Mosaic of Natures for Symphonic Orchestra

Abstract

Mosaic of Natures is a 15-minute symphonic work in four movements, composed for large symphonic orchestra. The instrumentation includes two flutes, a piccolo, two oboes, a cor anglais, two B flat clarinets, a bass clarinet, two bassoons, a contrabassoon, four French horns, three trumpets, two trombones, a bass trombone, a tuba, timpani, three percussion, keyboards, a harp, and a full string section. Inspired by Chinese instrumental music, the composition incorporates melodic structures with iterative small motifs and improvisatory fragments. Additionally, elements with timbral inspiration from Chinese opera singing and percussion were employed. The concepts of Xuangong and Zhuandiao, involving transpositions and rotations of Chinese modes, played a significant role. These concepts were reinterpreted with Western compositional techniques and multi-dimensional applications in a symphonic sonority. The structural development of the music diverged from traditional melodic movements and instead focused on events, changing textures, evolving shapes, dynamic variations, and sound spectra. Through this approach, I seek to investigate how collision of ideas from the East and West can yield innovative approaches to symphonic expression. The first movement is a development of shape and gestures. Improvisatory musical fragments, such as trills, tremolos, fast ascending and descending arpeggiations, accented attacks, and string glissandi, form the selections of the material. Fragments are first shown with soloistic quality, and then coalesce into larger accumulations with chromatic and orchestral sonority, featuring polytonal combinations of triadic and pentatonic relationships. The movement returns abruptly to a brief timbral recapitulation, leaving listeners to experience the changing thickness of atmospheres. The second movement explores the transformation of short motives, which swiftly shift in length, variation, and transposition. These motives take on various roles, serving as ornaments, thematic melodic ideas, and textural elements as their transformations and combinations evolve. Contrasting pentatonic pitch collections collide to form polytonality in both vertical and horizontal dimensions. They gradually develop towards a larger and unified pitch field. The third movement shifts towards humanistic sentimentality. The exploration of different vibrato technique emulates the expressive nuances of Chinese theatrical singing. It also serves as a turning point to change from atmospheric, nuanced spectra to the realm of clear, unified sonorities, contrapuntal textures, and dramatic tensions. The final movement is derived from a four-note motive. It pictures a dramatic, and intense scene and exploits the forceful power of symphonic tutti. Despite all four movements expressing their own natures and characters, the interconnectedness of the core musical materials resembles the tessellation of a mosaic—pixels forming combinations to create diverse imagery. By merging traditions and techniques of both Eastern and Western musical practices, "Mosaic of Natures" seeks to create a unique sonic landscape that reflects the convergence of diverse cultural influences.