This piece was partly inspired after watching the TED talk “The Neuroscience of Decision-Making: Are We Foul or Fair?” by Kimberly Papillon. Facial features, accents or just a name can change our decisions dramatically. Two equally qualified persons can be either accepted or rejected for a job due to implicit associations of their names. Accents can create unconscious bias of intelligence and competence. Facial features can skew us in our judgement of someone’s trustworthiness.

Judging can be taken at multiple dimensions. The score starts off with repetitive quarter notes before progressing in complexity. My challenge was to convey the idea “Never judge a music by the score”. I wanted the players to perceive classical Mozart as equally challenging as modern complex scores like Ferneyhough and Xenakis. I have encountered numerous complex scores involving quintuplets, septuplets etc. which are impossible to be precise and in-sync with other human players. Here, I challenge myself to limit this score to the basic rhythms: duplets, triplets and quadruplets.

Another judging dimension occurs in the performance aspect. A tight-knit duo is mandated by the precise interactions between the violinist and pianist. This creates the vision of two players as one single entity.

Judging from the opening music, the listener (with no access to the score) forms preconceived notions about the minimalistic approach of the remainder of the piece. This is similar to how we rapidly form definitive first impressions about someone from non-verbal observations. Each listener holds a different schema and judges how the music will progress - as anticipated or with surprises. My belief of the ideal would be a healthy balance of both.

Always Judging for Violin and Piano

Le Boeuf: Don't Say A Word

Taken from the soundtrack to 'Tabu'.
Released via Gizeh Records on December 16th 2016.
www.christineott.fr/disques.html

The live soundtrack "Tabu, a story of the south seas",
created in 2012 on the movie by F.W. Murnau & Robert Flaherty
All tracks composed & performed by Christine Ott
with Torsten Böttcher on 2, 6 & 9
Christine Ott : Piano, Ondes Martenot, Percussions
Torsten Böttcher : Hang

• • •

1. First Chapter - Paradise
2. Reri
3. Consolation
4. Course Vers La Mer
5. Hitu, La Grande Montagne
6. Sorrow / Lover's Dance
7. The Warning
8. Paradise Lost
9. Oriental Dance
10. Mandat d'Arrêt / La Perle
11. Hitu's Appearance
12. Cursed Lagoon
13. Hitu's Shadow
14. Le Sourire de Matahi / Consolation (Var. I)
15. Comptoir Chinois
16. Consolation (Variation II)
17. Rêve & Perle Noire
18. Tempête / The Tabu

• • •

Christine Ott is giving us, with this new album, her first inspiration to the screen - spontaneous and sometimes fragile. There is indeed a secret link which joins together Reri, daughter of the water, to Christine, sister of the Ondes Martenot. In these pure moments when Ott’s piano becomes a waterfall, a river, an ocean. In these heartbreaking moments when the composer, without ever over-playing manages to simply let go, thanks to a very mysterious and fascinating instrument, the tears that the audience may not always dare to have. [Thierry Méranger, Les Cahiers du Cinéma]

Le Sourire De Matahi - Consolation (variation I)

http://www.youtube.com/kangyiflute
https://www.facebook.com/singaporebangs

ADDO Chamber Orchestra (11 players) conducted by Clarence Tan
Orchestra's Choice Award
Audience Choice Award
2017 "Have You Experience?" Composition Laboratoryand Competition
13-17 July 17 Singapore Chinese Cultural Centre Recital Studio

This work was originally written for flute, violin and piano. This version is for ADDO chamber orchestra inaugural "Have You Experience?" composition laboratory (2017).

During WWII, Unit 731 was a covert biological and chemical warfare research unit of the Imperial Japanese Army, located in Harbin, China. Together with affiliated units throughout Asia, these units saw the most horrendous prisoner experiments conducted in a systematic manner.

During the war, ceramic shells with fleas were dropped randomly onto surrounding villages to spread the bubonic plague. After the war, Unit 731 freed thousands of infected rats that caused widespread plague in 22 counties of Heilungchiang and Kirin provinces. This work commemorates the victims and the survivors.

This movement is in 3 sections. ‘The survivors overcome grief and loss’ - The first three notes G-D#-C represent Unit 731. Other units which are represented are: 8604 (Guangzhou), 1855 (Beijing), 9420 (Singapore) and 1644 (Nanjing). ‘The survivors congregate for hope and peace’ - Disparate melodic lines eventually come together with more instruments playing in unison. Here, I see the survivors gathering to spread an important unified message to the world. ‘The museum retains fragments of memories for future generations’ - Previous materials return and generate a feeling of everlasting impact.

Unit 731 - The Museum and the Survivors (chamber orchestra 11 players)

10th December 2017, 7.30pm, Victoria Concert Hall
Postcards from Singapore
premiered by Soh Wei Qi
2017 National Piano & Violin Competition (Singapore) 
Prize Winners Concert
Set piece for senior category

In this work, I share three different facets of Singapore which I find unique. Music materials are derived from several Malay folk-songs popular in the Malay Archipelago (Singapore, Malaysia, Indonesia etc.) – Dayung Sampan, Chan Mali Chan, Rasa Sayang. The work begins with “Civilian War Memorial” to highlight the trials and tribulations suffered during WWII. Located prominently in the heart of the central business district, this memorial reminds us of the war atrocities, particularly the Sook Ching massacre. The peaceful melody of Dayung Sampan gradually gains momentum and a sense of grief.

