Chen Yi Composing to Honor Her Past Michael Murphy
Michael Murphy is director of choral activities at the University of Idaho ( U of I), where he conducts the Vandaleers Concert Choir, University Chorus, Women s Choir, and teaches graduate and undergraduate conducting and choral methods. He is artistic director of the Palouse Choral Society Chorale and Chamber Choir and founder/artistic director of the Idaho Bach Festival. He received degrees in conducting and choral music education from Florida State University (PhD) and East Carolina University (MM BM). Murphy is President-Elect of Idaho ACDA.
28 CHORAL JOURNAL Volume 53 Number 2 Composer Chen Yi’s (Chen is her family name) choral music has enjoyed increasing popularity in the United States. Born and raised in China, she has successfully created a unique compositional voice of uniting Western and Eastern infl uences into her music. Chen is a Distinguished Professor at the University of Missouri-Kansas City Conservatory of Music and Dance and is also the 2012 ACDA Raymond Brock Commission Composer.
Murphy Describe your early infl uences and how they have infl uenced the compositional nature of your work.
Chen I started piano lessons when I was three years old and then violin lessons at age four. My parents, both medical doctors, are classical music fans. We listened to countless recordings, including voice solo works and operas from classical repertoire. As a child, I developed a love for the beauty of Chinese folk-song singing and the musical style of Beijing Opera. All these musical experiences are implanted into my ear and blood. They are the roots of my musical language in my compositions, including my choral works.
Murphy In 1986, you had the distinction of being the fi rst woman in China to receive a master’s de- gree in composition. Describe the path toward that achievement, and if you view the signifi cance of this honor differently after several years.
Chen I received both my BA degree and MA degree in composition from the Central Conservatory of Music in Beijing. Besides strict training in Western classical music composition technique, we under- went systematic research and study of Chinese tradi- tional music, including theory of folk songs, theatre, musical story-telling, traditional instrumental music in the classroom, and fi eld trips during vacations to collect folk music. I gave an evening concert of my symphonic works played by the Central Philharmonic Orchestra (now the China National Philharmonic Orchestra) at Beijing Concert Hall in 1986 before I left China for further study in Colum- bia University’s DMA degree program in the United States. It was not only an honor, but also a begin- ning of a new chapter in my musical adventures. The achievement helped me to begin building my professional career in composition outside of China.
CHORAL JOURNALJOURNALL Volume 53 Number 2 29 Chen Yi Composing to Honor Her Past
Murphy Describe your life as a com- vided me the opportunity to play in the choir. The folk songs captivated me by poser in communist China. orchestra and sample the revolutionary their beauty in sound, melody, and the operas. Consequently, it was from these combination of different timbres. From Chen During the Cultural Revolution orchestral performing experiences that that experience, I knew I always had to (1966–1976), Western music was led me to compose music for orchestra write for choirs. prohibited, and all schools were closed. during the next eight years. I became I had to practice my violin and piano familiar with orchestral practice (from Murphy When writing for choir, have secretively with windows shut and cur- performing to composing), including there been composers who have infl u- tains down, blankets inside the piano Chinese traditional instrumental music, enced you? and a metal mute on the violin’s bridge and the Beijing Opera. In 1978, I became at home. When I was fi fteen, I was sent one of thirty-two students out of many Chen I love many contemporary works, to the countryside to be “re-educated” thousands of applicants to be admitted including the pieces on Chanticleer’s with thousands of other middle school to the top conservatory in the country Grammy Award-winning CD, “Colors students. For about two years, my daily to begin a professional study in com- of Love.” I admire the composers on life was marked by forced labor. This position. the program, and enjoy listening to their daily existence of hardship brought me works. closer in understanding farmers and Murphy What inspires you about writ- the earth. Through this diffi cult time, I ing for the choral medium? Murphy