Mic: Clippy Stereo EM172 Lavalier
Recorder: Zoom F6
Audio: 32bit/96kHz
High-Pass Filter: 90Hz

A late-evening love song

For Flute, Oboe, Clarinet, Bass Clarinet, Horn – YST Chamber Ensemble

Commissioned by the Malaysian Composers Collective (MCC).
Premiere: 26th November 2022, Pentas 2, The Kuala Lumpur Performing Arts Centre, performed by the YST Chamber Ensemble.
Dedicated to the YST Chamber Ensemble.

Orangutans and hornbills play a pivotal role in ecosystem preservation, acting as 'farmers' by dispersing a significant quantity of seeds throughout their forest habitats. The wind quintet piece, 'Long Calling from the Gardeners of the Forests,' delves into the wildlife acoustics of Borneo and Sabah, particularly focusing on the sonorous long calls of these species. The orangutan is known for its loud, far-reaching vocalizations, which include a 'kiss squeak' when distressed, a raspberry-like sound during nest construction, and a subdued hooting call from the young. Additionally, orangutans emit deep, rolling, guttural sounds as a form of challenge to others. In contrast, hornbills are characterized by their series of loud honks and a distinctive barking call upon taking flight. The helmeted hornbill, for instance, produces profound, resonant calls comprising a sequence of uniform, loud, hollow notes, climaxing in a cacophony akin to manic laughter

Long Calling From The Gardeners Of The Forests (2022)

‘Linangkit’ (2015) -world premiere- 

First performance: 16 March 2015, St. Paul hall, university of Huddersfield. 
Oboist: Peter Veale

‘Linangkit’ is a traditional form of embroidery, which is made by several native tribes in Sabah, most notably the woman from Dusun Lotuds of Tuaran, a major tribe in Malaysia (Lasimbang & Moo-Tan, 1997).

The piece was conceived and inspired by the beauty, the authenticity, and the value of the ‘Linangkit’, a traditional weaving form of embroidery made by the Kadazandusun Lotud people. 

 I am fascinated by repetitively forming and shaping the perfect-imperfectness architectural patterns, transforming one’s memory, experience, and culture from an object; bringing the architectural patterns back to the (ir) life, through celebrating and passing it on from one generation to another.

I would like to dedicate this piece to Peter Veale, Tang Sook Kuan, and Howard Ng.


'Linangkit' (2015)

5 editions Atlas Academy workshop 2014 at Amsterdam Conservatory Haitink Hall-

Atlas Ensemble conducted by Christopher Trapani 
Musicians:
Gevorg Dabaghyan (Duduk in A, G, D)
Harrie Starreveld (Shakuhachi)
Naomi Sato (Shō)
Yifei Hua (Traditional Soprano Sheng)
Ding Xue Er (Gu Zheng)
Xing Lu (Erhu)
Antonis Pratsinakis (Cello)



'Re - Sketch(es)' (2014)_First Version_

Komburongo, also known as the sweet flag plant, is considered a sacred instrument by the Aboriginal people, the Kadazandusun, in North Borneo. They believe it serves as a spiritual guardian. It is used especially by the Bobohizan (local ritual specialists) to block evil spirits and prevent harm during spiritual healing sessions.

The work is written for a trio of percussionists, exploring a world 'in-between,' where positive and negative energies from the physical and spiritual realms are contacted, switched, and intertwined through sound and movement.

First performance: 7th October 2017, Soundbridge 2017, Concert III - Malaysian Voices V
Venue: Black Box, Damansara Performing Arts Centre (DPAC)
Musicians:
Yon Nian Shee, Yap Siu Yan, and Tan Sui Yin
Duration: approx. 16 min 20 sec

Lee Chie Tsang

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