著痕 TRACES (2024)
Screen Dance
“[…] freedom – both artistic and physical.” (- Maya Deren) Foaming ocean, a red fan like a body of flesh, its veil curls and crests into the white head of a wave. Wooden art figurines are submerged in the veil. A faded projection of a stony beach in a dance studio — a camera on a tripod filming the scene. The camera falls. A female figure emerges and embarks on a mythical trip through impressions and reflections of the dialectic of the notions of “professional” and “amateur”. Traces, is a conversation between different perspectives, literally and metaphorically. Animals appear as symbols and references. An accompanying march composition, like an inner monologue, emphasises the pictures we see. During the ‘transformation’ (from professionalism to amateurism, and vice versa) section, the processing electronics, Chinese percussion, marching pulse and snares act/function as a transition of revolutionary announcement with particular ordinary and regularity but “support” certain odds and discrepancies from ‘freedom’ collages for the dancer to explore her liberty or an open mind, whether would discover and settle down to her own new “discipline” in the end. Through the physical movement of interlocking shots, images and sounds, the ‘traces’ intertwine within the marching, bearing the weight, dynamic and tension from the questioning in the flux between professionalism and amateurism or their syncretism. The dance/film is choreographed and edited by Sumi Xiaomei Cheng.
Click the Above Image & Watch:
The Dancer, Sumi's info :
https://londonsdancer.com/2024/12/21/anne-teresa-de-keersmaekers-exit-above-a-dance-review/
間．步 Steps within Gaps (2024)
Piano Solo
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Info:
Steps within Gaps was inspired by the meters and physical image of soldiers marching. This is a concert march for piano, which transforms traditional march patterns by using unusual ‘gaps’: silences, harmonic changes, and left -right pedalling to create unique patterns. This process is designed for the pianist to create the allusion of ‘marching’ between different ‘spaces’ and produce a new format which lies beyond the traditional military march discipline.
During the compositional process, the composer collaborated with a choreographer, Chi-Hsuan Lin, who used the new march materials to create a special dance work for three dancers based on the composer’s background and military training experience.
The piano work can be performed as a solo work or with dance choreographed by Lin.
The first-take recording is played by Chun-He Yu.
樊華歲月 Unforgettable Times by Gen. Fan (2023)
For Wind Ensemble
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Info:
It is a large-scale wind music piece commemorating the pioneer of wind music in Taiwan, General Fan Xiehua
(the first Captain of the R.O.C. Ministry of National Defense Symphony Orchestra).
The pieces are divided into four sections:
I. Returning Time
II. Great Contribution to Invincibility
III. Looking Back at the Army
IV. The Army Soul of Gen. Fan.
和平之鐘 The Bell of Peace (2023)
For Orchestra
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Info:
The piece can be divided into four sections:
I. Mourning Bell after the War
II. Remains still the Spirit of Veteran
III. Ode to Peace
IV. The Bell of Peace
契闊同舟 Be in the Same Boat (2021)
For Wind Ensemble
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Info:
It tells the story of a group of residents living on an island; they depart from their homeland and attempt to stick together to fight against the enemy. In the progression of the music, the composer utilised the horns, brass, percussion, and woodwinds to organise a concerto form to describe the war scenarios, vibes and tensions. In addition, there is an energetic and lively march, including fanfare and dialogue as if supporting the morale of the troops on the boat (or ship). After experiencing chaos, they finally adjusted their pace, brought back a great triumph, and also opened their hearts to welcome the brilliant future, with a magnificent Picardy third cadence at the end of the music.
器息 The Breath Steps (2018)
For Electronics
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Info
Each sound of electronic music is like the pulse, and rhythm of the air in our lives. Moreover, it would be the ‘breath’ in steps when the pulse is working, then the life (music) could keep going and going......at last, it will arouse fresh and true values and meanings.
中華民國軍歌鋼琴獨奏曲集 The selected arrangements of military songs of Taiwan, R.O.C, for piano (2022)
For Piano Solo
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Info:
The pieces are originated from our country’s military songs, and I arranged them in different styles, such as Eastern, Jazz, Romance, March and Pop, etc. In so doing, I wish to popularise our military songs with the approach of diversity, which could catch the audience’s attention, and also try to revive the tradition of our original and national music.
炎夏 The Hot Summer (2019)
For Electronics and Piano
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Info:
burning summer—bike wheels and heavy running footsteps on the tarred road, the song of cicadas, kicking dried leaves, old upright piano, etc. Moreover, there are some instrumental parts along with the recording sounds to strengthen the emotion—irritable and moody feelings from the scorching working environment. At the end of the piece, the protagonist who is tormented by the weather, after playing some dissonance improvisation passage, finally gets released by covering the upright piano, then drinking water, and turning on the air conditioner. In my view, real sounds could symbolize the living very directly, but music would assist them to become more vivid. The composition's purpose is to combine and organize realistic sounds and music ideas together to create a “sound drama” with some interesting effects and specific emotions.
沖繩的夏日戰爭 Summer Fighting in Okinawa (2017) fit. Chen-Wei Lo (composer)
For Flute and Piano
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Info
The piece for flute and piano was composed by the two original players (as in the attached video). Its inspiration came from the history and culture of Okinawa, revealing the conflicts and fusion of the local residents and the US Army. In music, the composers used the Okinawa traditional scale, specific flute-playing skills (flutter tonguing, breathy voice, etc.) and the rhythm of Shamisen and Swing groove to symbolise the interrupting interaction and dialogues between the two virtual roles represented the Okinawan and American soldier.
