Tchami x Janet Jackson - Go Deep (Remix)

Premiere concert: December 7th, 2013, as my Master Thesis at Bandeis University. The premiere is founded by the New Music Brandeis. The opera received The American Prize 2015 in Professional Category.
Conductor - Jeffrey Means, Soprano - Aliana de la Guardia, Violin I - Lilit Hartunian, Violin II - Annie Hsu, Viola - Justin Ouellet, Cello - Kett Lee, Piano - Elaine Rombola Aveni, Percussion - Nick Tolle, Organ/Celesta - Alexander Lane, 
Electronic Assistant - James Praznik, Stage lighting - Richard Chowenhill, Concert Manager - Jared Redmond
Composer, Playwright, Stage/Light settings/Performing design - Yiguo Yan

Act One
A female writer lives in an imaginary country without free speech. Language is distorted by the governing dictatorship and centralized religious authorities. (This distortion is represented symbolically first by a musical collage—a recording of political speeches in seven languages, including words of a trial after Chinese culture revolution, a Stalin speech, a Hitler speech, a Mussolini speech, a FDR speech, a Taliban recording, and a young Japanese Nazi speech, and second by a religious organ music) In this depressed and restrictive environment, people shout meaningless and ridiculous slogans. Meanwhile, the writer suffers painfully because her waking consciousness stands out among the fury of the world. After a long period of depression, the writer gradually becomes an aphasic. She cannot control her words whether it is in writing or speaking. Her language disorder causes her to act crazily. On one hand, she keeps repeating "pink" (the symbol for vulgar in the libretto) obsessively; on the other hand, her sober consciousness stimulates her nausea towards society. An important sentence of the first act is "people are dolls that are manipulated by society, morality, government, religions, nationalism, class contradictions, boundaries, majorities, norm!" At the end of Act One, the writer completely loses herself in the mental disease, isolating her from the world. 

Act Two
In Art Two, "Colors of Obsessions" expands to other colors, as the writer starts her inner-self journey. Each color symbolizes an extremely painful life experience: black for dictatorship; white for nihilism; red for violence; green for claustrophobia, yellow for fury, and blue for sorrow. Colors are the all-pervasive pain, which fills the writer's soul. The seven colors' journey also symbolizes a path going towards the highest level of wisdom, the "purple heaven". Although the writer commits suicide at the end of the opera, her soul flies to the purple paradise; she achieves the wisdom that cannot be found during her lifetime. 

Notes of Composer/ Playwright:
"Colors of Obsessions" is dedicated to thirteen suicidal writers, symbolically represented in the libretto by the "thirteen dead angels" who appear in the female writer's dreams: Sarah Kane, Haizi, Ernest Hemingway, Akutagawa Kyunesuke, Sylvia Plath, Stenfan Zweig, Virginia Woolf, Anne Sexton, Sergei Yesenin, Henri Maupassant, Yasunari Kawabata, Sappho, and Sara Teasdale. I grew up reading their profound literature works. They dedicated their lives to art that is everlasting. While I continue to be inspired by their works, I feel their suicidal deaths are like a nightmarish transmigration. Their works and deaths leave me a speechless intensity that has to be expressed through music. The suicide of writers to me is a very serious cultural and spiritual phenomenon with complicated reasons including: an excessive dedication to art; the conflict between imaginative worlds and reality; the sensitivity of seeing through the weaknesses of human nature; and the over-exposure of personal emotions, causing nervous breakdowns. I want to explore this phenomenon further through the depiction of a writer's inner-self journey from creative life to death.

