It doit y avoir absolument éternité en musique: 我作曲故我在 – I compose; therefore I am.

「晚秋渡」- 為兩位胡琴演奏者、琵琶與廿一弦箏 (2009-10)
“Through a Fading Autumn” – for two huqin players, pipa, and zheng (2009-10)

2011年11月27日 16:00 於國家演奏廳,亞洲作曲家聯盟2011大會,小巨人絲竹樂團首演。

Premiered at The ACL 2011 Conference and Festival, Sunday Nov. 27, 2011, 16:00 at National Recital Hall in Taiwan, by the Little Giant Chinese Chamber Orchestra

彩排影像  image from the rehearsal

2013年studio錄音版

 

此曲標題「晚秋渡」的「渡」,意即「擺渡」,也為「超渡」,至另一個世界。

這首作品不同於一般的絲竹樂編制,我採用兩把胡琴做為樂曲的要角,如同迷你室內協奏曲般,時而在樂句中緊密結合、時而各自成為獨立線條。編制中的另外兩個樂器,琵琶與古箏,亦成一組二重奏與兩把胡琴呼應及著色,聲部間並點綴著象徵祈禱的旋律片段。

謹以此曲紀念二○○九年深秋過世的家妹。(電腦樂譜定稿於2011年一月)

南無阿彌多婆夜。哆他伽多夜。哆地夜他。
阿彌利都婆毗。阿彌利哆。悉耽婆毗。
阿彌唎哆。毗迦蘭帝。 阿彌唎哆。毗迦蘭多。
伽彌膩。 伽伽那。枳多迦利。娑婆訶。

- 往生淨土神咒

The work’s title “Through a Fading Autumn” also implies “drifting” and “passing”, towards another land.

Different from that in a standard Sizhu ensemble, I applied two huqins as the main role in this piece, which is like a miniature chamber concerto. The two huqins sometimes closely combine with each other and sometimes develop individual lines. The other two instruments here, pipa and zheng, also form a duet to respond and color the two huqins’ lines. A prayer’s melody is interspersed among these voices.

This work is in memorial of my sister, who passed away in late autumn in 2009. (The computer score is finalized in January, 2011.)

namo amitābhāya tathāgatāya tadyathā
amṛto dbhave amṛta siddhaṃbhave
amṛta vikrānte amṛta vikrānta
gāmine gagana kīrtakare svāhā.

– Pure-Land Dharani

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Echoes are ringing in my heart

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