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Pierrot's Dreams

—— Moscow Contemporary Music Ensemble

 Time:2017-05-26

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At 19:30 on May 26, 2017/Friday

CCOM Opera & Concert Hall




1.Edison Denisov (1929-1996)               “DSCH”  for clarinet, piano, violin andcello

 

2.Deqing Wen (b.1958)                        “The shepherd boy’s flute”  for flute solo

 

3.Alfred Schnitke (1934-1998)               Sonata No.1 for violin and piano

 

                                     --------Intermission-----

 

4.Pavel Karmanov (b.1970)                   “Gift to yourself on birthday” for alto flute, cello and piano

 

5.Oleg Paiberdin (b.1971)                     “Guo Hua” for flute, clarinet, piano, violin and cello

 

6.Zhong Juncheng (b.1954)                  “Huashan murals” for flute, clarinet, piano, violin and cello

 

7.Alexander Radvilovich (b.1955)          “Pierrot’s Dreams” for flute, clarinet, piano, violin and cello




Ivan Bushuev, flute

Oleg Tantsov, clarinet

Mikhail Dubov, piano

Vladislav Pesin, violin

Ilia Rubinshtein, cello






Moscow Contemporary Music Ensemble


Moscow Contemporary Music Ensemble (MCME) was founded in 1990 by Yuri Kasparov, under the patronage of the famous Russian composer Edison Denisov. The ensemble focuses on promoting 20th and 21st century music.  It is Russia’s foremost contemporary chamber ensemble and consists of some of the best Russian musicians specializing in modern music. 


MCME has strong educational goals and works closely with both Russian and international cultural foundations to bring contemporary music to a wide range of audiences.  As part of this goal, MCME has organized the International Young Composers Academy (Tchaikovsky City, Ural) to bring together both young composers and internationally recognized composers in workshops.


The ensemble’s repertoire is quite extensive and has included the premiere of almost 800 different works.  Particularly, they champion the music of Russian composers of the 1920’s and ‘30’s, such as Nikolai Roslavets and Alexander Mosolov.  Additionally, they regularly perform music by “Shestidesyatniki” (1960’s Russian) composers.  MCME regularly performs in many diverse locales across Russia (80 cities) and elsewhere in the world, including Armenia, Austria, Belorussia, Czech Republic, Cyprus, Denmark, Finland, France, Georgia, Germany, Great Britain, Italy, Japan, Lithuania, Macedonia, Moldova, the Netherlands, Poland, Romania, Slovakia, Spain, Switzerland, Turkey, Ukraine, Uzbekistan and USA. MCME performed on the best concert stages, took part in the biggest international festivals such as “Moscow Biennale for Contemporary Art”, “DiaghilevFest” (Russia, Perm), “Radio-France presences” (Paris), “FrankfurtFest”, “Maerzmusik” (Germany), “Gaudeamus music week”, “The Night of the Unexpected” (the Netherlands), “Warsaw Autumn” (Poland), “Klangspuren” (Austria), “Tranasrt” (Italy) and other.


MCME has recorded more than 50 CDs for leading CD labels, including Olympia (UK), Harmonia Mundi (France), Triton (Japan), Donemus (The Netherlands), Fancymusic (Russia), etc.


MCME collaborates with the leading contemporary composers; among them are Beat Furrer, Louis Andriessen, Philippe Leroix, Pierluigi Billone, Mark Andre, Klaus Lang, Enno Poppe etc.


Each season MCME gives around 70 concerts in Russia and abroad. The special place in repertoire is allocated for music of young Russian and foreign composers. The ensemble also takes active part in the international multimedia and theatrical projects. In 2009 MCME became the winner of the Award ACTION in support of theatrical initiatives. In 2013 MCME got the Award GOLDEN MASK.


www.mcme.iscmrussia.ru,mcme@rambler.ru

 

 

