Photo by 攝影師:Victor Fan 范可樂

Music 音樂

Nell'azzuro 藍 (2002)
Originally recorded in 2002 for a solo instrument called zhongruan (a Chinese instrument that sounds like a guitar), this piece was originally a birthday gift for my friend Robert Burr.
​錄音時分為2002年。這首歌本為我好友Robert Burr而作。中阮獨奏。

This page is under construction. More pieces will be listed soon.

​本頁正在擴展中。稍後會有更多音樂作品。

Dance 舞 (2008)
I first composed the piece back in 1992, when I studied at the Eastman School of Music. It was initially a response to Murakami Haruki's novel Dance, Dance, Dance. More than twenty years later, in 2008, I revised the entire piece into a concertino between the Chinese instrument zhongruan (a guitar-sounding instrument) and a chamber ensemble. In my revision, I left Murakami's novel behind. What I had in mind was not the actual rhythm and form of a concrete dance; rather, I was captivated by the idea, shape, form, and structure of feeling of a dance.
​這首曲子最初寫於1992年。當時,我還是伊士曼音樂學院的學生。那時候,我剛讀過村上春樹的《舞、舞、舞》,想以音樂做一個回應。後來,在2008年,我把曲子重新寫成一個中阮和室樂團的小協奏曲。重寫時已經再沒有村上的影子了。我的腦子裏並沒打算具體地把一隻舞的節奏寫出來。取而代之,我是被舞的意思、形狀、形式和感覺結構,透過這首曲子表現出來。
Point Dume (2009)

Point Dume was written in 2009 as a symphony that features a solo piano and a harpsichord. Its model is Leonard Bernstein's The Age of Anxiety. In fact, I started writing the first movement of Point Dume after hearing the New York Philharmonic's performance of Bernstein's symphony. There was no subject matter in my mind when I was writing this piece. I was simply obsessed with the various textures of counterpoints, polyphony, and at times, cacophony. During my creative process, my mind was guided by the way a set of intricate relationships between intervals navigate through time. This process of creation allowed me to negotiate, in an absolutely sweeping manner, between chaos and quietude, "holding on" and "letting go."

 

The name "Point Dume" was put onto the first page of my score as an afterthought. It is the name of my favorite beach in Malibu, where I used to spend entire days embracing the surfs.

​寫於2009年,Point Dume為一首標榜了鋼琴和古鍵琴獨奏的交響樂。它的模特兒是倫納德·伯恩斯坦的《焦慮年代》。事實上,我實在聽過了紐約管弦樂團演出了伯恩斯坦這首曲子之後開始寫作的。寫作當時,我並沒有想到任何題材。我只是沈迷地戀上了各種對位、複調、和刺耳聲音所帶來交錯的質感。在創作過程中,我的思維只是被一系列巧妙的音程關係在時間中穿插帶動。這創作過程容許我一氣呵成地斡旋混亂與寧靜、執著與放下的關係。
Point Dume這個名字是作品寫成之後加上的。這是我最愛的馬里布海灘。我曾經喜歡從早到晚在那裏擁抱它的海浪。
Goodbye, Derek, Goodbye 當初可曾說再見? (1996)

"Goodbye, Derek, Goodbye" was a piano piece originally written as a soundtrack for a 16 mm film I made in the summer of 1996 in New York. It was intended to be an elegy for British filmmaker Derek Jarman. The entire piece is contrapuntal, not only between notes but also between sound and silence. Harmony is sometimes created by using the piano's sustain pedal to hold a series of contrapuntally juxtaposed notes into a vertical structure––and at other times, by taking advantage of the reverberation in a recital hall. The only chord I employed consciously in the entire piece was the "Tristan" chord, which serves a point of accumulation in the piece's overall structure. It is, in a way, one of my favorite pieces.

​《當初可曾說再見》原本是為我在1996年夏季在紐約拍攝的一部16米厘電影而寫的音樂。當時心目中是為了英國電影人戴力·詹文作的一首輓歌。我在全曲採用了對位法。其中,除了樂音與樂音之間的對位,也利用了樂音與靜默間的對位。和聲主要是利用鋼琴的腳踏和音樂廳的回聲來構建起來。全首歌唯一特地寫下去的和聲只有一個「Tristan Chord」;這也成為了整個樂曲結構的一個高峰點。這可算是我其中最喜歡的一首作品。