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Heterometric Patterns (2023)

for 15 musicians in 3 groups

Heterometric Patterns is inspired by the overtone singing technique “Umngqokolo” from South Africa. Meanwhile the rhythmic patterns which oriented from African folk music are interpreted in a heterogeneous way by 15 musicians. They are arranged into 3 groups on the stage for the purpose of spatialisation. The composition is an attempt to blend ancient folk music elements into a contemporary musical language and to find a balance of composer’s own aesthetics.

                 In Einem Moment 须臾 (2022)

                            for big orchestra and sound samples

 For the piece, I present the original Mongolian folk music material directly with some simple electronic arrangements, in dialogue with a symphony orchestra in a modern context. These materials are familiar yet unfamiliar to me: the overtone singing of "Khoomei", the melody of the long song, the beat of the sheepskin drums, the echo of the Jew's harp.... During the composition process, I tried to imagine what material I was willing to borrow from the treasure trove of traditional Mongolian folk music and, conversely, what the orchestral part could draw from it. (ca.16’)

                             Petrichor (2019)

                   for violin, saxophone , percussion and accordion

“Petrichor” this word describes a pleasant smell that frequently accompanies the first rain after a long period of warm, dry weather. This piece ignores the limitations from tempo and  rhythm. Instead it pays attention to the communication among the musicians. (ca. 10')

                        Déjà-vu (2019)

                                              for orchestra

"Déjà vu" is a term that describes the feeling that you have already experienced the present situation - a feeling of familiarity. In psychology, this phenomenon is referred to as "visual sense," meaning that a person has encountered a scene that she has previously seen at some point but does not know the source of the scene. This piece describes this psychological process and the "illusion" scene using the orchestra's texture and timbre material. The different levels of the orchestral parts express the ambiguous mood of the cascade, which seems to be illusory, seemingly wrong and gradually more and more clear. In the simplicity of the texture, the clarity finds its expression and finally it becomes reality. (ca. 12')

                           Whale Fall (2018)

                                for flute, harp, contrabass

When a whale dies in the ocean, its body falls into the thousand meters deep-sea.Biologists gave this process one special name: Whale Fall. The dead whale’s body creates a complex localized ecosystems that supply sustenance to deep-sea organisms for decades. It is the last blandness the whale left behind, as one islet, always fair harmonic sound around ...(ca. 9')

                              Khoomei (2022)

                                  for 3 voices and accordion

                             Scattered Views (2019)

                                          for string quartet

                             Serein (2020)

                                  for violin and zither

                             Poem (2017)

                          for prepared piano and electronic