Composers & Pragram Notes  According to the repertoire order


EDISON DENISOV


EDISON DENISOV (1929-1996) born in Tomsk (Russia) and died in Paris. A pianist by training, Edison Denisov studied both mathematics and music at Tomsk in Siberia. He obtained a doctorate in mathematics and then, in 1952, entered the Moscow Conservatory in the classes of Vissarion Shebalin, Nikolaï Rakov, Viktor Zuckerman and Vladimir Belov. In 1959 he taught the analysis of musical forms, orchestration and later composition at the same conservatory. His path was marked by encounters: Luigi Nono in 1962, Pierre Boulez in Moscow then at Ircam, Gyorgy Ligeti in Hamburg and Henri Dutilleux, in France, in 1976. Edison Denisov directed the Moscow Association of Contemporary Music and became a corresponding member of the fine-arts academies of Bavaria and of Berlin. The style of Edison Denisov is refined, meticulous, both romantic and melancholic. Intemporal ideas of beauty, of good and of light constantly recur throughout his output. He created a style rich in chromatic textures and in micro-polyphonies, with subtle voice leading and tone-colours in a controlled dramaturgy. He freely uses pre-existent techniques and procedures, inserts quotations and writes variations and orchestrations of more classical composers (Mozart, Beethoven, Schubert). He is also inspired by visual artists and writers such as Paul Klee, Boris Birger, Pablo Picasso, Boris Vian, Georges Bataille and Alexander Pushkin. He has collaborated with Yuri Liubimov for the development of stage productions in Russia and has written much film and incidental music. His works include: Le soleil des Incas (1964), Peinture (1970), Concerto for flute and orchestra (1975), Concerto for violin and orchestra (1977), Requiem (1980), L’écume des jours (1981), Au plus haut des Cieux (1987).


“DSCH”, version for clarinet, violin, cello and piano (1969)

 

The piece was commissioned by Polish ensemble «Atelier de musique» directed by the well-known Polish composer and pianist Zugmunt Krauze. The ensemble consisted of unusual line-up: clarinet, trombone, cello and piano. Tonally it is based on the monogram of Dmitri Schostakovich (d - s - c - h), a composer who played a very big role in the Edison Denisov's biography (he was first who called him to study as a composer). “DSCH”  is so-called Hommage to the great Maestro from his pupil. The composition became the first piece in Russian contemporary music that uses the Schostakovich's monogram (first Schostakovich himself used his own monogram in the Eight string quartet). The piece is composed in serial technique based on the monogram that develops in the different micro-serial ways. This is primarily sonorism, down from a variety mikrodetaley - individual intonations, motivations, and each sound; they are all intertwined polyphonic ring tone here but special. This micropolyphony, ie polyphony micro-details sets and individual items.

The piece was premiered with a big success, and Schostakovich also appreciated it very much. However the piece performed rarely because of the unusual line-up while several years ago a soloist of Moscow Contemporary Music Ensemble Oleg Tantsov made a version for clarinet, violin, cello and piano.

 

 

Deqing Wen

 

Deqing Wen, composer, studied composition at Fujian Normal University (China) with Guo Zu-Rong, the China Conservatory of Music with Shi Wan-Chun and Luo Zhong-Rong, le Conservatoire de Musique de Genève (Switzerland) with Jean Balissat, le Conservatoire National Supérieur de Musique de Lyon (France) with Gilbert Amy, and Columbia University (US) as a visiting scholar under Tristan Murail. He has been listed in Who’s Who in the World of Music by Cambridge Biographic Center. He is currently a professor of Composition at Shanghai Conservatory of Music and Artistic Director of Shanghai New Music Week. He is also a member of the Societé Suisse pour les Droits des Auteurs d’Oeuvres and and vice-chairman of the China-ASEAN musicians union.

 

Deqing Wen has been honored with concerts portrait, as well as master classes, dedicated to his compositions in China, Switzerland, France, Denmark, the United States, Germany and Israel. His works are published by Swiss Musical Edition, Bärenreiter-Verlag (Germany), Shanghai Conservatory of Music Press, Beijing People’s Music Publishing House. His albums are released by Stradivarius Records (Italy), Grammont Portrait Contemporary SWISS, Naxos Records, Shanghai Music Publishing house and Fujian Audio and Video Publishing House.

 

Wen is a chosen composer of the Prize of the State of Geneva 1993, the Prix Cultura 1999 of the Foundation Kiwanis and the Composer Prize 2001 of the Foundation Leenaards of Switzerland.

 

The Shepherd Boy’s Flute  for solo flute(1999)


 

This composition is quite a challenge to the performer, for it has combined a number of new techniques together apart from the one I created by myself. As for the audience, however, all they have to do is follow the music to the picturesque and poetic scenery in which a cowherd boy is playing the flute leisurely on a bull when crossing a flower-strewn meadow.

