SUN MOON LAKE
Year of composition: 2022
Dedicated to the Hsinchu Municipal Wind Orchestra and its conductor, Jian-Ming Wu.
Length: 11 minutes
Scored for: wind orchestra
Opus 28 - AA282022
First performance was given by Hsinchu Municipal Wind Orchestra altogether with the Lan Yang Wind Band, both conducted by Jian-Ming Wu in a synchronized online performance, held on April 30, 2022, Taiwan.
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Study score (8.3 x 11.7)
Full set (8.3 x 11.7)
This composition is dedicated to the Hsinchu Municipal Wind Orchestra (Taiwan) and its conductor, Jian-Ming Wu. First performance was given by Hsinchu Municipal Wind Orchestra altogether with the Lan Yang Wind Band in a synchronized online performance more than 80km away, both conducted by Jian-Ming Wu, Hsinchu (Taiwan) on April 30, 2022.
Sun Moon Lake is a beautiful alpine lake located in Taiwan’s Yuchi Township, Nantou County. Lalu Island, the small-sacred Thao tribe island, is placed in the middle of the lake ‘breaking it’ into two contrasting parts shaped in the way of a crescent moon and a spherical sun; thus its name: Sun Moon Lake. In the early morning hours, the lake is covered with a dreamy thin veil of haze. As the sun rises above the mountain, the hazy lake slowly reveals the reflections of both trees and mountains, enhanced by sounds of insects buzzing and birds chirping. At dusk, the lake is painted golden by the sunset. When the night falls, moonlight is reflected on the lake as the water ripples peacefully by the gently breeze, mirror-like. Finally, the rising of a new day completes our impression with the brightness of the first sun beams towards the horizon.
There is a duality implicit on the title itself that is extrapolated to others parameters, helping to connect the beauty of the Sun Moon Lake with gestures within my own sonic canvas. Sun and moon, day and night, activity and quietness, density and simplicity… With all these parameters in mind, the composition is cast on a modified sonata form. Its first theme, rhythmic and vigorous, somewhat volatile, is played by the trumpets after a brief fanfare that works also as an introduction. The second theme, played by the high woodwinds, contrasts with the first due to its lyrical and expressive mood. The development section has as its point of departure a single germinal gesture, the interval of major seventh with which the piece opens. This gesture is atomized in both vertical and horizontal axis, being also the cornerstone of all the thematic elements along the work, which altogether with a continuous displacement of the tonal axis, some polymodal and polytonal interferences, and an exuberant use of orchestration, ends by offer to both audience and performers the sensation of being in front of a completely volatile and dynamic overture.
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