Sonatine for viola & piano
I : Novelette
II : Scherzino
III : Quasi Requiem

Christophe DESJARDIN (Viola)
Wilhem LATCHOUMIA (Piano)

Nov 14th, 2016 
ARS MUSICA

SONATINE

“Timeless echoes” for solo Cello, live performer on painting with video projection and live electronic was commissioned by
Centre Henri Pousseur, Liège (CRFMW) for cellist Arne Deforce and painter Sirgid Tanghe.

“Timeless echoes” is inspired by ancient GuQin’s music (Guqin is a plucked seven-string Chinese musical instrument of the zither family) and has traditionally been favored by WenRen. (A person with ultimate knowledge of the arts.) In this composition, I’d like to demonstrate a coordinated control of articulation and of inflections in pitch, timbre, and intensity. It
is an exploration of the articulatory and vibratory characteristics of cello and Quqin. This composition sees the fruition of my explorations of the sonic possibilities of acoustic instrument with modern technology in the electronic part and video part.
I was very moved by painter Sigrid Tanghe’s heart taking painting and her live performance on stage, her live action-painting in this work will give a reflection of my passion in the relationship between Guqin’s music, Chinese calligraphy and ink painting.
With Arne Deforce, the Centre Pousseur and Sigrid Tanghe in this project, I’m sure that we’ll encourage a kind of multicultural musical performing art, at the same time
enhancing the intrinsic understanding of what is multi-cultural and multi-disciplinary exchange between musicians and audiences.

I dedicated this work to Arne Deforce, Sirgid Tanghe and CRFMW.

KeeYong Chong

Live Recording Permiére at Festival Images Sonores
Centre Henri Pousseur

Chong Kee Yong : Timeless Echo's for cello and electronics - Arne Deforce Live

played by Wan-Dau Chamber Orchestra(灣島隨想室內樂團). come from Guqin solo piece "Puan's Incantation "(普庵咒)and Shakuhachi solo piece Kyorei (虛鈴). with Shakuhchi, Dizi, and Guqin

普庵咒‧虛鈴隨想(Capriccio of Puan's Incantation and Kyorei )

Eva Reiter : The Lichtenberg Figures (excerpt)
After texts by Ben Lerner
*
Ictus Ensemble, 
Juliet Fraser (voice), 
Georges-Elie Octors (conductor)
*
Live in Brussels, Kaaitheater, December 2015. 
Temporary Radio Mix : Alexandre Fostier, Eva Reiter, 2016.
*
http://www.ictus.be/lichtenberg
*

Eva Reiter : The Lichtenberg Figures (last song)

Stephan Meiers Album

Longue Distance (2016)

Broken Face 碎脸 - Soprano/Ensemble/Electronic

Metamorphosis I 
for viola and harp 

Composed: 2000
Duration: ca 11’	
World premiere: 17 Dec 2007
Venue: Advent Lutheran Church (New York, USA) 
1st Performed by: musicians of Argento ensemble (New York) 
                                  Stephanie Griffin (viola)
                                  Jacqueline Kerrod (harp) 

“Metamorphosis I” (2000)
This work is a metamorphosis of my work "The reflection of the dancing ghost" for bassoon and harp. The viola and bassoon both share the same musical emotion background presented by the harp. 

The microtone scordatura of the harp and viola create a mixture of pure and non-pure fifth tuning, as often evident in Asian folklore music.  I simulated the non-pure tempered tuning of the Chinese traditional instruments, and attempted to present the versatility of these 2 western instruments in presenting phrases, melodies and structure of Chinese folklore.

Argento Advent Lutheran Church

Metamorphosis I

This short piece “Lock yourself” for 37-reed traditional soprano sheng (also Xun), Guzheng and bass clarinet with live electronic is a re-creation derive from my previous work “Wu Wei. Meng Die” for the 37-reed traditional soprano Sheng (also Xun) and bass clarinet with live electronic, “Wu Wei. Meng Die” is special written and dedicated to my best friends Wu Wei, Harry Sparnaay and team of ExperiementalStudio des SWR. 

I was always inspired by the Zhuangzi story of “Zhuangzi dreaming of a butterfly”.  In “Lock yourself” you will find the similar character of struggling and confusion in life!

“Lock yourself” is written in memorial for two of the great musicians and my best friends Mr. Harry Sparnaay and Mr. Jean-Marc Sullon who are sadly lost in the cancer battle!     

I’m graceful to Mr. Patrick Hartono who re-designed and adapted the max/msp patch designed by Mr. Jean-Marc Sullon in my previous work “Timeless echoes” for “Lock yourself”!   