 

 

ALFRED SCHNITTKE


ALFRED SCHNITTKEwas born on 24 November 1934 in Engels in southern Russia. On his mother’s side he was of Volga German and Roman Catholic extraction, on his father’s side he was German-Jewish. His sense that his background set him apart from the majority in the USSR was reinforced when, from 1945-48, his father was posted to Vienna, and the delighted boy discovered Austro-German cultural and musical traditions.


He entered the Moscow Conservatory in 1953, completed post-graduate work in 1961, and from then on earned his living, partly by teaching, partly by writing for the cinema (nearly 70 scores in 30 years). Fired by the rebellious modernism prevailing in Moscow in the early 1960s, Schnittke embarked on a voyage of compositional discovery. His works of the 1960s show him embracing the modernist and avant-garde fascinations of the time. Outstanding among his pieces of this period are 2 violin sonatas (1964, 1968), and the String Quartet No.1 and Violin Concerto No.2 (both 1966).


In 1972 he finished the massive First Symphony, blending Soviet symphonic thought, often parodied, with highly experimental elements. This powerful work established him as a leader of Soviet modern music, loathed by the authorities and adored by the anti-Soviet ‘underground’. Later came the hauntingly simple Piano Quintet (1976), and the comically sinister Concerto Grosso No.1 (1977). All three pieces have taken his name all over the world.


String concertos play a large part in Schnittke’s output and reflect his close friendship with some of the leading players of his time including Gidon Kremer, Yuri Bashmet and Mstislav Rostropovich. For such stars he has written 4 violin concertos, a viola concerto, 2 cello concertos, 6 concerti grossi and much else besides. Symphonies continued to be important. At the time of his death he had sketched, but not finished, a Ninth. He also wrote much chamber music.


In 1985 Schnittke suffered a stroke which left him in bad health for the rest of his life. Far from impeding him, however, sickness seems to have released an inner torrent and in later years he became prolific, answering each successive brush with death with a further flood of music. And with each new work he moved further from the more playful and satirical modernism of his earlier pieces into a dark and often difficult but always personal world where spiritual concerns and religious themes predominate. In his last years he and his wife moved to Hamburg, where he died on 3 August 1998.


Alfred Schnittke Sonata No.1 for violin and piano

 

Movements:

I.Andante

II.Allegretto

III.Largo

IV.Allegretto


Alfred Schnittke's First Violin Sonata (1963) is one of the most popular violin sonatas in the repertoire. The reasons are clear: the work is a consummate synthesis of formal concision, expressive intensity, and cutting attitude. It is one of Schnittke's most classical works, which isn't to say it's his most representative; Schnittke is also an expert in the sprawling, the overblown and absurd. But the crux of his gifts seem to lie covering both sides of the aesthetic fence, and thus a fellow who can write hour-plus wrecking-ball symphonies, but also write works as ideally fusioned and statuesque as this sonata.


Perhaps the sonata's most noteworthy element is its eclecticism -- not a superficial groping for any and all materials that might help the composer, but a thorough, integrated eclecticism. This work comes early in Schnittke's career, when he was still assimilating the many influences which would shape his mature voice, but the composer here has a firm grasp of all of them, and he shrewdly parses them out where they can be best employed.


For large-scale form, Schnittke looks to the Italian Baroque, especially nodding to the sonata's beginning with Arcangelo Corelli; thus the work's four-movement scheme (Andante-Allegretto-Largo-Allegretto), as and some of its smaller formal techniques, like fortspinnung and subsections in double-tempo. For motivic structure and organization, Schnittke looks to Alban Berg's famous Violin Concerto; like Berg's work, Schnittke arranges its pitch-material with twelve-tone rows. But also like Berg's rows, Schnittke's rows are grouped completely into thirds-so motives sound tonal even though they aren't tonal, and rows can be grouped into tonal-sounding triads without breaking their own rules. The resulting work is thus a kind of double-entendre, punning between two opposite musical worlds with ingenuity and not a bit of wit.


If that technique is pure Berg, the violin sonata's gestures are a hybrid, a mix of irony and earnest pathos which seem indebted to Béla Bartók and Dmitry Shostakovich. Both composers have a knack for following moments of sublime, painful sincerity with the banal and vulgar and it's a rhetorical move that seems to have stayed with Schnittke throughout his work. The later composer's contribution seems to be an acceleration of these attitude-shifts: they come fast and furious on each others' heels in the Schnittke sonata.