Describe your typical compo- learned the importance of education sitional process for writing for choirs. and civilization. Musically, the spirit in Chen During my time at the Central Mozart’s music encouraged me to Conservatory, all composition students Chen I read many poems and always overcome the hardship and hope for were required to compose one vocal keep an eye on the nature of the lit- the future. When I was seventeen, I be- work per school year. In my freshman erature in hopes of fi nding text suitable came the concertmaster of the Beijing year, my professor, Wu Zuqiang, intro- for my choral writing. When I receive a Opera Troupe Orchestra in my home duced me to his Chinese folk - song commission, I fi nd a suitable text that city Guangzhou. This experience pro- arrangements for unaccompanied mixed could fi t the medium and instrumen- tation well for children, women, male, and mixed choirs with instrumental ensembles small or large, etc. The text might affect how I set the form for a choral work, but it may be some other factor. The most important step is to get an idea of the overall sound of the work, according to the mood and meaning of UNIVERSITY the text. Without a signifi cant musical image in the work, it will neither be MUSIC SERVICE gripping nor unique. 0/ "OX s (ERSHEY 0! 2OSS 7 %LLISON 0H$ /WNER AND -ANAGER Murphy Describe your three-year ex- perience as Composer In Residence for $ISCOUNT ON #HORAL -USIC Chanticleer. s 0ROMPT PROFESSIONAL SERVICE Chen From 1993 - 1996, I was the s &RIENDLY KNOWLEDGEABLE STAFF resident composer for The Women’s s 3PECIALISTS IN CHORAL MUSIC Philharmonic, Chanticleer, and Aptos 0HONE &AX Creative Arts Center in San Francisco. WWW5NIVERSITY-USICCOM E MAIL 3ALES 5NIVERSITY-USICCOM During my time there, I composed Symphony No. 2, Ge Xu [Antiphony] for “Serving the choral profession since 1979” orchestra, A Set of Chinese Folk Songs
30 CHORAL JOURNAL Volume 53 Number 2 List of Choral Works (all works are published through Theodore Presser)
Date Title Voicing/Choir Instrumentation Time 1985 Three Poems from the Song Dynasty SATB Unaccompanied 14’ (3 songs) 1994 Arirang SATB Unaccompanied 3’ 1994 As In a Dream (alternate version) SATB Soprano solo, pipa, zheng 7’ 1994 Sakura SATB Unaccompanied 1’ 1994 Set of Chinese Folk Songs SATB String Orchestra/Quintet (10 songs) (also version for Children’s Choir SATB -25’ and String Orchestra Children’s Choir -25’ and TTBB TTBB -17’ unaccompanied) 1995 Tang Poems Cantata SATB Chamber Orchestra 15’ (4 movements) (also version for Male Chorus) 1995 Written on a Rainy Night SATB Unaccompanied Not available and Wild Grass from “Tang Poems” (also version for Male Chorus) 1996 Chinese Myths Cantata Male Chorus Chamber Ensemble 36’ (3 movements) 1996 Lament of the Twin Stars SATB Unaccompanied 5’ 1997 Spring Dreams SATB Unaccompanied 5’ 1999 Chinese Poems Six Girls’ Choruses Unaccompanied 10’ (5 movements) 2000 KC Capriccio SATB Wind Ensemble 4’ (alternate 2001 version for Organ and Percussion) 2001 Chinese Mountain Songs Treble Chorus Unaccompanied 10’ (5 songs) 2001 Know You How Many Petals Falling SATB Unaccompanied 4’ 2001 Shady Grove SATB Unaccompanied 4’ 2001 To the New Millennium SATB Unaccompanied 10’ (3 movements) 2001 Xuan SATB Unaccompanied 3’ 2003 Landscape SATB Unaccompanied 3’ 2003 Two Chinese Folk Songs SATB Unaccompanied 6’ (”A Horseherd’s Mountain Song” and ”A Single Bamboo Can Easily Bend”) 2003 The West Lake SATB Unaccompanied 5’ 2006 Looking at the Sea Women’s Choir Unaccompanied 4:30 2008 From the Path of Beauty SATB String Quartet 35’ (7 movements) 2008 Two Chinese Folk Songs SATB Unaccompanied Not available (“The Flowing Stream” and “The Sun is Rising Out with Our Joy”) co-arranged with Steven Stucky 2010 Angel Island Passages Children’s Choir String Quartet 15’ (3 movements) 2010 Spring Rain SATB Unaccompanied 4’ 2010 With Flowers Blooming Women’s Choir Unaccompanied Not available 2011 Distance Can’t Keep Us Two Apart SATB Unaccompanied 5’ 2011 Early Spring SATB Chamber Ensemble Not available (fl ,cl,vn,vc,pn,perc.) 2012 Let's Reach a New Height SATB Unaccompanied 3’
CHORAL JOURNAL Volume 53 Number 2 31 Chen Yi Composing to Honor Her Past
