Shimmering in the Air is written for haegeum player Soo Yeon Lyuh and violist Ellen Ruth Rose. As the title indicates, this piece, by using plenty of air noise and harmonics from the instruments as well as the resonator and amplification from the electronics, aims at shaping a kind of atmosphere filled with light but bright timbres, metaphors of sparkling, shimmering fragments of lights scattering in the air, just like some fragments of memories flashing upon us yet quickly fading out and eventually forgotten in our life.

Shimmering in the Air: for haegeum, viola, and electronics (2018)

Dr. LIAO Lin-Ni 
Composer, Musicologist, Chercheuse associée (Institut de Recherche en Musicologie, Sorbonne Université / CNRS 8223)

Born in Taipei, Taiwan, Liao Lin-Ni began her training in piano at the age of 4. In 2000, she obtained her degree in composition at the National Taiwan Normal University. During her post-graduate work, she studied with Yoshihisa Taïra at the Ecole Normale de Musique de Paris and received in 2003 her Diplomae Supérieur in composition before becoming the disciple of Allain Gaussin and Philippe Leroux. In 2019, she was selected by the CDMC (Centre Documentation de Musique Contemporaine) as one of 53 women composers representing 21st century music in the book Compositrice - l'Egalité en Act (Ed. MF). 

Liao Lin-Ni received a doctorate in musicology from Sorbonne Université and is currently a chercheuse associée at the Institut de Recherche en musicologie (Sorbonne Université - Ministère de la Culture - Bibliothèque Nationale de France - Centre National de la Recherche Scientifique). Since 2011, she has been the artistic director of TPMC (Tout pour la Musique Contemporaine). The breadth of all her activities in creating new works gives her a depth of perspective which is reflected in her compositions.


Her music is the result of synesthesia with light, which evokes the nobility of breathing and silence. Her works summon nature in symbiosis with time and space. They exist between physical and musical gestures, between the visual and the auditory — particularly in TTy for large Tam-Tam, Time of Trees I & II for gestures by two pianists and shadows, Look back on time with kindly eyes and in one bird, one tree... for ensemble).  

My music is often like the door of a house that is always open for others to enter and share. My work leaves room for all the others and other arts, and it is also a space for reflection and imagination. 

These bagatelles can be easily broken down, expanded, recomposed, moved, regrouped, superimposed and can cohabitate with other (pieces).

We have a thousand facets. Music also offers a thousand possibilities. My music is an element among all the phenomena of nature. An element without limit in time or space, capable of harmonizing a moment of life, in the right circumstances

By proposing the same piece in different circumstances, it often generates a new perception of listening.

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http://paris-sorbonne.academia.edu/LiaoLinNi
www.tpmc-paris.com

Lily Chen, born in Taiwan, is a composer exploring sonic and theatrical potentials in both acoustic and electronic music. Her music shapes evocative atmospheres that point towards subtle poetic commentary on her observations about literary, emotional, or social aspects of the contemporary situation. She received her Ph.D. in music composition from the University of California at Berkeley, where she studied with Ken Ueno, Edmund Campion, Franck Bedrossian, and Cindy Cox. She also received her master’s and bachelor’s degrees from Taipei National University of the Arts in Taiwan, under the instruction of Chung-Kun Hung. She is currently an Assistant Professor of composition at Taipei National University of the Arts. For more information, please visit – http://chenlily.com