The opening Adagio, for example, begins in a cantankerous but diminutive mood, but it quickly expands from its conversational beginning into expressionist shrieks, and just as quickly slides into a solemn, hymn-like chorale. Likewise, after this mysterious close the second movement Allegretto follows with a decidedly flippant head-motive; and after the sober emotional heart of the work, the third movement Largo, the finale barrels in with a catchy lounge-jazz tune.


And yet over the whole work lies a larger irony, less Shostakovich or Bartók than Igor Stravinsky. Like Stravinsky, Schnittke seems to command two privileges: to take what he wants from where he wants, and to built a perfect construction with what he has amassed. The resulting work gives us a lot to enjoy, especially the ironic play between opposing viewpoints, whether of aesthetics, emotions, allusions or traditions. However, this approach does leave the composer's own personality a bit elusive; he only pokes out in the holes between musics that aren't quite his.


This last quality would become the overriding expressive and aesthetic effect of Schnittke's later work, in a much more radical way. In the First Violin Sonata, however, Schnittke's eclecticism still adheres to classical standards of integrity, and does so with inspired mastery.




PAVEL KARMANOV


PAVEL KARMANOVwas born in Siberia in 1970, he has been working in Moscow for more than 20 years. He graduated from the Moscow Conservatory in 1995 and joined the Moscow Union of Composers a year later. Since his student years he has participated in major Russian festivals of contemporary music: Moscow Autumn and Alternative. His compositions has also been performed at the following festivals: Sound Route Tokyo – Moscow (Japan, 1999), the E. Denisov Festival (Tomsk, 2003), Warsaw Autumn (2005), the Dmitry Shostakovich Festival in Seattle (USA, 2006), etc. Karmanov received commissions from and has been played by world-famous artists, including the violist and conductor Yuri Bashmet; the pianist and harpsichordist Alexei Lubimov; the pianists Alexei Goribol, Polina Osetinskaya, Vladislav Pesin; the violinist, violist and conductor Nazar Kozhukhar and his Pocket Symphony ensemble; the violinist Tatiana Grindenko and her Opus Posth ensemble, Mark Pekarsky’s Percussion Ensemble, Moscow Contemporary Music Ensemble; One Orchestra (Saint-Petersburg), Seattle Chamber Players ensemble (USA), and many others. The composer also collaborates with many film directors. As a result of Karmanov’s lively co-operation with leading Russian film directors, he has written a number of film scores for both documentaries and movies, including works by Alexei Khanutin, Timur Bekmambetov, Andrei Proshkin, Nurbek Egen, Alexander Kott, Anna Fenchenko, etc. In 2006 Nazar Kozhukhar and The Pocket Symphony Ensemble recorded Karmanov’s first CD (DOM-records), which represented his chamber compositions.


“Gift to yourself on birthday” for alto flute, cello and piano

 

The piece has been written in 1993. This first work in which style of the composer - minimalism was finally created. It’s one of more popular compositions by Pavel Karmanov – it was performed a lot in  different cities of Russia as well as in Ukraine, Belarus, France and the USA

 

 

Oleg Paiberdin


OLEG PAIBERDIN was born on December 13, 1971 in Altai [Russia]. Graduated [1996] and postgraduated [1999] from Ural State Conservatory named after M.P.Mussorgsky on composition under Professor A.Nimensky in Yekaterinburg.


Attended:

Orchestra master-class with A.Terteryan [Yekaterinburg, 1993-1994];

Master-class on composition with S.Berinsky [All-Russian Seminars for Young Composers, Moscow-Ivanovo, 1995, 1996, 1997];

Practical classes of K.Stamer, P.Dittrich, E.Flammer, S.Slonimsky

[III International Seminar of Contemporary Music “Sound Ways”,

St. Petersburg, 1994], G.Apergis, P.Billone, R.Saunders, C.Czernowin [The 45th and the 47th International Summer Courses for New Music

Darmstadt, 2010, 2014];

Luxembourg Sinfonietta's Workshop for composers “Europe Meets China” [Luxembourg, 2009].