for chorus, with or without accompani- formances at the Yerba Buena Center pretation. Describe your ideal conductor ments (in various versions, to fi t the for the Arts in San Francisco in 1996, who performs your works. needs of 6 middle schools, for Chanti- including, a CD that was released on cleer’s Singing – in – the - Schools pro- New Albion Records. Two songs from Chen It was my great pleasure working gram), Tang Poems (a set of 4 songs) for the Tang Poems are recorded in Chan- together with you at Florida State Uni- male choir, various Asian and American ticleer’s album “Colors of Love,” which versity. Your performance of my choral folk song arrangements for male choir, won a Grammy in 2000. Louis Botto and works was full of energy and expression. Chinese Myths Cantata for male choir, Joe Jennings are my mentors during my You really spoke for me in the music. I orchestra, and 4 Chinese traditional Chanticleer’s residency program. very much enjoyed your performance instruments, dancers and image projec- and interpretation of my work. I still re- tions. All these works were premiered Murphy When I worked with you in member vividly working together closely during my residency, and cumulatively 2007 in conducting several of your vocal with Mr. Joe Jennings in Chanticleer. He in a concert titled Chinese Myths and works, you were so generous and fl ex- helped me to adjust voices, parts, the Poems. There were three sold-out per- ible in the latitude of conductor inter- text underlay in my choral works, and
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32 CHORAL JOURNAL Volume 53 Number 2 arrange the order of songs in my multi- Chen Find local choirs to work with Murphy Any thoughts about the future movement works when it was needed. and send new compositions to “call for health of the professional composer? He gave me a lot of practical sugges- scores” advertisements and composition tions in composition as I worked with competitions so your compositions have Chen The future health of our profes- him during Chanticleer’s preparation of a chance to be performed. Composers sion is dependent on the composer my compositions. I am grateful for that must fi nd pleasure, interest, and desire taking a more active part in the practice opportunity and miss working with him to keep working in the fi eld. and activities of live music performance. tremendously. Composers must work more closely Murphy Congratulations on being cho- with musicians to share ideas, and to Murphy Do you have any advice for sen to be the 2012 ACDA Raymond make music compositions come alive. conductors who are shy in attempting Brock Commission composer. Is there It is urgently needed and encouraged. your choral works because of foreign anything that you can tell us about the language pronunciation issues? commission? Murphy Any trends in composing for choirs that you see emerging? Chen As a composer, I am very happy Chen I am grateful for the support to work with conductors in person, from ACDA. My unaccompanied work Chen Writing for many diverse languag- through a telephone call, and through for mixed choir will be titled “Distance es is emerging and very popular. Works e-mail to coach pronunciation. I am Can’t Keep Us Two Apart.” The text is are now being written with several lan- also delighted to share past recordings taken from a poem by the ancient Chi- guages (macaronic) within a single work. and detailed information regarding the nese poet, Wang Bo, in the Tang Dynasty. The catalyst of this may be the result of background on my works. If they contact The intent of the poem’s message is to infl uence from our multicultural society. me, I will respond in a timely manner. My treasure friendship no matter where publisher, Theodore Presser, even has your friends may be: in your home town Murphy Your life is marked by many some demo recordings of my choral or in other parts of the world. successes and achievements. What works to send out for perusal for ad- continues to inspire and motivate you? ditional help in pronunciation. Murphy Generally, how do you grade conductors of choral ensembles today Chen I am motivated by my love of na- Murphy How have you matured as in advocating, commissioning, and pro- ture, people, and society. The desire to a composer? Is this true also for your gramming new music. improve my understanding of peoples choral works? from different cultures, for a better Chen I look for innovative programming future for our world, and through our Chen I believe that no matter what en- with fresh ideas, concepts, and musical music acting as the bridge that continues semble you write for, the way to mature styles. Additionally, well-trained choirs to inspire and motivate me in my profes- as a composer is to continue to write, whose performances represent and re- sion as a composer. listen, and improve. fl ect the characteristics of a high–quality of musical learning and understanding Murphy Do you have any advice for that informs their performances of new aspiring composers who want to com- works. pose for choirs?
