Scores page 2 樂譜/乐谱 2
More to come 更多將陸續上載
Tai-Chi for flute & guitar 《太極》 笛子和結他合奏
This was commissioned by Lucy Cartledge and Nicholas Hooper to be played at the Edinburgh Fringe Festival. I needed to submit a title before I had even written the piece for the festival programme. As Nicholas was practicing this martial art, I jokingly called it Tai-Chi. Though my cat Mao-Mao did not like this piece, Lucy and Nick liked the piece and have performed it at many venues. Later one of my cancer consultants, Dr. David Tong of Guy's & St Thomas', wrote a poem for this music. In this recording the poem is narrated by Jane Webster before the music.
Jane Webster narrates
Lucy Cartledge flute
Nicholas Hooper guitar
The music reflects the movement of this martial art, and also Yin and Yan opposing and complementing each other.
3.10 am for viola & guitar《零晨三時十分》中提琴和結他合奏加念白
This was based on extracts of a poem I could not make head nor tail of but I dramatised it. It was written for London Arts award-winning young performers of the year. In this case for William Waters and Norbert Blume. I was in my rebellious youth and aimed at breaking barriers. When the work was completed Norbert appeared to be put off by my notation method and didn't want to play it, so it was played by Richard Muncey. The poet asked me not to name him because the piece is so different from the nature of the poem. When the music critic Brigitte Schaeffer came for the performance, she mistakenly thought the concert started at 3.10 pm and hence missed the performance! When the work was broadcast in Hong Kong, I did not give it any programme notes and was surprised to hear the presenter describing the piece as about the aftermath of a nuclear war! Also, because I used rather unusual graphic notation, the guitarist John Schneider included an image from it in his book on guitar music.
Richard Muncey viola & speech
William Waters guitar & speech
Study on Thirds guitar solo 《 三度練習曲》 結他獨奏
This was specially written for William Waters.
William Waters guitar
Tremolo, & Melody guitar solo 《顫音》和《旋律》结他獨奏
These two short pieces were written for Gerald Garcia
(Arts Council commission).
Pentatonic Study for two pianos 五音練習曲 鋼琴二重奏
A very long time ago, Helen and Eleanor Wong asked me to write a short piece for two pianos for them to be performed at a conservatoire in Canton – I met them when I was a student at the Royal Academy of Music. The piece is called Pentatonic Study.
I prefer the Japanese pentatonic scale (do mi fa la ti) which has the augmented 4th and minor 2nd intervals (watch Sakura Variations). Chinese pentatonic (do re mi sol la) appears lacking in dissonance. As a small child in Hong Kong, I encountered Cantonese opera and noticed performers employing non-well tempered tuning, tone fluctuation, glissando ... and freely modifying existing music of any genre to make it their own. All these liberated Cantonese opera from the confines of Chinese pentatonic. When I compose pentatonic music I prefer writing for the voice and/or instruments that can bend pitches (watch Four Songs). At the time of writing the work, few Western Classical musicians would modify existing music to make it their own. The piano is well-tempered. A way to expand the sound from this restriction is using the sustaining pedal liberally and long pedalling, allowing all strings to vibrate in sympathy creating nuances akin to water colour. Also, I allow freely changing the tempo and rubato for personal expression. Instead of finding two matching pianos I would encourage the use of two pianos of different qualities, even to include a prepared piano to add contrasts. The markings in the music are only suggestions and can be ignored to explore your own. If you would like to use my score as a prototype to re-create, I would be delighted to hear a recording of the result.
NEW: Scroll down to see upload 11 September 2019
A string quartet called Intervals inviting any string quartet to give its world premier!
Intervals for String Quartet
When I visited the Korean composer Isang Yun in Berlin, he thought my interest in breaking barriers and electro-acoustic music dangerous, yet he liked this string quartet called Intervals. A long time ago, I showed the score briefly to Irvine Arditti of Arditti Quartet when he visited me, yet somehow for reason I didn't understand, I never sent the score to any quartet. Recently I think I finally understand why - the order of the movements should be reversed. So I have uploaded this, and would be happy for any quartet to perform it, and leave the order of the movement at their discretion.
Please use CONTACT if instead of downloading the PDF score, you prefer printed score and parts. I would be delighted to listen to a recording of your performance.
The decorative L shaped strip on the cover of the score (see PDF file on left) represents the sound of the 3rd movement : dot = pizzicato; slash = glissando; straight line = long note. This was written at a time when I was interested in graphic music. I drew the decorative L shaped strip first then used notation to interpret the drawing. I actually wrote the 3rd movement first, and it was chosen by SPNM (The Society for the Promotion of New Music) for its workshop in York (can't remember when). A Dutch quartet tried it at the workshop and liked it. Later I expanded this idea to write the 1st and 2nd movements.