Colors Of Obsessions--Yiguo Yan, composer and playwright, Premiered in Boston, 2013

Their arrhythmia, they hear, so I listen. I hold them through me, awkwardly, more for me than them. Arms clumsy, entangled, I hear myself, through them. I share my pulse, just, knowing it will be heard but, likely, not listened to. But I still hold, they are still, I am not still. Aural spectres hold sub eclipse blood work. So I listen, hoping they hear. They can't hear my pulse, because I hold them, arms clumsy. A heard pulse, not listened to, I hold in my awkward hands. My blood work, sub itself, listening to its spectre. Work is spoken, but, not heard, and not listened to. My ears wane. I hear them and they try to hear each other as they eclipse. Blood work rushes from them, through them, between them, as an arrhythmic moonlight mobile. Spectres hold me, they hear, more for me than them, awkwardly, so I listen. I hear, their hold, a spectre, so I can't listen, but I don't mind. My pulse through their pulse, spectral, I hear and hold, I am not still. My ears wax. I hear, I do not need to be heard to listen.

———

Written for Gunnhildur Einarsdóttir and Sarah Nemtsov's harp composition class at the Darmstädter Ferienkurse 2023. Performed by Jenna Vergeynst.

For Kari x

SUB ECLIPSE BLOOD WORK

starlings, sparrows (2022)
for amplified clarinet, cello and prepared piano with synthesizer
*
Trio Catch
BOGLÁRKA PECZE Klarinette
EVA BOESCH Violoncello
SUN-YOUNG NAM Klavier/Synthesizer
*
WP: 7.5.2022, Wittener Tage für Neue Kammermusik; Trio Catch
Duration: ca. 16′ - (some short excerpts here on soundcloud with kind permission by Trio Catch)

starlings, sparrows (2022) - Excerpts - Trio Catch

Recorded live at Constellation, 3111 N Western Ave, Chicago, IL. 04/02/2024

Collective lovemusic

Emiliano Gavito - performance/recitant
Adam Starkie - clarinet
Christian Sedano - electric guitar
Sophie Wahlmüller - viola
Finbar Hosie - electronics, mixing

The Hyacinth Garden Finbar Hosie + lovemusic

Program Note:

OSCILLATIONS, for large ensemble and electronics, plays with color and collage, juxtaposing different textures and materials on a constantly shifting sonic canvas. As the title suggests, this piece explores fluctuations between states, expanding the concept of a waveform - a core electronic sound source for the piece - into a greater formal and temporal argument. Defined as periodic movement between two points, waveforms are the building blocks of sound synthesis. In essence, sound synthesis could be described as series of interconnected oscillations, where complex sounds are produced from the combination and modulation of simple sounds. This core concept was my guiding influence throughout the composition of this piece, where fluctuations in parameters like texture and tempo are simultaneous with those in the electronics, creating another kind of sound synthesis between acoustic and electronic components in the piece. 

OSCILLATIONS feature a range of electronic sounds, from sine tone clusters and frequency modulation, to prerecorded processed sounds that act as a halo around the acoustic ensemble. The piece also embeds electronic sound sources within the ensemble, such as the ground hums produced via bass amps in the percussion set ups, and the use of electronic mechanisms like Ebows and electric fans in the harp and piano parts, furthering the shapeshifting role of the electronics.  On a macro scale, this piece oscillates between different textures, tempos, and colors, with varied electronics functioning as a glue, or collaging agent between parts. The instrumentalists weave their parts together to form composite lines, creating a jagged and episodic counterpoint that is frequently interrupted. Taken together, this combination of contrapuntal line, polyphonic noise, and ticking rhythmic vignettes, weave a vivid and varied tapestry, full of fluctuations.

This piece was commissioned by the Grossman Ensemble for premier on March 7th, 2025 under Conductor David Fulmer at the University of Chicago.

OSCILLATIONS for large ensemble, modular synthesizer, and electronics

Recording of the 2017 Brevard Music Center Wind Ensemble during a reading session.

Mercurial Fleck (For Wind Ensemble)

2-channel electronic, fixed-media.
Loíza, Puerto Rico, December 25, 2020 - January 2, 2021.
"drink rain from the pulse at my throat" - text excerpted from Kim Addonizio's "Muse".

drink rain (2021)

composer, performer and sound artist based in Chicago, IL.

OSCILLATIONS for large ensemble, modular synthesizer, and electronics

Kari Watson