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Shih-Hui Chen (B CMYK 80807-2 SHIH -HUI CHEN (b. 1962) SILVERGRAss & OTHER ORCHESTRAL WO RK S 1. Fantasia on the Theme of Guanglingsan (2014) 11:31 SHIH -HUI CHEN for Zheng and Chinese Orchestra ■ 廣陵散的迴響 SILVERGRASS Hsin-Fang Hsu, soloist; Little Giant Chinese Orchestra; Chih-Sheng Chen, conductor & OTHER ORCHESTRAL WORKS 2. A Plea to Lady Chang’e for Nanguan Pipa and Chamber Orchestra (2014) 9:09 推枕著衣— 南管新唱 Mei-Hui Wei, soloist; Loop 38; Jerry Hou, conductor Fantasia on the Theme of Plum Blossoms for String Orchestra (2011) 18:20 梅花操的迴響 3. I. Fantasia 暗香疏影 7:53 4. II. Ten Thousand Blooms 萬花競放 4:30 5. III. Plum Blossoms 釀雪爭春 5:56 National Taiwan Symphony Orchestra, Yao-Yu Wu, conductor 6. Concerto for Pipa and Chamber Orchestra (2002) 12:50 琵琶協奏曲 Wu Man, soloist; National Taiwan Symphony Orchestra; Yao-Yu Wu, conductor Silvergrass, for Cello and Chamber Orchestra (2016) 12:20 菅芒花大提琴協奏曲 7. I. Silvergrass 菅芒花 3:08 8. II. My Vegetarian and Sutra-chanting Grandmother 吃齋唸佛的老奶奶 3:34 9. III. Turtle Island 龜山島 2:07 10. IV. Guojun Is Not Coming Home to Dinner 國峻不回來吃飯 3:31 Wen-Sinn Yang, soloist; National Taiwan Symphony Orchestra; Yao-Yu Wu, conductor TT:64:42 New World Records, 20 Jay Street, Suite 1001, Brooklyn, NY 11201 Tel (212) 290-1680 Fax (646) 224-9638 [email protected] www.newworldrecords.org This compilation & © 2020 Anthology of Recorded Music, Inc.All rights reserved. Made in U.S.A. ntercultural composition is no longer a novelty. It has become a between her earlier modernist sensibility, with its rigorous control of familiar, even commonplace, phenomenon. With this recording, polyphonic layers and structural design on the one hand, and her search for Shih-Hui Chen (b. 1962) breathes fresh air into this important the inner self with materials distinctly different from Western tradition, that genre. In more ways than one, her transcultural work has blurred marks her accomplishment as a 21st-century composer. the lines between individual cultures and represents our rich Chen spent much of her childhood with her grandmother, who musical horizon today. owned a working-class hotel in a small town, Pa-Tu. The hotel lobby, where Chen excelled in the international modern-music scene she spent long afternoons watching people and listening to Taiwanese opera, well before she undertook intercultural projects. Her earlier work made a lasting impression. Such an upbringing fostered a closeness to Taiwan is characterized by intense modernist sonorities, polyphonic and filled her ears and eyes with down-to-earth musicmaking of the everyday, layers, yearning angular melodies, and firm control of orchestral some of which she began exploring in Fu II (1999). In the five works collected timbre and structure. Arriving in the United States in 1982, she was soon hailed here (ranging from 2002 to 2016), Chen broadens her reach into several as an outstanding young composer of her generation. By the year 2000, when branches of vernacular music—Nanguan music and Taiwanese opera—and the Ishe joined the composition faculty of Rice University, she had been the Chinese zither of traditional literati. Incorporating musical traditions from recipient of two composition fellowships at the prestigious Tanglewood Music different sectors of society gives considerable vital force to her works. Festival, a Guggenheim Fellowship, an American Academy in Rome Prize, and Notwithstanding this commonality, these works differ in significant a grant from the National Endowment for the Arts. Her String Quartet No. 3 ways. Two use traditional Chinese instruments as soloists with a Western (1994), premiered by the Arditti Quartet at Tanglewood, was lauded by The orchestra, one is written for both solo Chinese instrument and Chinese Boston Globe as having “... a sureness of step and gentleness of spirit that are orchestra, and the two remaining works are scored for Western orchestra. Yet it very winning.” Her Twice Removed for clarinet (2002), performed at Lincoln is the source of inspiration that really sets them apart. The earliest work, Center, was praised by the New York Times’ critic Allan Kozinn as “... ruminative Concerto for Pipa and Chamber Orchestra (2002), is abstract in conception, and involving, drawing the listener in through a process of gradual thematic with prominent pipa gestures that infuse the composition with distinctive metamorphosis.” The “gradual thematic metamorphosis” is indeed a modernist sonorities and melodic tropes. This is followed by three works, each of which trait of her musical language. Chen’s turn toward intercultural composition does uses a melodic source from traditional Chinese genres. Fantasia on the Theme not represent a break from this composition style. Rather, the texture, intensity, of Guanglingsan for Zheng and Chinese Orchestra (2014) is based on a well- and sonic web of her recent work all bear traces of the earlier style, thus known masterwork, which