Meditation and Sentimentality in Autumn, for Clarinet, Viola and 21-Stringed Guzheng(2012)[11’35”]

19:30, Nov 23, 2014 │ Music Taiwan 2014 Concert Series
Recital Hall, National Taiwan Normal University, Taipei, Taiwan

Chieh-Hao Hsieh, clarinet | Chiung-Hsien Huang, viola | Dai-Lin Hsieh, guzheng
Chih-Sheng Chen, conductor

Meditation and Sentimentality in Autumn, for Clarinet, Viola and 21-Stringed Guzheng(2012)[11’35”]

19:30, May 26, 2014, premiere │ YI-DE CHEN’s Graduate Composition Concert
Concert Hall, Taipei National University of the Arts, Taipei, Taiwan

Quei Hsu, clarinet │ Hui-Wen Liao, viola │ I-Hua Yang, guzheng
Cheng-Chia Tsai, conductor

Meditation and Sentimentality in Autumn, for Clarinet, Viola and 21-Stringed Guzheng(2012)[11’35”]

14:30, Apr. 12, 2014, premiere │ Joint Composition Students Concert
Concert Hall, Soochow University, Taipei, Taiwan

Quei Hsu, clarinet │ Chi-Dong Moe, viola │ I-Hua Yang, guzheng
Cheng-Chia Tsai, conductor

Contemporary Music XI, CD published by Taiwan Composer’s Association

Program Note

When writing this piece, I was in a sentimental mood, experiencing the
autumn blues. I was grappling with deeply philosophical questions such as “Who am I?”, “Why do I exist in the world?” and “Why do I tirelessly work to compose contemporary music?”. Amidst a good life, there was a sense of loss. Naturally and regrettably, no one had ready answers as time went swiftly by.

I wondered how many friends identified with what I was experiencing. I was
overcome by a sense of loneliness. I much wanted to share happiness and beauty, not regret or melancholy. Could it be that I was fighting for a dream too far from the outset? But then time is on my side as life is still full of potential and promise.

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《秋靜愁》（給單簧管、中提琴與古箏）(2012)[11’35”]

2014年11月23日， 19:30 │ 亞洲作曲家聯盟臺灣總會─音樂臺灣─作品呈現音樂會
國立臺灣師範大學音樂系演奏廳，臺北，臺灣

《秋靜愁》（給單簧管、中提琴與古箏）(2012)[11’35”]

2014年5月26日，19:30 │ 陳以德─作品呈現音樂會
國立臺北藝術大學音樂廳，臺北，臺灣

《秋靜愁》（給單簧管、中提琴與古箏）(2012)[11’35”]

2014年4月12日，14:30，首演 │ 校際學生作曲交流音樂會
東吳大學松怡廳，臺北，臺灣

樂曲解說

在寫作室內樂作品《秋靜愁》時，當時的心情正如秋天般蕭條、苦澀。同
時思考著許多已經存在但一直沒有好好面對的切身問題，例如：「我是誰？我究
竟是怎樣性格的人？我為何存在？」、「我到底為何創作當代音樂？」、「我這幾年其實過得很好，但有時候就是會覺得自己好像遺失了一些東西」等。可惜，這些問題一時間無人能回答，而時光的快速流逝使我幾乎沒有餘力回頭思考。

聽完這些創作曲後，有哪些朋友能真正理解我的心呢？此時，我覺得很迷惘，我好希望能像從前一樣無憂無慮地分享快樂和美好，而不是遺憾或悲傷。或許，好多幻想和期待打從一開始就只是遙不可及的美夢；又或許，我們還年輕，很多事情仍有機會改變。相信經過這段時間的沉澱以後，我會好起來的。

Yi-De Chen: Lights from There, for Violoncello and Piano (2016) [7’23”]

Event: Indiana University JSoM Composition Recital
Date: 20:00, February 16, 2017. premiere
Location: Auer Hall, Indiana University JSoM, Bloomington, IN, United States

Performers: Kevin Flynn, violoncello
Yuseok Seol, piano

Program Note

When human beings realize how vast and diverse the real world is and what its infinite possibilities present, they may start to feel amazed. Also, figuring out how tiny one is compared with the universe and how short one’s life is, people may feel astounded. Philosophy, religion and art seek for the principles to describe the Universe.

Although my explanation is not persuasive enough, I tend to claim my personal view: when comprehending how the lights come from the Universe, I feel respectful, because, according to current scientific research and studies, it is evident that both visible and invisible lights which come from outer space are generated by giant stars and unknown resources. This actually conveys many mysterious messages to humanity: these messages lead people to explore and seek for the truth of the nature of the universe. This means, light will undoubtedly provide the crucial direction for people and further inspire them with the righteous thoughts. This conception has stayed in my mind for a long time and galvanized my motivation to write this work to depict and express my experience of being touched.

