Lin-Ni Liao
Do– Our– Nature's Soft
2020
harp & tam-tam
10'
29 pages
32*24 cm
© 2020 / ONA 0156 / 978-2-37166-155-4
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« […] reflecting the relationship between musical and body gestures of two instruments. »
« […] qui reflète chez ces deux instruments, les liens entre geste musical et corporel. »
Description
fr
The title is a phrase taken from “Poem A 531” in The Gorgeous nothings (New York, Ed. Christine Burgin / New Directions, 2013) which contains the manuscript fragments of Emily Dickinson (1830-1886).
In my experience, a piece is never definitively finished. It keeps catching its breath, plotting its way in other works to come.
Here is my inspiration for the work:
- Infinite curiosity begins with the possibilities of gesture with the tam-tam – physical (visual) and musical (auditory) – in relation to space. My inquiry began in 2011 when I composed “TTy” for large tam-tam dedicated to the percussionist Tai Tseuy-Ying. This singularity has been developed in How prudent that we are blind ... I for flute, tam-tam, shadows and light (with option for video) and How prudent that we are blind ... II for flute, oboe and tam-tam.
- “Do– our– Nature's soft” is a composition that reflects the relationship between the morphology of musical gesture and body (physical) gesture of two instruments. It asks how musical composition can address parallel time, or even stand outside of time, through a fluid musical notation destined for a visual outcome through corporeal description.
For about a decade, my process of composing has always been accompanied by abstract visual effects or natural phenomena, like dust caught in rays of light, the movement of leaves on a tree, for example. A perpetual return trip — the juxtaposition between the auditory and the visual, or between a musical gesture and a physical one – which describes the nature of timbre. Form remains open, welcoming other artistic elements such as video, light installation, scenography, dance. These interrelationships come from my pieces that make up the cycle, Le train de vie I – V, in which I express my vision of the world: the train of life welcomes all, known or unknown, who board and alight the train in journeys both short and long. To each her own destination with a path to (par)take, as humanity intersects at any given moment on the train. And the train continues…
[Liao Lin-Ni]
• Work commissioned by Vertixe Sonora
• Premiered on 19 October 2021 at Edificio Castelo do Museo de Pontevedra – Spain by Vertixe Sonora
In my experience, a piece is never definitively finished. It keeps catching its breath, plotting its way in other works to come.
Here is my inspiration for the work:
- Infinite curiosity begins with the possibilities of gesture with the tam-tam – physical (visual) and musical (auditory) – in relation to space. My inquiry began in 2011 when I composed “TTy” for large tam-tam dedicated to the percussionist Tai Tseuy-Ying. This singularity has been developed in How prudent that we are blind ... I for flute, tam-tam, shadows and light (with option for video) and How prudent that we are blind ... II for flute, oboe and tam-tam.
- “Do– our– Nature's soft” is a composition that reflects the relationship between the morphology of musical gesture and body (physical) gesture of two instruments. It asks how musical composition can address parallel time, or even stand outside of time, through a fluid musical notation destined for a visual outcome through corporeal description.
For about a decade, my process of composing has always been accompanied by abstract visual effects or natural phenomena, like dust caught in rays of light, the movement of leaves on a tree, for example. A perpetual return trip — the juxtaposition between the auditory and the visual, or between a musical gesture and a physical one – which describes the nature of timbre. Form remains open, welcoming other artistic elements such as video, light installation, scenography, dance. These interrelationships come from my pieces that make up the cycle, Le train de vie I – V, in which I express my vision of the world: the train of life welcomes all, known or unknown, who board and alight the train in journeys both short and long. To each her own destination with a path to (par)take, as humanity intersects at any given moment on the train. And the train continues…
[Liao Lin-Ni]
• Work commissioned by Vertixe Sonora
• Premiered on 19 October 2021 at Edificio Castelo do Museo de Pontevedra – Spain by Vertixe Sonora
• Commande de l'ensemble Vertixe Sonora
• Création le 19 octobre 2021 — Edificio Castelo do Museo de Pontevedra (Espagne) par Vertixe Sonora
• Création le 19 octobre 2021 — Edificio Castelo do Museo de Pontevedra (Espagne) par Vertixe Sonora
Credits
- Edited by Misael Gauchat
- Engraving: Daniel Fígols
- Notice layout: Maxime Barthélemy
- Proofreading: Liao Lin-Ni
© C. Peillon
Composer See all
Lin-Ni Liao
About
fr
1977 – *
Free and discrete, Lin-Ni Liao grasps the gesture of the instrumental from a poetic perspective. Her unique sensitivity guides her through a world of shadow and light.
Find a selection of her works at Maison ONA.
Free and discrete, Lin-Ni Liao grasps the gesture of the instrumental from a poetic perspective. Her unique sensitivity guides her through a world of shadow and light.
Find a selection of her works at Maison ONA.
1977 – *
Libre et discrète, LIAO Lin-Ni appréhende le geste instrumental sous un angle poétique. Sa sensibilité la guide dans un monde fait d’ombre et de lumière.
Retrouvez chez Maison ONA une sélection de ses œuvres.
Libre et discrète, LIAO Lin-Ni appréhende le geste instrumental sous un angle poétique. Sa sensibilité la guide dans un monde fait d’ombre et de lumière.
Retrouvez chez Maison ONA une sélection de ses œuvres.