Mode 210
Lei Liang (b. 1972)
Brush-Stroke
1. Serashi Fragments (2005)
The Arditti Quartet
2.
Some Empty Thoughts of a Person from Edo (2001) for harpsichord solo
Takae Ohnishi, harpsichord
3.
Memories of Xiaoxiang (2003) for alto saxophone & tape
Chien-Kwan Lin, alto saxophone
4.
Trio (2002) for cello, piano
& percussion
The Callithumpian
Consort, Stephen
Drury, conductor
5.
In Praise of Shadows (2005) for flute solo
Paula Robison, flute
My Windows (1996-2007) for
piano solo
6. Tian
(Heaven)
7. Seven Rays of the
Sun
8. Magma
9. Pausing, Awaiting
the Wind to Rise…
Aleck Karis, piano
10. Brush-Stroke (2004)
The Callithumpian
Consort, Stephen
Drury, conductor
Lei Liang (b.1972) began
his musical studies in China, completing them in the USA. His music aims at a
deeper philosophical engagement with musical sound as a tool for reflection and
contemplation, while resisting exoticized and formulaic treatment of Asian musical
elements. Liang’s music is deeply philosophical, yet sensual, evocative, yet
abstract, and disciplined, yet spontaneous.
• He studied composition
with Harrison Birtwistle, Chaya Czernowin, Joshua Fineberg, and Mario
Davidovsky, and received degrees from the New England Conservatory of Music and
Harvard University. He now teaches at UCSD (San Diego)
• Written for the Arditti
String Quartet, Serashi Fragments is a tribute to the Mongolian chaoer
(fiddler) Serashi (1887-1968). In this highly virtuosic piece, Liang deploys a
wide range of articulation for strings: pizzicato sul pont, stacatissimo,
Bartók pizzicato, glissando, harmonics, and glissando harmonics.
• In Some Empty Thoughts of
a Person from Edo, Liang expands the timbral possibilities of the harpsichord
through introducing “lute stops,” clusters formed by the palm and fingers of
each hand, along with other extended devices. A plucked passage with
arpeggiated chords is reminiscent of the Japanese koto
• Memories of Xiaoxiang for
saxophone and tape presents a personal commentary on Liang’s cultural past,
including field recordings in the tape part.
• In Praise of Shadows for
solo flute is a piece that invites philosophical contemplation on the duality
of light and shadow, embodied by the barely audible partials in the
multiphonics, whistling tones, or the downward portamento Liang often uses to
end a phrase.
• Brush-Stroke allows the
listener to be immersed in the transience of each sound as it comes into being
and passes away. It is reminiscent of Japanese gagaku and Korean Aak court
music.
• Liner notes by Yayoi Uno
Everett.