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《遠望》（給大提琴與鋼琴）(2016) [7’23”]

展演名稱：印第安納大學雅各布斯音樂學院作品呈現音樂會
日期：2017年2月16日，20:00，首演
地點：印第安納大學雅各布斯音樂學院奧爾廳，布魯明頓市，印第安納州，美國

演出人員：大提琴 / Kevin Flynn
鋼琴 / Yuseok Seol（韓文名：설유석）

樂曲解說

相信當每個人意識到宇宙的浩瀚與無限可能性時，會感受到敬畏。於是，尋找邏輯與原則試圖理解。

當往夜空望去，感受到如此撼動，因為諸多研究報告指出不論是可見光或不可見光，均來自遠方的星系或未知的物質。來自遙遠星系的光，指引著人們探索與發現。這樣子的想法存在我心裡已有一段時間，因而寫作這首樂曲。

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The Forest with the Black Moonlights, for Pipa and String Quartet (2013) [10’04”]

Event: Spring Autumn Music Concert Series Euterpe: Spring
Date: 14:30, May 23, 2015
Location: Hong-Gah Museum, Taipei City, Taiwan

Performers:
Yi-Ran Zhao, pipa
Counterpoint String Quartet

FDF Score (Full Screen Preview)

The Forest with the Black Moonlights, for Pipa and String Quartet (2013) [10’04”]

Event: Yi-De Chen’s M.M. Recital
Date: 19:30, May 26, 2014
Location: Concert Hall, Taipei National University of the Arts, Taipei City, Taiwan

Performers:
Wen-Bin Xie, pipa
Cheng-Hao Kuo, violin I
Wei-Shan Chang, violin II
Ying-Chen Chen, Viola
Hsun Chen, violincello
Po-Hung Chen, conductor

Program Note

During the night, the forest beneath the mysterious moonlight and clouds always stimulates my imagination. I love transforming my sensations into music, a beautiful language that can touch anyone’s heart. The characteristics of the forest—such as the rising voice of the wind, the rain, the chirping of birds, the image of a branch flickering, the odor of grass, leaves, stones, and soil— combine with folk tales to inspire my artistic creativity. Every part of the forest was a profound inspiration in the process of writing this piece.
This piece is in three parts. In the beginning, the primary musical idea is played by the pipa. The pipa strings are powerful as the wind, bringing the leaves down from their branches. Then, delicate fragments emerge from the string players. Harmonics, tremolos, and pizzicatos then contribute to form a widely-layered texture. Sorrowful melodies take shape in the next section, gradually becoming more intense and overwhelming, when the pipa’s musical idea becomes stronger, which sounds as if you were standing alone in the forest, amazed by the tremendous scenery.
The last part is introduced by a relatively concrete pipa melody. In this part, various timbres combine and blend into each other. At the very end, the sounds of each instrument become like tears. While writing this work, I have realized that although I am no longer a child, I have not forgotten how to bravely cry.

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《影月森林》（給琵琶與弦樂四重奏）(2013) [10’04”]

2015年5月23日，14:30 │ 春秋樂集─SQ+春季─音樂會
鳳甲美術館藝文空間，臺北，臺灣

《影月森林》（給琵琶與弦樂四重奏）(2013) [10’04”]

展演名稱： 陳以德─作品呈現音樂會
日期：2014年5月26日，19:30，首演
地點：國立臺北藝術大學音樂廳，臺北市，臺灣

樂曲解說

到了夜晚，月光下的森林是如此神秘而令我產生聯想。由於我喜歡將感知
經驗轉化為音樂，在森林裡可能會聽到的聲響（如風吹雨落、蟲鳴鳥叫、枝葉
搖曳等）、一些讓我注意的視覺經驗（如枝葉的反光、樹影等）、一些於構築森
林情景上扮演重要角色的觸覺和嗅覺印象（如草木、葉片、石子、土壤、水氣、
風拂等）以及我心靈意念中的詩意幻想（如足跡、傳說故事等）便成為我創作
這首作品時的靈感。

本曲包含三個主要的段落，開頭以冷冽的琵琶音形引出錯落的絃樂撥奏，
彷彿一股力量將樹葉打落，而後以絃樂泛音、顫音等長音素材和各式點狀聲響
營造聲響上的立體空間感和由音色所形成的層次感，彷若置身於森林中。第二
段落由如歌般的旋律帶出，給人寒冷淒涼的感覺，隨後醞釀成紛亂而激昂的情
緒。第三段落則由琵琶獨奏以一段較具象的旋律所引出，再結合絃樂撥奏、弓
背奏及琵琶的摘音等所共構而成的細碎聲響，帶來啜泣般的音樂表情。看來，
在寫作的同時，我還沒忘記怎麼流淚。