Name: (t)here (2017) by Zihua Tan
Duration: 14 min
Description: Premiered by Ensemble Wapiti: Geneviève Liboiron (Violin*) Daniel Áñez(Piano*) *amplified Sound engineer: James O'Callaghan 28.02.17 Concert produced by Codes d'accès for the Montréal/Nouvelles Musiques Festival

"Collectivision" for 7 mouth harmonicas and accordion. KNM Berlin, Sergei Tchirkov, Fedor Lednev
http://www.filanovsky.ru/mp3/cvision.mp3

Collectivision

guitar: Christelle Séry

Le train de la vie is a series of works begun in 2010 composed for solo instrument and electronics.
Le train de la vie V – Alison is dedicated to Christelle Séry and was commissioned by the Why Note Festival, Centre national de création musicale La Muse en Circuit, Césaré and GEME.
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The sound of the piece consists of three levels of continuously superimposed sounds: electric guitar, pre-recorded sound loops, and electroacoustic extracts.
These three principle sounds also contain several levels of sound inside each sonority (such as harmonic sounds - ordinary- noise of electric guitar) in a search for directionality and morphology: time and light superimposed.

The rain has stopped, the clouds have drifted away, and the weather is clear again.
If your heart is pure, then all things in your world are pure.
Abandon this fleeting world, abandon yourself,
Then the moon and flowers will guide you along the Way.

- Zen Master Daigu Ryokan (良寛大愚) (1758–1831) 
Translated by John Stevens   

Text: Liao Lin-Ni
______________
The album "pages électriques" recorded by Christelle Séry (ed. onze heures onze) was awarded by Prize Charles Cros 2019.
http://www.charlescros.org/Selection-musique-contemporaine-2019

Score published by Ed. Maison ONA, Paris 
https://www.maison-ona.com/catalog-0047ONA

* You can also consult ScoreFollower: 
https://www.youtube.com/watch?v=3SXdLCvGiR0
** Film of Stef Bloch regarding the "Pages électriques" of Christelle Séry
https://vimeo.com/116341219
_________________________

- Critics -
Michèle Tosi, ResMusica, 7 December 2019
Guitare électrique sous les doigts experts de Christelle Séry
https://www.resmusica.com/2019/12/07/guitare-electrique-sous-les-doigts-experts-de-christelle-sery/

Laurent Bergnach, Anaclase, 
http://www.anaclase.com/content/r%C3%A9cital-christelle-s%C3%A9ry

Lé Quan Ninh, April 2019
https://bandcamp.com/EmbeddedPlayer.html/ref=https%253A%252F%252Fwww.google.com%252F/album=1148816623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/

Liao Lin-Ni : Le Train de La Vie V - Alison(2014) for guitar and electronics

tracing grew out of a concern with structural possibilities of  musical figuration and ornamentation. In an attempt to put in question the relationship between musical figure and background, the melody is dissolved within the texture into isolated instances. My attempt was to create a haphazard tracing of a melodic voice, one that can only occasionally get past the stutters and pixelations produced by the ensemble. In contrast with this, slow oscillations or reiterations of material create another instance of a similar obstruction of the melodic perspective.  

The relationship between the figure and the background is also evident in the instrumentation. The music is always in a state of flux with regards to the role of the instruments. On the one hand, looking back to the history of the baroque trio sonata, the two violins are cast as complementary ‘melodic’ instruments against the basso continuo of the cello and harpsichord, while on the other harpsichord is presented as the ‘odd-one-out’, whether it is conceived as a soloist against the ensemble or as a disruptive element to the continuum of the strings.

violin I - Clara Lyon
violin II - Austin Wulliman
cello - Russell Rolen
harpsichord - Amy Briggs

image: Matrakçı Nasuh – Istanbul

tracing

Venice Art Biennale 2015

Studio for New Music Ensemble
Ekaterina Kichigina - soprano
Igor Dronov - conductor

Compassion For A Thing (2015) for soprano end ensemble

Torpeurs d'été (2009-10)

Merci tout particulier à une taupe-grillon et à un balbuzard pêcheur anonymes!
Pièce immersive pour octuor de flûtes amplifiées, traitées et spatialisées autour du public + 6 haut-parleurs pour l'amplification et le traitement des flûtes + 14 mini-hauts-parleurs disposés dans le public pour des échantillons très doux.
Pièce dédiée à mon ami et compositeur Wolf Edwards.

Enregistrement de la création, ECM+, Salle de concert du Conservatoire de musique du Québec à Montréal, 16 mai 2016.

Ensemble Contemporain de Montréal +
Direction musicale et artistique: Véronique Lacroix
Direction technique: Jean-François Blouin
Déclenchements traitements et échantillons: C-A Fréchette
Flûtes piccolo : Josée Poirier, Marie-Lène Provencher-Leduci 
Flûtes en do: Marie-Hélène Breault, Arianne Brisson
Flûtes alto: Geneviève Deraspe, Jeff Stonehouse
Flûtes basses: Guy Pelletier, Mark Takeshi McGregor

Torpeurs d'été (2009 - 10)

Noam Bierstone - Percussionist in Piano
Anthony Tan - Electronics
Recorded and Engineered by Will Howie

PoseIV: in situ (2016, rev. 2018) - for piano and electronics - Noam Bierstone - Studio Recording

Distractfold live at Kammer Klang, Café Oto, October 4, 2016.
Instrumental performance, expressive signal processing, looping and live track mixing by Linda Jankowska, Emma Richards and Alice Purton. 
Recorded by Shaun Crook.
Mixed by Mauricio Pauly.
Mastered by Richard Scott.

Charred Edifice Shining, for amplified string trio

Premiered by Ensemble Wapiti:
Geneviève Liboiron (Violin*)
Daniel Áñez(Piano*)
*amplified

Sound engineer: James O'Callaghan

28.02.17
Concert produced by Codes d'accès for the Montréal/Nouvelles Musiques Festival

(t)here (2017)

for 15 instruments

Premiered by Nouvel Ensemble Moderne, conducted by Lorraine Vaillancourt. 24 November 2017. Salle Claude Champagne, Université de Montréal.

Image by Nevit Dilmen

the weight of transparency | 24.11.2017 | Nouvel Ensemble Moderne conducted by Lorraine Vaillancourt

暗影 | Darken
for piano four-hand (2017)
Commissioned and premiered by Ming-Ching Wu and I-Yi Pan on October 30, 2017 at the National Concert Hall in Taiwan

Program Note
What is piano 4-hand? Is it merely to have more voices played at the same time, such as the case in orchestral or symphonic reductions? Or is it just to extend the range possibilities of 2-hand? I believe there is an area that has yet to be explored in this unique arrangement. In this piece, two hands will be heard as usual, while the other two are always hidden, functioning as shadows, manipulating resonances and sound situations between the sonic attacks. What has interested me about the piano is always the resonances, and what happens to the resonances during the natural decay. Can these beautiful and mysterious resonances be transformed and overtake the attacks? Can the piano have different sonorities and textures at the same time without any preparations?

2017

Darken for piano four-hand

18.09.06 | Gaudeamus Muziekweek | Utrecht, Netherlands
Quatuor Bozzini, Dudok Kwartet, and Quatuor Alcea

The Innocence of Trees

For video recordings and more details, visit:

https://zihuatan.bandcamp.com/album/what-came-before-me-is-going-after-me

http://www.zihuatan.com

(t)here (2017)

Zihua Tan

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