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XU YI / 徐仪


Guo Feng / 国风 / guo feng

Birth Y: 1963 Birth C: CHINA Gender: Female

Dest: Concert

Media Specification: Mixed music

Commission: French State

Performer(s): Ayin - Laboratoire d'interprètes (violin: Jérémie Siot, cello: Noemi Boutin, qin: Dai Xiaolian, live electronics: Chris Lebreton)

First perf.: Wuhan, 13 May 2008

Duration: 21:00

Perf. Country: CHINA

Context: Festival 'Spring of Shanghai'

Instruments: Violin, viola, qin, live electronics (spatialized on 8 speakers)

Setup: GRAME, France; Assistant: Christophe Lebreton

Perf media: MAX/Msp

Publisher: Henri Lemoine, 31/03/2008

Media: Unpublished

Prog. notes: « Guo Feng », Songs of the Kingdoms, is the title for the first part of the Book for the odes created more than 2500 years, a colleciton of 305 pieces of peotry, love songs or religious anthems. Guo Feng could be also the habit, the fashio, the spirit of time (fengqi), the style, the attitude of heart (fengge), the Storm, the agitation, the disorder (fengchao), the manners (fengsu), the pace (fengyi), the nobility of character (fengliu), the tendency (fengse), the noise (fengsheng), the élégance, the distinction (fengya)… of the country. In this part, the dialogues are multiples between violin, cello, electronics, and qin (one of the oldest instruments of China which is the testimony of 3000 years of ancient history and the development of hte Chinese civilization. The art of qin is the soul of China.) The setting of that old instrument in the space of the instrumentalists and the electronics set up interpreted in real time by a Master of the sound (used like one musician), allows to build bridges between the past, the future, the East and the West, creating a diversity of sound structures in the space. After a collaboration of ten years with GRAME and since the création « Plein du Vide », I am concerned with the question of mixed music. In my previous mixed Works, the electronics part was conceived by using the concept of « differed time » (however there is still the impression of « real time » moments thanks to the writing). The interprétation of this pièce is regarded as a work of sound engineering. The skills and the endless progress of the musicians which I call « Masters of the sound », brought me to the conclusion of the necessity for a new way of integrating them in my next compositions. []

Editor: Ka Lun CHEUNG

Phono: Unpublished

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