chamber
…and then it turns to gold (2007)
for brass ensemble and percussion
6’00″
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Instrumentation: 3 trumpets, 3 horns, 3 trombones, & 2 percussionists
Like a fable, a magical moment takes place in this piece of music. Yet more important to me, was how to create a musical environment where magic would appear. Whether the “gold” exists or not is a different story entirely…
Premiere:
Faulk Scholars Concert (Denton, TX, 02/19/2007)
Stephanie Lee, Misha Garcia & Beth Peroutka, trumpets
Brad Flint, Natalie Phillips & Erin Schilling, horns
Nick Laufer, Alex Dubrov & Michael Jordan, trombones
Brady Spitz & DiMitri Higginbotham, percussion
Hsiao-Lan Wang, conductor
Tale of an Unborn Child (2006)
for flute and piano
9’00″
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program notes↓↑
In the fall of 2005, I started to develop ideas for a piece whose main subject is abortion. I became deeply sympathized with women who face the tough decision of abortion, for whatever reasons. In Tale of an Unborn Child, the perspective comes from the woman, who experiences confusion, joy, struggle, hope, and guilt about the pregnancy and the idea of abortion. This work is really about a woman’s battle within herself and the music aims to reflect her state of mind through her journey. As I started writing this piece at the end of year 2005, I found out I was pregnant. The baby would be born in summer 2006.
Performances:
Faulk Scholars Spectrum Concert (Denton, TX, 2/13/2006)
Cecilia Hamilton, flute
Daniel Zajicek, piano
Feminist Theory and Music 10 (Greensboro, NC, 5/27-31/2009)
Julie Smith, flute
Deborah Hollis, piano
Trio (2002-3)
for viola, vibraphone, and piano
12’30″
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mvt 1
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mvt 2
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winner of 2007 Athena Festival Chamber Music Composition Competition
Trio is written for viola, vibraphone, and pianoforte in two movements. The two movements share similar formal structures but carry different conversations among instruments. In many ways, Trio is a study of the relationships among voices: they sometimes act as soloists, as pairs, as contrasts, as conflicts, or do not have any relationship at all.
Performances:
Spectrum Concert (Denton, TX, 11/25/2003)
Christopher Williams, viola
Josh Jennings, vibraphone
Alice Kan, piano
Society of Composers Region VI Conference (Joplin, MO, 2/9/2007-2/10/2007)
Musica Nova, new music ensemble of University of Missouri-Kansas City
Laura Lee Crandall, vibraphone
Shoko Nakamura, piano
Allison Richards, viola
Athena Festival (Murray, KY, 3/7/2007)
Murray State University Faculty Chamber Ensemble
Sue-Jean Park, viola
John Hill, vibraphone
Stephen Brown, piano
Rugged Edges (2003)
for string orchestra
ca. 10’00″
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Instrumentation: string orchestra – 3,3,2,2,1 minimum
Finalist in the Composers Competition by Chamber Orchestra of Denton
Rugged Edges is composed for intermediate-level string orchestra although it is still possible to be performed by a professional one. The main concept in this piece is that modern music does not have to be difficult. Through specially considered notations, the players will be able to carry out non-traditional and complex musical thoughts without having to stress about extended techniques, although some are indeed included. Textures are the most important elements here and the transformation of textures is to be decided by all the players’ ears. It is hoped that through the rehearsals, players will open their ears to different elements in music such as timbre, intensity, articulation, intonation, and timing.
The conductor is given a vital role when executing this work and should bear clear images of the sounds in mind to lead the performers since the conductor often decides the exact lengths and shapes of gestures. I believe that everyone has musical talent that can be brought out by certain kinds of inspirations, and Rugged Edges provides a different way to approach modern music for the intermediate-level string orchestra.
Premiere:
Chamber Orchestra of Denton (Denton, TX, 03/14/2004)
Dax Stokes, conductor
Star Gazer (2003)
for flute and computer
8’04″
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Star Gazer explores the serene quality of the flute in an extended tonal style. The approach to this composition is an attempt to achieve pitch organization without applying traditional tonal system. The pitch B serves as the center of the material, which creates gravity to the movements. If listening without noticing these ‘background theories’, one can still enjoy this piece of music as it breathes through different phrases of timbres and articulations. The role of computer in this piece is to aid to the sounds of the flute without covering it. It is my hope that the performer and audience of Star Gazer listen to the music itself instead of the presence of technology.
Performances:
Test performance: Real-time Computer Music class final concert (Denton, TX, 05/08/2003)
Cecilia Hamilton, flute
Premiere: 2003 LaTex Electroacoustic Music Festival (Denton, TX, 11/08/2003)
Cecilia Hamilton, flute
2004 Gamma UT conference (Austin, TX, 04/10/2004)
Cecilia Hamilton, flute
2004 Electronic Music Midwest (Romeoville, IL, 09/18/2004)
Laurel Tempas, flute
2004 Society of Composers Inc. Region IV Conference held at Winthrop University (Rock Hill, SC, 11/11 ~11/13/2004)
Jill O’Neill, flute
Sunday Night Multimedia Series (Bozeman, MT 10/19/2008)
Karen Leech, flute
A Golden Leaf Drifts Downstream (2003)
for two tingkliks (Indonesian xylophones) and computer
ca. 5’30″
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A golden leaf just left its branch beginning a journey alone. As the warm air brushes the surface of the cold placid water, the leaf winds its way past the many wonders of nature. A Golden Leaf Drifts Downstream draws associations between the peaceful sounds of the tingkliks and various natural settings.
