s and Portugal’s territories. It also includes areas of Andorra, France, and the British overseas territory of Gibraltar. Due to the regime changes by different rulers from different nations, the Peninsula has undergone rich cultural interchanges for years. Therefore, its musical style was influenced by cultures from areas of the Mediterranean Sea and across Europe.
Iberian Rhapsody is a piece written for percussion ensemble, string orchestra and piano. My inspiration came from the traditional music and dances popularised in the Iberian Peninsula throughout centuries. To create a “carnival” soundscape, I attempted to incorporate my musical style and contemporary compositional techniques with the traditional rhythms and sonorities of Iberian music and dances.
To offer a whole new experience for the audience, two main components of orchestration — the percussion ensemble and the string orchestra, sometimes take their soli, sometimes play harmoniously, as if they are voicing against each other. The percussion ensemble mostly takes the leading role of the  “carnival” by having solo lines and setting up the pulses and tempi. One of the features of the piece is that I treated all five principals of the string orchestra as “carnival” soloists, as well as the leaders of their respective sections. These five players enjoy their colourful and virtuosic soli, while interacting cordially in the form of a chamber ensemble (quintet) at the same time.
Moreover, I explored the possibilities of merging traditional and contemporary musical soundscapes. For example, I adopted some extended performance techniques such as “play behind the bridge” and some non-instrumental sound effects like hand clapping and feet stomping.
Hola, es la hora del Carnaval, deso que lo disfruten!


此外,作曲人尋求揉合傳統與當代音色處理方法的可能,同時採用現代演奏技巧,例如 “play behind the bridge" (現代聲音表達手法之一,意指在琴碼後用弓拉奏弦線,發出不一樣聲響) ,以及拍掌及頓足等聲音效果。


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