《自锁》 （Lock yourself)为笙兼塤、筝，低音单簧管和实时电子音乐而作，此曲是源自我在2009年为德国著名西南电台电子音乐实验工作室团队（SWR ExperimentalStudio）, 旅德37簧笙大师吴巍和去世了的荷兰当代低音单簧管教父Harry Sparnaay 的作品《无为。梦蝶》，原作深受庄子的“周庄梦蝶”的影响，《自锁》有着如原作同样的自我争扎自我怅疑的个性！我也借此作品缅怀两位被癌症残酷地夺去生命的音乐同伴Harry Sparnaay和比利时Henry Pousseur中心的首席电子音乐工程师Jean-Marc Sullon。也非常感谢印尼年轻电子作曲家Patrick Hartono和我共同重组Sullon先生为我设计的电子实时互动程序运用在《自锁》中。作品开头由台湾知名笙演奏家大师黃朧逸先生吹奏持续的长音，由弱渐强渐急，笙和日本留德低音单簧管演奏家Yuria Otaki女士低沉的互相“怒吼”着，如影随行地古筝拉奏也随着全息音场和实时电子互动让多方位音响此起彼伏的在整个音乐厅中穿梭，时而狂躁，时而不安。笙大师黃朧逸擅長傳統樂曲之演繹，並長期接觸現代音樂，近年來創辦笙樂團，不斷從事笙專業演奏及研究，現為台北和樂集團長暨藝術總監。黄老师也对作品分享了他参与这首作品的演奏感想和体会，他认为这作品以37簧笙、塤、低音單簧管、古箏等樂器築建出令人驚艷的聲響世界，特别是在此次極高規格頂級場館ZKM中，作曲家擅於空間的改置與變換來呼應此場館的優越性與獨特性，值得一提的是作曲家雖結合了東西方樂器卻能恰如其份的＂安排＂各自獨立的音色氛圍，集時間、空間、美學於一爐、淬煉出ZKM現場令人摒息且驚呼連連的聲學印象，與其讚嘆場館硬體的齊備優越，更該向作曲家的用心致敬，這一切源自於＂愛＂、源自於對逝去的人、事、物無限的的感怀。目前就讀德國卡爾斯魯爾音樂院（Hochschule für Musik Karlsruhe)最高演奏家文憑的台湾留德小提琴家陳瑋中对此作品有较深刻印象，他说这三個樂器安排在音樂廳不同方位，讓聽眾猶如置身在imax電影院的環繞音響一般，讓人覺得音樂不再只是時間的藝術，而是時間與空間的結合.

Lock Yourself

Dirigent: JULIEN LEROY
Violinistin: SOPHIE SCHAFLEITNER , 
KlangForum Wien,
02.05 Trinitatiskirche Köln.
Schmutz (2019)
für Violine und Ensemble
Kompositionsauftrag von ACHT BRÜCKEN | Musik für Köln, gefördert durch die Ernst von Siemens Musikstiftung
Uraufführung
Taxt in EN: https://www.klangforum.at/blog-detail-en/wang-schmutz-en.html
Taxt in DE: https://www.klangforum.at/blog-detail/wang-schmutz.html

Schmutz (2019) für Violine und Ensemble

Anamorphosis by David Hudry(2016)
for string quartet with or without electronics
Premiered by the Tana Quartet at Soundfestival (Scotland)

Commissioned by Art Zoyd Valenciennes, Soundfestival, Musiques Démesurées Clermont-Ferrand, and Collectif Tana.

(EXCERPT 1) Anamorphosis - David Hudry (2016) LIVE

Chong Kee Yong is one of the Malaysia's leading composers with a rare talent of fashioning a truly individual sound from modern experimental techniques.
Born in Kluang in southern Malaysia where his parents were farmers, he completed his Bachelor of Arts at the Xian Conservatory (China) and received his Master of Composition (Highest Honours) at the Royal Conservatory of Music of Brussels. He has also attended master classes by Brian Ferneyhough, Peter Eötvös, Salvatore Sciarrino, Henri Pousseur and Hanspeter Kyburz.
Chong's distinctive style has won him many awards, commissions and composer-in-residencies, for example, the 4th International Andrzej Panufnik Competition, the 2nd Seoul International Competition for Composers, the Malaysian Philharmonic Orchestra International Composers' Award, Lutoslawski award, BMW award in the International Isang Yun Music Prize, the Herrenhaus Edenkoben Foundation (Germany) and Asian Cultural Council.(New York)
Most recently, CHONG received the prestigious commission grant award 2009 by the Serge Koussevitzky Music Foundation. (USA)
www.chongkeeyong.com
鍾啟榮是马来西亚顶尖的青年作曲家，并在创作现代试验性和具有特殊风格的音乐方面拥有绝对特殊的天分。著名作曲家和指揮家Peter Eötvös形容他为一名“富有想象力和诗意”的作曲家，另一名著名英國作曲家Jonathan Harvey则形容他的音乐为“非常具有创造力和纯洁的”

钟启荣诞生于南马的居銮，其父母都是种植油棕的小园主。1990年至1993年，他在马来西亚吉隆坡表演艺术学院学习古典吉他和作曲。1995年后，他远赴中国西安音乐学院并获得一等荣誉学士学位，师从饶余燕教授和张大龙教授。

1997年后，他再到比利时皇家音乐学院修读作曲系，师从Jan Van Landeghem和Daniel Capelletti教授。在2001年6月，他以一等荣誉的成绩获得作曲硕士学位。此外，他也曾经参与多位知名作曲家教授开设的大师课程，例如：Brian Ferneyhough, Daan Manneke, Zoltan Janey, Peter Eötvös, Salvatore Sciarrino, Henri Pousseur 和 Hanspeter Kyburz。

鍾啟榮的卓越表现，让他在國際上赢得多个奖项和获得无数的赞扬，因此，他也获得和世界上衆多世界級顶尖的音乐家，樂團，音乐节和基金会合作的机会。



Metamorphosis I

CHONG Kee Yong

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