Chen Yi’s Choral Selected Discography (arranged by year)
The Palm Tree, Central Philharmonic Society Chorale/Yan Liangkun. Pacifi c Audio-Video Corporation (P-2318), Guangzhou, 1989.
Chinese Myths Cantata/Duo Ye No. 2/ Ge Xu (Antiphony)/Symphony No. 2 The Women’s Philharmonic, Chanticleer/Jo Ann Falletta, “The Music of Chen Yi,” New Albion, NA 090,1997.
Continued on the next page
CHORAL JOURNAL Volume 53 Number 2 33 Chen Yi Composing to Honor Her Past
Continued from the previous page
Guessing, Riding on a Mule, Song of Alishan, “A Cappella Chinese Folksongs”, Shanghai Philharmonic Chorus/Lim Yau, 1997.
A Set of Chinese Folk Songs (Fengyang Song, Jasmine Flower, Dui Dui Deng) Arirang, Sakura, “Wondrous Love, A World Folk Song Collection,” Chanticleer, Teldec 16676-2, 1997.
Written on a Rainy Night, Wild Grass (from Tang Poems) (2000 Grammy Award) Chanticleer, “Colors of Love.” Teldec [3984- 24570-2],1999.
Chinese Poems: Picking the Seedpods of the Lotus, The Cataract of Mount Lu, Crossroads, San Francisco Girls Chorus/ Sharon J. Paul, SFGC 0001, 2000.
Feng Yang Song, Mayila (arr. from A Set of Chinese Folk Songs),”On The Wings of Song,” Johor Bahru Chamber Choir, 2000.
Riding on a Mule, Jasmine Flower, Alishan Song (arr. from A Set of Chinese Folk Songs), The Palm Tree (from Three Song Dynasty Poems) Asian Choral Works I, Singapore Youth Choir /Jennifer Tham, 2000.
Wild Grass, from Tang Poems, Chanticleer, “A Portrait,” Teldec, 0927-49702-2, 2003.
Mayila and Fengyang Song from A Set of Chinese Folksongs, University of Utah Singers/Brady Allred [UUS-003] 2005
The West Lake, Electric/Chicago a cappella, on Centaur [CRC 2752], 2005.
Chinese Poems for women’s choir, in New York State School Music Association 2006: All- State Mixed and Women’s Chorus, on Mark Records, B001LU93CO, 2006.
Mo Li Hua (Jasmine Flower) from A Set of Chinese Folk Songs, The Heidelberg College Chamber Singers/Grant W. Cook III, Spring Tour 2006, Soundwaves Recording, Huron, OH, 2006.
Fengyang Song, Mo Li Hua and Diu Diu Deng from A Set of Chinese Folksongs, and Japanese folk song Sakura, Sakura, The Singing Sergeants, “An American Mosaic, Folk Songs of Our Diverse Heritage,” 2008.
Mayila, Riding On a Mule, Guessing, Diu, Diu Deng, “Now Let Us Sing!,” Florida State University Singers/Kevin Fenton, Mi- chael Murphy, and Craig Zamer, CDBY B002R83INO, 2009.
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We thank you for your support of our organization and the choral art.
34 CHORAL JOURNAL Volume 53 Number 2