Performances:
Interactive Computer Music Class Concert (Denton, TX, 03/27/2003)
Hsiao-Lan Wang and Chapman Welch, Indonesian xylophones
Centerpieces Concert series (Denton, TX, 04/21/2003)
Hsiao-Lan Wang and Chapman Welch, Indonesian xylophones
Electronic Music Midwest (Kansas City, MO, 10/31/2003)
Hsiao-Lan Wang and Daniel Zajicek, Indonesian xylophones
Transformation (2000, 2001)
for brass quintet
7’30″
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I have always been fascinated by the timbres of brass instruments but have delayed the writing of a brass quintet because I honestly cannot play any brass instruments. Eventually, I gathered enough knowledge (and courage) to compose for this beautiful set of instruments.
The “transformation” in this work focuses on the timbral aspect of composition. Trumpet, French horn, trombone, and tuba all have their unique timbres in certain registers, but have very similar tone quality in other registers. I play with this idea of “changing timbral relationships” in the creation of this work as well as the spatial arrangements. Different instruments work together to complete a single line, and through this process, spatial rotation is achieved. The different degrees of directionality residing in these instruments are also employed to increase the depth of the aural landscape.
Performances:
Premiere: Spectrum Concert Series (Denton, TX, 10/21/2002)
Eddie Phillips and Jeff Norman, trumpets
Ryan Palmer, horn
Bo Clifton, trombone
Brian Honsberger, bass trombone
Tony Baker, conductor
SCI Region VI Conference (Huntsville, TX 4/16/2008)
Sam Houston State University Faculty Brass Quintet
Festival of Women Composers (Indiana, PA 3/20/2010)
Hoodlebug Brass
Refrain (2000)
for yangchin and tape
8’25″
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Yangchin (Chinese dulcimer) has long been a major leading instrument in Chinese chamber music. Its rich timbre and dramatic performing tradition make it a true excitement to experience both aurally and visually. So far, very few pieces involving yangchin have been composed in contemporary style, even fewer electro-acoustically. It is a real challenge for me to compose in such a new medium for such an old instrument. As a yangchin player myself, I am able to compose for its extreme capabilities within a rational structural scheme.
In the yangchin part, idiomatic writing was applied to preserve the traditions developed in the past centuries. Also required, are new techniques that are uncommon in traditional writing, used to broaden the capacity of this beautiful instrument. In the tape part, most samples were collected from the instrument itself. After manipulation and editing, I managed to create different shapes and textures, which extend the sonic potential and add to the variety in this piece.
Performances:
Composers’ Guild Concert Series (Kansas City, MO, 2000)
Hsiao-Lan Wang, yangchin
Musica Nova (Kansas City, MO, 2001)
Hsiao-Lan Wang, yangchin
UMKC/ASU Composers Exchange Concert (Kansas City, MO, 2001) SEAMUS (Iowa City, IA, 2002)
Hsiao-Lan Wang, yangchin
Electronic Music Midwest (Kansas City, KS, 2002)
Hsiao-Lan Wang, yangchin
Dutch National Radio radio broadcast (2002)
Composers’ Forum Concert Series (Denton, TX, 2002)
Hsiao-Lan Wang, yangchin
CEAIT (Valencia, CA, 01/08/2003)
Hsiao-Lan Wang, yangchin
International Congress of Women in Music (Beijing, China, 4/21/2008)
Luo Yuan 羅媛, yangchin
Sunday Night Multimedia Series (Bozeman, MT 10/19/2008)
Hsiao-Lan Wang, yangchin
One Chilly Night (1997, 1999)
for string quartet
7’00″
Linkage from Blackness (1999)
for pipa solo, clarinet, horn, cello, double bass, and percussion
Circular Motion (1998)
for lioyeh chin, piano, harp, bassoon, horn, tuba, and percussion
Prelude and Fugue (1998)
for a keyboard instrument
Scenes of Dreams (1998)
for five flutes and two percussionists
Games (1997)
for percussion solo – two congas and two bongos
Three Duets (1997)
for Trombone and Piano
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mvt 1
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mvt 2
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mvt 3
Piano Sonata (1997)
Incidental Dance Music (1997)
for various sounds on a MIDI keyboard
Dream (1997)
for soprano, string quartet, and harp
Invention (1996)
for a keyboard instrument
Variation on a Theme by Brahms (1996)
for piano duet
String Quartet No. 1 (1996)
Sonata da Chiesa (1995)
for oboe and harpsichord
Three Preludes (1995)
for Piano
