MUSICAL WORKS

AN Chengbi / 안승필,安承弼

2004

Saek Gong (Space of colours) / 색공

Birth Y: 1967 Birth C: CHINA Gender: Male

Dest: Concert

Media Specification: Mixed music

Commission: French Government

Performer(s): Cécile Daroux, Ayin quartet (Jérémie Siot, Frédéric Aurier, Julian Boutin, Luc Dedreuil-Monet)

First perf.: La Chapelle de la Trinité, Lyon, France, March 7, 2004

Duration: 16:50

Perf. Country: FRANCE

Context: Biennale Musique en scène, Lyon, France

Instruments: Alto flute, 2 Violins, Viola, Cello

Prog. notes: Here Saek, \"colour\", indicates all of the material phenomena as they appear to our senses. Gong means the vacuum, but also a space of the possibilities, of the changes and where anything can happen.
Here, the sound has the particular characteristic to be able to move without drifting, to get on the inside while remaining outside, without ever being limited to its only source, nor even to its cause. The union of these two concepts, feelings and unspecified spaces, allows an optical and mental reflection (reflection having two meanings in French: meditative thinking and the reflection of sounds on objects), like the meditative thinking of Buddhism on reality and appearance, a mental reflection on what is everlasting in spite of certain transformations.
Between the sphere of the desire and that of the non-corporeity (Rûpaloka), there is the materialistic sphere or also called space of the colours, Rûpasûnyata. In Sanskrit Rûpasûnyata is the sphere of the corporeity without desire, a necessary step to got through for your release of the cycle of reincarnations.
At the opposite of the voluntarism which characterizes the Western creator in his role of demiurge, but also far away from the passivity which characterizes the Eastern one (from a Western point of view), the act of listening is active, allowing the worlds, visible and invisible, present and eternity, technique and tradition, significant and immaterial, to communicate.
From that point of view, the sound, by its immaterial extent and its temporal deployment, is presented as a subtle and effective medium. The sound is like the meditation on icons, because the direct picture of the object and its representation in the mirror, even its deformation or its bursting through the prism, have the same value, sensitive and real.
T essential work of the composer is creating silence, this condition makes everything possible. He wants to create within the sound this distant resonance, which remains of music when it has disappeared.

Editor: MW

Comment: http://www.anchengbi.com/music_detail.php?lang=en&no=241