Next, I write about “Hawker Centres”, a fast polyrhythmic section where Rasa Sayang melody is juxtaposed with Chan Mali Chan. I have always been impressed by how overseas Singaporeans are willing to drive long distances for great Asian food. At our local food paradise, the atmosphere is joyful amidst the intense noise and chaos. Singaporeans fight aggressively for seats and “chope” the tables with tissue packets or other objects. To symbolize this, the pianist taps the piano loudly. As I was writing this work, a couple was charged over a shoving incident at Toa Payoh hawker centre. Such an ugly spat is rare but it reminds me of the competitiveness of Singaporeans.

The view of Marina Bay is a popular feature on many Singapore postcards. Against all odds, this young nation rapidly rose from third world to first. I imagine the skyscrapers, which are monuments of success, rising above the waters. The arpeggios at the beginning returns and the Rasa Sayang theme appears prominently. Finally, I included a short coda “Honoring our Forefathers”. The best way to honor them is to appreciate their contributions and strive for greater success.

Postcards from Singapore premiered by Soh Wei Qi

1. Monsoon Storm
2. Sunrise through the Trees
3. Song of the Rainforest
4. Fire, the Giver and Destroyer of Life
5. Dance of Oneness (including some Rice Wine)
6. Canopy Dreams

STIRRINGS within the Rainforest somewhere in Southeast Asia (6 movements)

Talented trombonist Wes Lebo sits in to discuss his unique path to become a professional musician as well as his experiences on and off the stage in Columbia during the 2018 season of Hot Summer Nights. (Selections from Rosa Parks and the Freedom Riders and I Have a Dream from Kangyi Zhang’s “Let Freedom Ring” Concerto in Singapore).

102 - Hot Summer Nights with Trombonist Web Lebo

Lyrics: Arpine Konyalian Grenier
Composer: Kangyi Zhang
Soprano: Wendy Woon
Piano: Gabriel Hoe
Filming: Jean Luo 
Watch recording: https://youtu.be/2hjFzwqR414
These poems express the detriments of unfettered consumption while leaning towards what’s human, therefore sustainable. Motivic ideas from Armenian and Chinese folk tunes tether compassion to identity along a silken road that celebrates being alive.

Disguise
The song begins with a reference to the mythical Persephone, deemed the queen of the Underworld after her abduction by Hades. She is also considered to be the Goddess of Spring, and is associated with awakening and regeneration. Wings that fly can also appreciate the depths of the ocean floor. The Chinese words “blue, green, grey” allude to the legendary Chinese melody, Jasmine Flower. Following a contemplative section, the piano sounds out-of-sync as if disparate elements had grabbed hold of the octaves. Then segments gradually coalesce into coherence; the rose and its thorns, the scars and all align, reconciled, consumed, regenerated emptiness and form; cotton-obsessed profits greet urgent human needs, embrace sustainable footprints.

What’s Green What’s Blue
The opening melody begins with two contrasting approaches: a pointillist style over different registers of the piano, and the coherent slurred line of the bass. The music swiftly alternates between digression and coherence, mirroring the idea of “dualities intervene to convene”. A neighboring note motif, first appearing prominently as C-B-C, dominates much of the piano part of this movement. The text reminds us to beware of the delusional because there is no true ownership. The brief and blunt arrival of musical elements of the piano declare all is transient. Beware the addictive, the illusive capital. Here, an attempt to create “illusion” assigns four beats to a section of 3/4 time. One hears the four against the three between the right and left hands. Much of the soprano melody references the first movement. For example, “puce chartreuse” uses the same pitches as “Apassionado”. After a brief optimism, the movement turns portentous. Nurturing polarity against broader perspectives dims our relationship with nature and threatens sustainability.
~~
                                                  1. Disguise

The ocean floor
lonely for wing
regenerates

burn slam want

l’anlu hui

blue green grey

transience

how different that is from all things durable
to come together to just become so

scar tissue celebrates a rose 

what is law what is metaphor 

xingli/ baggage

I want a last word with you
having mastered the production of gaps

dare me

anearth spot duly splayed
chew it slightly for taste

wished and willed mianbu (cotton)
apassionado

cotton

consumed as aligned
because we are.
~~
                                               2. What’s Green What’s Blue

Dualities intervene to convene 

lines and shapes of context and word
I remember architecture

main tenant 

congruence and correlation 

suchness flashing by is it?

how is ownership generated then?

ach!

what I say to my lover is the song 

what social basis would that come from?

Honor and replace memory 

surplus is sibling to deficit 
fictitious capital grows
illusive capital

addictions

some rocks at Death Valley are walking they say
would anyone think of bombing the road?

you and you and you and you
puce chartreuse

coco hue
blue

a theory of justice follows

the particular as parameter

against complacency.

Willed Capital- 1. Disguise 2. What's Green What's Blue

Unknown album (9/17/2018 8:23:10 AM)

Incantation

Da Chara

Kangyi has performed on various stages in Singapore, Malaysia and the United States. As a composer, his music are often programmatic and based on personal life and experiences. He also aims to raise public awareness on important historical events. 

Music Scores: http://kangyimusic.storenvy.com
Music Licence: http://www.pond5.com/artist/protestahkang971
Music Services: http://www.kangyizhang.com/freelance.html
SoundCloud: http://www.soundcloud.com/kangyi-zhang
YouTube: http://www.youtube.com/kangyiflute

Willed Capital- 1. Disguise 2. What's Green What's Blue

Kangyi Zhang

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