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

霧色沉降至島嶼–為長笛、古箏、二胡、大提琴
landwards, a sinking nuance, for flute, zheng, erhu, and cello
(2013)

2013年10月12日由現代音協室內樂團首演於東吳大學松怡廳(2013台北國際現代音樂節)。

首演演出人員:
指揮 – 邱君強
長笛 – 林薏蕙
古箏 – 林易嫻
大提琴 – 鄭伊晴
二胡 – 黃正銘

官方版樂曲解說

此曲受中華民國現代音樂協會委託創作,獲國家文化藝術基金會創作補助,完成於2013年9月,為筆者最近八年來第二首混合中西編制之作品。

我將整首樂曲視為一氣呵成的一個線條。這樣的線條穿越時間,如同霧色蔓延過海,我以不同的配器及織度來著墨光影的細微變化。樂曲結構大致分為連續的五個段落,以中段為鏡像分隔,配器依音域與舞台擺位分成兩兩一組,時而變換六種組合、時而交織、呼應或結合。標題意象取自我近年兩首不同作品中的詩句。

「島嶼的尖端是海」
— 《霧中殘簡》

「如今被霧色掏空的山仍帶有
雨後的痕跡」
–《星河坻》

Commissioned by the ISCM-Taiwan and finished in September 2013, this work is my second composition during the past eight years that incorporates both Chinese and Western instruments.  This work is also funded by the National Culture and Arts Foundation.

I consider the whole piece a single line like one prolonged breath.  This line goes through time, as if fog spread across the ocean, with light and shadow colored by various orchestrational and textural combinations.  The overall structure consists of five continuous sections, mirrored in the middle.  For the orchestration, I group the instruments into pairs, and alternate, interlace, respond, or combine the six different pairs between the four instruments.  The image implied by the work’s title comes from different verses in two of my recent poems.

“The island’s end is a sea”
                                        – Those Remaining Words in Nuance

“The mountains emptied by the fog still reflecting
A trace of rain”
                                        – twilight as a drifting islet

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Echoes are ringing in my heart

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