for erhu, yangqin, cello, liuqin, zhongruan
Taking inspiration from Song Dong’s Communal Courtyard, ‘Intersections 交會’ begins with a melody based in a traditional Chinese musical form: the pentatonic scale. As the piece progresses, the melody begins to be overtaken by other, more robotic rhythms and phrases. Much like the many cities worldwide where traditional customs, architectures and ways of life are being taken over by our modern day technological society, the ideas in this piece continue to change, influence, and fight with one another, creating both harmonies and dissonances. In the end, the basic form of the original melody is still intact, though it has also adapted and changed into something new – something based in tradition, but influenced by the present.
AGO Friday Nights
WIND CHASER 逐風旅人
for erhu & piano
for erhu, shinobue, gayageum, percussion
Millennium Chinese Music Workshop Autumn Concert
Amely Zhou Master’s Recital
for erhu & cello
‘Moments 片刻’ utilizes the erhu and cello to help evoke the many sceneries and cityscapes of Taiwan. Based off of an Instagram feed of a Torontonian living in Taiwan (images from jungle-covered mountains, to towering skyscrapers), and brought to life with these two instruments. The cello and erhu play off one another, referencing the pentatonic nature of Chinese music, but also delving into some of the extended techniques found in both instruments.
for erhu & piano
‘Longing 等待’ is a duet composed for erhuist Linlin Wang. This contemplative piece reflects someone waiting for their loved one, knowing that they will return to them eventually, yet are still in anguish at being separated from them. Moments of happiness and joy are interspersed as they reflect on the memories of their love.
for small ensemble (erhu, sheng, pipa, guzheng, yangqin, piano)
for large ensemble (dizi, sheng, pipa, guzheng, gaohu, erhu, zhonghu, cello, piano, percussion)
‘Whiteout 飄白’ takes direct inspiration from the winter storm during which it was composed. The repeating elements in the piece reflect the continuous dense falling snow, and the absolute whiteness covering everything causing a blur between ground and sky. The cyclical form is also used as a way to infer a feeling of getting lost in the storm, unable to find a way out, and returning back to where you started. Yet the piece is not meant to be hopeless, rather, there is a sense of beauty in the uniformity, scope and power of the storm, and the seclusion one encounters while being in one.