The perception of most people is that there is a simple binary distinction between fiction and reality - that something is either real or unreal. This piece you are about to hear is inspired by the idea that this distinction is not so clear. Reality and fiction are interdependent, and beauty can be found in that grey space in between the two. This concept has been found in Chinese classical literature for centuries, and I was particularly inspired by the Qing dynasty novel Dream of the Red Chamber, which explores this idea.Musically, I use normal pitch vs harmonic pitch, actual rhythm vs beating rhythm, sustained sound vs deadened sound, and other seemingly contrary elements to represent this idea. Besides fiction and reality, beauty plays the role of the ego in the Freudian model of the psyche - the organized, realistic part that mediates between the desires of the id and the super-ego. In this piece the beauty is the music itself, and it is delicate and organized.
Selected Past Performances:
在大多数人的眼里，虚实世界间只存在简单的二元的区别——真实或非真实。然而，在这首作品中我将为您呈现真假之间的灰色地带之美。正如《红楼梦》中说到的那样，“假作真时真亦假，无为有处有还无”。在音乐上，我把一些看似对立的音响素材，如基础音/泛音、五度相生律音/纯律音、演奏节拍/拍音、长音/间断音等交织起来，并在结构上采用大量的“插叙”及“倒叙”等非传统音乐叙事手法以表现上述想法。标题《水中月》的灵感同样来源于《红楼梦》中的判词“…一个是水中月，一个是镜中花…”，并用来描绘这种不可触碰又脆弱的美丽。除此之外，演奏动作在这首作品中也承载着音响维度之外的内容（由于大量的跨弦音型，演奏者右手的动作看似在“水中捞月”），并与音响内容相辅相成以呈现出一个更为立体的音乐体验。
部分过往演出：
