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Mirage-Fantasy-Afterimage

Concerto for Viola and Ensemble by Haodong Wang
Live recording from the premiere
24/11/2024 at the International Anthony Burgess Foundation, Manchester, UK

Wenhan Jiang viola solo
Benjamin Voce conductor
Kaoruko Takehara flute
Emma Chan oboe
Johanna Leung clarinet
Josh McKeague trumpet
Tate Cassells trombone
Harriet Kwong percussion
Yonina Liss piano
Lian Yip, Ellie Shek violins
Henry Grant viola
Cillian Hennessy cello
Joana Izabelle double bass

Recorded by Joe Hunt, Patrick Gorry
Mixed by Patrick Gorry

Concerto for Viola and Ensemble

The word “apoploys” in Greek means sailing forth. Apoploys II is the second in a family of works that relate to Odysseus’ sea voyages towards home. The text here comes from the eleventh Book of the Odyssey, also known as “Nekuia”: Odysseus departs from the island of Circe to visit the underworld in order to receive an oracle from Teiresias regarding his return home, to Ithaca. In this “journey of a different kind”, Odysseus encounters, among others, the spirit of his mother who had died while he was away in the siege of Troy. After the end of their conversation, he tries three times to clasp her ghost, but she disappears “like a shadow or a dream”. Apoploys II is a reenactment of this moment, a fantasy on the subject of absence.

In Apoploys II, as in many of my works, I search for the primordial voice. A voice deeply rooted in the body, a voice that utters our innermost emotions without the filter of stylization, as in Western opera. Like Iannis Xenakis, whose “Kassandra” was strongly influenced by Noh Theater, I found in Noh chant a sound whose depth, in my imagination, connects to the ethos of the Ancient Greek text.

Ryoko Ayoki, Noh Chant; Daniel Agi, flutes; Rie Watanabe, percussion.

Mirage-Fantasy-Afterimage

하Ha창Chang진Jin

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