is full of drama and contrast. It shares certain sonic continuing to ensure a sophisticated sonic tapestry. It is the profound balance similarities with the pipa concerto. As a pair they differ significantly from the 2 3 two following works, centered around Taiwanese Nanguan music. Fantasia on sound. The use of this familiar pipa trope also makes it intimate. The mood the Theme of Plum Blossoms for String Orchestra (2012) uses as its basis a intensifies as a sweeping A resonating from all corners of the orchestra closes famous tune from the Nanguan repertoire, while A Plea to Lady Chang’e this section. The earlier mood disappears with the entry of the scherzo section, for Nanguan Pipa and Chamber Orchestra (2013) is essentially a setting of a full of strumming on the pipa echoed by pizzicati in the strings and staccati in traditional Nanguan song in the modernist sonic fabric. Both were composed after the winds. The witty character is continued by a small three-note ascending Chen spent a year as a Fulbright fellow in Taiwan, fully immersed in the genre. melodic figure on the pipa, playfully moving competitively either a minor or Nanguan has deep roots in Taiwanese culture and society, with which Chen major second upward, in dialogue with similarly short figures from soloists in identifies in a profound way. Finally, Silvergrass, for Cello and Chamber Orchestra the orchestra. The playfulness is brought to a halt by a quick descending (2016) represents a step further in that direction, not only tracing the sonic aspect glissando to a loud chord in the low register. The third section begins with the of another indigenous music genre—Taiwanese opera—but also delving deeply pipa’s expressive solo, full of repeated leaps of a seventh, which grows into into the words, sensibility, and poetic expression of one of the island’s literary the strings’ lyrical melodies. The fourth section rushes in with fast figures and a legends, author Huang Chunming, who is known for his plain, richly colloquial return of earlier elements, including rhythmic strumming, harsher sonorities, voice. The five works therefore present a subtle progression toward stronger glissando descent to loud chords, continuous tremolo on the pipa, and thicker utterance of the land that constitutes Chen’s musical imagination. orchestral texture, all full of momentum, producing a climax of chaotic sound. Concerto for Pipa is a second collaboration with pipa player Wu Man, Expressively, the strings rise to A, which marks the beginning of the final for whom she wrote Fu I and Fu II in 1999. The northern pipa used here is a section. A sequence of extended lyrical melodic gestures accompanied by four-stringed lute which has a pear-shaped wooden body with a varying harmonious sustained notes moves from one solo instrument to another. These number of frets, played vertically. Its characteristic sounds include sharp exchanges bring the piece back to an intimate space. The sustained A finally percussive fast strumming, five-fingered tremolos, rapid slides, and cascades of enters and signals the move to closure as the piece ends in a celebrated unity. rolling notes. Chen fully explores the extremes of the pipa’s expressivity, from In Fantasia on the Theme of Guanglingsan, Chen forms a fascinating the bright and harsh sounds of a battlefield to the warm tones of a love ballad relationship with a famous classic work, Guanglingsan, for guqin. Here it is to the mournful cries of a lament. In the five-part work, Chen devises the played by zheng, a zither placed on a table in front of the player. Guanglingsan striking effect of a sustained sonority on the single pitch A. It appears depicts a legend from the Warring States Period: The son of a swordsmith frequently in this piece. The work opens with a quick orchestral burst of a loud assassinated the draconian King of Han to avenge his father’s murder. Fearing tritone chord, followed by the sustained A. Against this background the pipa retaliation against his mother, he sacrificed himself to maintain anonymity. Yet, begins quietly with graceful short descending figures, as if revealing the interior the grieving mother identified her son, insisting instead that his legend was 4 5 greater than her life. It was a grand, moral piece. Beginning with pensive, lyric both her attachment to and detachment from the masterwork that the new (“civil”) style that evokes a feeling of melancholy, the classic work moves on to meaning becomes released and the new work emerges. robust and vigorous (“martial”) style, finally ending with lyric style again, in a Nanguan music is one of the most popular vernacular genres in lament. For Chen, the two distinctive emotions made a deep impression: “The Taiwan. Numerous amateur clubs have kept the genre alive for generations. It meditative character in the melody’s opening and ending provide a strong is known for its elegant and serene quality.
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