Prizes and fellowships / grants:

Prize of III International Composers' Competition named after S.Prokofiev [St. Petersburg, 1999];

Prize of II International Contemporary Music Competition “Composer of XXI Century” [Kaluga, 2014];

Grants of Academy Schloss Solitude [Stuttgart, 1999-2000], Kuenstlerhaus Closter Zismar [Kiel, 2000] and Kuenstlerhaus Lukas [Ahrenshoop, 2003] in Germany, Visby International Centre for Composers [Sweden, 2011].


Took part in festivals, concerts and seminars in Russia, Belgium, Czech Republic, Estonia, Germany, Macedonia, the Netherlands, Norway, Latvia, Lithuania, Luxembourg, France, Japan, Switzerland, UK. His music has been performed at the Grand Hall and Rachmaninov Hall of Moscow Conservatory, halls of Moscow, Saint Petersburg, Sverdlovsk [Yekaterinburg], Perm, Tchelyabinsk, Novosibirsk, Kaunas, Rivne, Lviv philharmonies, and other halls by State Symphony Orchestra "Evgeny Svetlanov" and Vladimir Jurowski, Ural Philharmonic Orchestra and Dmitry Liss, Russian Defence Ministry Symphony Orchestra and Victor Afanasiev, Ural Philharmonic Chamber Orchestra and Enkhe, Harmonia Caelestis Chamber Orchestra, Bach Chamber Orchestra and Volf Usminsky, Soloists of Nizhny Novgorod Municipal Chamber Orchestra and Yevgeny Kirillov, Other Orchestra and Alexei Dvorkin, Lik Chamber Choir and Alla Litvina, Moscow Contemporary Music Ensemble and Alexey Vinogradov, Studio for New Music Moscow and Igor Dronov, eNsemble and Fyodor Lednyov, Gallery of Actual Music Ensemble, Yekaterinburg New Music Ensemble, Laboratory for New Music Ensemble and Sergei Shebalin, XX Century Ensemble and Oleg Tantsov, Viola Ensemble and Valery Averin, 12 Celloists directed by Olga Galochkina, Romantic String Quartet, Image String Quartet, Boehm Flute Quartet, Syrinx Flute Quartet, Moscow Saxophone Quartet, Glazunov Saxophone Quartet, Gnesin Saxophone Quartet, Ferdinand Cello Quartet, La Stravaganza Ensemble, Yekaterina Antokolskaya, Mona Khaba, Edyta Fil, Sergei Astashonok, Andrei Kravchenko, Michail Bereznitsky, Alexander Zagorinsky, Danila Galochkin [Russia], Rivne Philharmonic Chamber Orchestra and Peter Tovstukha, Archi Ensemble, Ricochet Ensemble [Ukraine], Neue Vocalsolisten Stuttgart, SurPlus Ensemble and James Avery, Barbara Maurer [Germany], Ensemble '88 and Rene Gulikers [the Netherlands], Goeyvaerts String Trio, Het Collectief, Alcatrasax Quartet [Belgium], UmeDuo [Sweden], Quattro Differente [Latvia], Ensemble Noor [Norway], Scottish Clarinet Quartet [Scotland], Luxembourg Sinfonietta [Luxembourg], Sax Est [Estonia], Viola Ensemble of Tokyo Music College [Japan].


Since 2005, he lives in Moscow and works at Moscow State Philharmonie.

One of originators and curators of The Other Space Actual Music Festival [2009, 2010, 2012].

Originator, artistic director and conductor of the Gallery of Actual Music Ensemble (GAME) [2010].


“Guo Hua” for flute, clarinet, piano, violin and cello

 

Guo Hua (2009) for flute, (and piccolo), clarinet (and bass clarinet), violin, cello and piano (5 musicians) was composed at the Luxembourg Sinfonietta's Workshop for composers “Europe Meets China” (Luxembourg, 2009) and first performed by the Moscow Contemporary  Music Ensemble (MCME) at the Contemporary Music Festival“Moscow Autumn” in Russia (2009). A Guo Hua piece was specifically composed by Oleg Paiberdin for the MCME.This work was selected for “The World Music Days” in Gent (the Netherlands, 2012) and won the First Prize of II International Contemporary Music Competition “Composer of XXI Century” (Kaluga, Russia, 2014). Guo Hua is a synthetic genre of Chinese art: as a rule, a poetic text is transcribed into a piece of music.



