For overtone singing with taishōgoto, dizi, qinqin / zhongruan, chaozhou zheng, viola, cello, piano and singing bowls / thumb piano
為泛音詠唱 / 大正琴,  笛子, 秦琴 / 中阮, 潮州箏, 中提琴, 大提琴, 鋼琴及頌缽 / 姆指琴而作
8 min.
Instrumentation: overtone singing / taishōgoto, dizi, qinqin / zhongruan, chaozhou zheng, viola, cello, piano and singing bowls/ thumb piano
World premiere: 13 June 2018, HKAPA Recital Hall, HK
Programme Note
‘The Ancient Voice’ is a series of works which explores the possibilities of the ancient, traditional voice, music and instrument around the world. ‘The Ancient Voice No.3’ is written for Indian instrument sitar and overtone singing while ‘The Ancient No.5’ is written for Japanese instrument taishōgoto and overtone singing. In this time, ‘The Ancient Voice No.7’ is written for different instruments around the world in order to explore and experiment the unique combination of particular sound and the overall soundscape with those instruments.
On the other hand, I believe that there should be no any boundaries between ‘composer’ and ‘performer’. Everyone at any time and places could be both music creator and interpreter. A good musician should be able to compose while interpreting and compose while interpreting. Therefore, I have set some improvisational sections for the players to respond and interact with each other in order to express and contribute their voice and musicality on the music.
樂曲簡介
《古音》是一個專門探索古代,傳統,民族音樂、樂器和特性的作品系列。例如《古音之三》是為印度西塔琴加呼麥而作,《古音之五》是為大正琴和呼麥而作。而今次的《古音之七》則是為來自世界各地不同的民族樂器而作,希望可以藉此作品探索和試驗一個不同民族樂器組合的聲音世界及其可能性。
另外,我認為作曲者和表演者之間是沒有任何界限和隔閡的。任何人隨時隨地亦能成為一個音樂創造者和演繹者,一個好的音樂家應該是能作曲和表演的。所以,我在樂曲中段加插了一個互相即興的部份,希望能夠給予樂手一個探索、創造、演繹和再創造的空間。

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