Yu, Donald

Man-Ching Donald Yu, Hong Kong born composer and pianist. The style of his recent music is characterized by amalgamation of post-minimalist and modernist traits which refine his latest personal voice, ...

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Nine Dragons : for piano / Man-Ching Donald Yu

Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf

Lost in a Surreal Trip : for violin, violoncello, percussion and piano / Joey Roukens

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: vl vc perc pf

Earcatcher: Digitalis : for flute, viola and harp / Rieteke Hölscher

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fl vla hrp

Rook : voor slagwerk en piano / Daan Manneke

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: perc pf



Lost Civilization : for chamber ensemble / Man-Ching Donald Yu

Uitgavenummer: 21549
Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: ob cl fg hp 2vn vla vc db
Bijzonderheden: Commissioned by Icarius Ensemble. First performance: June 11th, 2015 Auditorium Di Vittorio, corso di porta vittoria, Milan, Italy. Icarius Ensemble, Marco Pedrazzini, conductor. Organized by the Associazione amici di Musica/Realta. International EXPO chamber concert “Music Today in China”.
Tijdsduur: 8'30"
Aantal spelers: 9
Compositiejaar: 2015
Status: volledig gedigitaliseerd (direct leverbaar)

The piece is inspired by the Chinese modern artist Zhang Guanghai’s painting Lost Civilization. It is the first time to associate music with the particular painting. The beginning of the music initiates with haunting dissonances generated by strings as well as chromatically-blended woodwind sections, symbolizing the dark and profound color characterized in the painting. Gradually surging into the climax at the dramatic and micropolyphonic-oriented central section where all the instruments culminate at high registrations, here the music imaginarily generalizes the motion of the bird in the painting. After finishing the climax, the music transforms into a rather mysterious moment where harmonics take place at the strings, featuring the gaps and lines emerged in the painting. Besides symbolizing the painting, the music reflects my intrigued profound feeling towards the recent political situation in Hong Kong where only true democratic freedoms are strived for as if the bird in the painting surges into the sky, but not being controlled and bounded by the dark boundaries. All in all, the music is characterized by the utilization of extensive chromatic elements as elaborated melodic lines and micropolyphonic elements, while fusing with harmonics, dissonance and Chinese color including Peking operatic effect.
Man-Ching Donald Yu

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