ALEXANDER RADVILOVICH



ALEXANDER RADVILOVICH was born in 1955 in Saint Petersburg. A graduate of Saint Petersburg State Conservatory in the composition class of Professor S. Slonimsky, he interned at the composers' workshops in Poland, Holland and Germany conducted by B. Lutoslawski, B. Schaeffer, T. de Leeuw, P.-H.Dittrich, and B. Ferneyhough. The latest trends in European music form the basis of his creative work.


He was a prizewinner at the Queen Marie-Jose International Competition (Geneva, Switzerland, 1992) and received the International J.W.Stamitz Special Award (Esslingen, Germany, 1998). He was awarded scholarships by the Ministry of Culture of the Russian Federation (1997-2000, 2015) and the Russian Authors’ Society (2006-2010). Also, he was awarded “Person of the Year” in the “Composer” category, according to the national newspaper “Music Review” (2007).


Among his compositions there are - four symphonies, the symphonic poems "The Legend of the Violinist”, “Claustrophobia”, “Very Scary Music” and “Music for the Soul Leaving”; three concerts: for English horn and Chamber Orchestra, for Harpsichord and Strings, Concerto for Violin, Stings and Percussion;  Chamber Symphony “Pushkin”; Sinfonia Sacra for Chorus and Ensemble; Chamber opera “Hindrance” to the words of D. Charms; “The Little Boy at Christ's Christmas Tree” (after reading Dostoevsky) for string quartet, percussion and sound recordings; anti-utopia “Big Brother” to the words of Orwell, Zamyatin, Huxley, and Hesse; “JUDAS”, Passion for soloist, Chorus, Orchestra as well as vocal, choral, chamber and instrumental works and music for children.


Alexander Radvilovich – is a member of the Composers' Union of Russia, founder and artistic director of the International New Music Festival "Sound Ways".


Currently Radvilovich teaches at the Saint Petersburg Conservatory and tours as a composer, solo pianist and leader of  his ensemble of contemporary music "Sound Ways"; gives lectures in Russian and foreign universities and conducts international Master Classes in Europe, Asia and the USA. He is the first Russian composer who gave talks at the International Summer Courses in Darmstadt (1992).


The composer’s music has been performed and recorded by radio stations around the world and has been published by music publishing companies in Russia, Holland and the United States.


"Pierrot's Dreams" for flute, clarinet, piano, violin and cello

 

“One of my most performed works “Pierrot’s Dreams” was written in 2006 as a commission for the New York ensemble “Da Capo Chamber Players”. It was performed in Russia (Moscow, Saint-Petersburg, Nizhny Novgorod, Kazan), Austria (Viena), Israel (Tel-Aviv, Jerusalem), Germany (Berlin), Spain (Madrid), Sweden (Stockholm), Argentina (Buenos-Aires). The piece is inspired by the famous “Pierrot Lunaire” by Arnold Schoenberg and based at the same line-up of musicians but without a voice. An epigraph of the piece explains the artistic idea of the work:

"During a sleep a man holds a thread of hours, the order of years and worlds around himself.   He copes with them instinctively, awakening, guesses right in one instant the point of the globe, which he occupies, and time, which had passed before his awakening; but they can get confused in him, their order can be distorted." Marcel Proust.   Du cote de chez Swann (Swann's Way)”



Zhong Juncheng


ZhongJuncheng,professor of Guangxi Arts University, China, Artistic director of China-ASEAN music week. He has completed more than80 pieces of symphony and chamber music, including opera ‘Lingqu Canal of the Qin Dynasty’, the first symphony ‘The Land of of the Zhuang nationality ’, ‘The Second Symphony’, ‘The Third Symphony’, the fourth symphony ‘New Life’,the fifth symphony ‘China’s destiny’,the sixth symphony ‘Ai Ge Ai Wa’, “Chen I”etc. Many of his works have gain the national level and provincial level reward ,and performed all over the world by symphony orchestras and chamber music orchestras from France, Austria, Israel, America, Poland and ASEAN. As the artistic director ,he has held successfully fifth session China-ASEAN music festival.   


“Huashanmurals” For flute,clarinet,violin,cello and piano

 

The cliff frescoes of Huashan are located in Ningming county in Guangxi province,which sculpture the Zhuang’s life and struggles on the murals,has it’s history for more than 2000 years.The musical motive of piece used folk of Zhuang in Guangxi province and mixed with modern composing techniques,interlace and contrast the soft tone with collision acoustics,unfold anciently the Zhuang’s life in front of the audience.





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