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Final Artist Diploma recital
14 May 2014 @ 4:00 PM - 5:30 PM
Final Artist Diploma recital at MSM
Featuring works of Britten, Purcell, Fauré, Debussy
and the premiere of the revised version of Entrapercevoir by Wei-Chieh Lin
Mélanie will share the stage with
Mezzo soprano Elsa Quéron
Flutist Beomjae Kim
Violist Michael Davis
ECCE Ensemble
Catherine Gregory, alto flute
Vasko Dukovsky, bass clarinet
Ken Hamao, violin
Serafim Smigelskiy, cello
conducted by Yoshiaki Onishi
Some insights about the program?
…Entrapercevoir…‘s note by Wei-Chieh Lin:
Wei-Chieh Lin’s …Entrapercevoir…, roughly translated as “to catch a glimpse of” or “between perceptions,” is a work that focuses on the methodical transformation of the harp sound and its ramifications, as the rest of the ensemble acts as an amplifier of such discourse while creating its own path.
The initial idea of the piece was inspired by Francis Bacon’s paintings and ways in concerning disfiguration, saturation, and the violence of expression. The work thus can be heard as glimpsing a painting from afar, and as the observer slowly approaches, more layers are unveiled yet the imagery becomes more distorted to the point of being unrecognizable, and as one is overwhelmed with only the grains.
The original version of this work was written in 2013 for the ECCE ensemble and was premiered at the Etchings Festival in France.
The composer would like to specially thank Ms. Genin for her tireless efforts and inputs during the revision process.
Program note:
This program is designed to illustrate a kaleidoscope of the repertoire and the use of the harp throughout different generations.
The first half of the program explores a succession of short pieces linked together by their atmospheres and their relations to poetry. The program opens with Britten’s Overture and its counterpart Nocturne from the Suite for Harp, where the two pieces frame his incidental music for Ronald Duncan’s play This way to the Tomb. Throughout the work one goes through the cycle of the day with Britten uncharacteristically begins at nighttimefirst.
The Nocturne, then, acts as a postlude to the Night and a prelude to Dido’s Lament by Purcell, as all the three pieces use a ground bass as a ciaccona -a characteristic found in the baroque period which Britten cherished. We can see in the Night, written during Purcell’s commemoration year, a tribute and an example of the deep connection Britten felt toward the work of Purcell.
French music plays a predominant role in the harp repertoire. Une châtelaine en sa tour by Fauré is one of its gems. In this piece Fauré extends the harmonic and chromatic possibilities of the harp and composes one of the most poetic images in the harp repertoire. This piece is based on the poem by Verlaine Une sainte en son auréole, which was also used in Fauré’s La Bonne Chanson for soprano, string quartet and piano.
Sonate pour flute alto et harpe by Debussy is one of his latest works, written in 1916. It is the second sonata of his unfinished Six sonatas for various instruments. This masterpiece is a milestone in the harp repertoire and the first piece ever written in this formation.
Featuring works of Britten, Purcell, Fauré, Debussy
and the premiere of the revised version of Entrapercevoir by Wei-Chieh Lin
Mélanie will share the stage with
Mezzo soprano Elsa Quéron
Flutist Beomjae Kim
Violist Michael Davis
ECCE Ensemble
Catherine Gregory, alto flute
Vasko Dukovsky, bass clarinet
Ken Hamao, violin
Serafim Smigelskiy, cello
conducted by Yoshiaki Onishi
Some insights about the program?
…Entrapercevoir…‘s note by Wei-Chieh Lin:
Wei-Chieh Lin’s …Entrapercevoir…, roughly translated as “to catch a glimpse of” or “between perceptions,” is a work that focuses on the methodical transformation of the harp sound and its ramifications, as the rest of the ensemble acts as an amplifier of such discourse while creating its own path.
The initial idea of the piece was inspired by Francis Bacon’s paintings and ways in concerning disfiguration, saturation, and the violence of expression. The work thus can be heard as glimpsing a painting from afar, and as the observer slowly approaches, more layers are unveiled yet the imagery becomes more distorted to the point of being unrecognizable, and as one is overwhelmed with only the grains.
The original version of this work was written in 2013 for the ECCE ensemble and was premiered at the Etchings Festival in France.
The composer would like to specially thank Ms. Genin for her tireless efforts and inputs during the revision process.
Program note:
This program is designed to illustrate a kaleidoscope of the repertoire and the use of the harp throughout different generations.
The first half of the program explores a succession of short pieces linked together by their atmospheres and their relations to poetry. The program opens with Britten’s Overture and its counterpart Nocturne from the Suite for Harp, where the two pieces frame his incidental music for Ronald Duncan’s play This way to the Tomb. Throughout the work one goes through the cycle of the day with Britten uncharacteristically begins at nighttimefirst.
The Nocturne, then, acts as a postlude to the Night and a prelude to Dido’s Lament by Purcell, as all the three pieces use a ground bass as a ciaccona -a characteristic found in the baroque period which Britten cherished. We can see in the Night, written during Purcell’s commemoration year, a tribute and an example of the deep connection Britten felt toward the work of Purcell.
French music plays a predominant role in the harp repertoire. Une châtelaine en sa tour by Fauré is one of its gems. In this piece Fauré extends the harmonic and chromatic possibilities of the harp and composes one of the most poetic images in the harp repertoire. This piece is based on the poem by Verlaine Une sainte en son auréole, which was also used in Fauré’s La Bonne Chanson for soprano, string quartet and piano.
Sonate pour flute alto et harpe by Debussy is one of his latest works, written in 1916. It is the second sonata of his unfinished Six sonatas for various instruments. This masterpiece is a milestone in the harp repertoire and the first piece ever written in this formation.