I am very pleased to write you about the first public performance of my work in the new year that had taken place with the orchestral work “Iluwan” performed at Georgia Institute of Technology. Many thanks to the invitation of Dr. Chaowen Ting, Conductor, “Iluwan” made its U.S. premiere by GT Symphony Orchestra on February 21 at the newly renovated Ferst Center for the Arts, I have had the honor to present my work there.
I also want to thank Dr. John Chung-En Liu to connect me with Dr. Ting at the first place. More importantly, my gratitude goes to Council of Indigenous Peoples of Taiwan (原住民族委員會) and National Symphony Orchestra of Taiwan (國家樂團 , aka NSO) for supporting this particular performance.
The orchestration of the tune “Iluwan” — a love song originated from Paiwan Tribe (排灣族) — builds a subtle foundation for this beautiful melody and depicts the style of singing and the space of the people. It really is one of my favorite orchestral works of mine. This orchestral work has recently been included in the finalist of ASU Gammage Beyond Commission Competition. Knowing that this piece has been recognized not only in Taiwan but also in the U.S., I am very fortunate to hear it live in the United States.
元貞在喬治亞理工學院管弦樂團小駐三天。儘管學生的背景都是精銳理工科目，在音樂性、演奏的熱忱、以及新點子的領會，一點也不含糊。我跟了總排、分部排練、以及互動式的示範，成果是正式演出時呈現出非常專注、到味的音樂。也有學生會後跑來跟我說他終於領會了。現場也有台灣僑民的子女與家長，能與家鄉人在海外分享音樂，特感珍惜！
I am so grateful for the arrangement by Dr. Ting Chaowen, director of GT Symphonic Orchestra, for my 3-day mini residency. Students are mostly majored in science and technology, and equally devoted to excellency of musicianship, passionated about performance, and sensitive to new ideas. They spent time with me during dress rehearsal, sectionals, and interactive demonstration. The outcome was a very satisfying performance: nuanced and focus. Some students came to me after the performance to express the feeling of being touched and the understanding. Generations of Taiwanese immigrants, on stage or at the audience, came to greet me. We were so blessed to be able to share music with everyone in this particular occasion.
每每遇到教學與發表的場合，我總希望能藉機分享「聆聽」的特殊性。很多人以為 “彈” 鋼琴與 “作”曲是一種表現自我的方法。不止如此，寫曲與演奏的人一定要把 “聆聽” 的ˊ面向放在詮釋與創作當中，也因此，雙向或三維的交流－創作、演出、欣賞－才能在音樂會裡發生，產生一種音樂的真相之顯露，大家都很專心體會的美好時刻。
Whenever there is the teaching and performance opportunity, I always look forward to sharing the particularity of “listening” (or said, “deep listening”). It is commonly understandable that “playing” the piano and “composing” a new song are ways to express. And further more, composers and performers must compose and interpret with “listening.” So that the performance – presentation of the idea, play, and listen – can take place as truly as possible, creating a moment of highly focused and musical experience.
更多李元貞2019春季的作品發表，請前往此
網頁。
For more performances of Li’s works of 2019 Spring season, please visit this page for more information.
* 這篇非常的楊家班。再次謝謝楊聰賢老師的指導。
This article is a strong reminiscence of Dr.
Tsung-Hsien Yang‘s teaching. Writing with great admiration.
Yuan-Chen Li ‧ 李元貞 