Dim Sum

Description

The Ying Quartet, consisting of four Chinese-American siblings, has a strong interest in the music of living Chinese-American composers through a non-traditional programming concept they have termed musical "Dim Sum." The Quartet explains: "the standard three-work structure of most quartet recitals normally limits the performance of contemporary pieces to just one quartet. In our programming of contemporary Chinese-American work, we have decided to break open this portion of the concert and include shorter works by several composers. This enables our audiences to sample a broader range of living Chinese-American composers in a single concert, in the same way that the style of eating Chinese food called 'dim sum' involves a wide variety of bite-sized delicacies." In all of the selections on this disc, there is a conscious blending of sounds, techniques and ideas from traditional Chinese music with the string quartet of the Western classical tradition. At first hearing, the listener may be struck by the fresh and exotic sounds, textures and harmonies that result from this fusion. The play of these two traditions points to an even larger context, however, one shared by music the world over: that in the most profound way, sounds can capture the thoughts, feelings and longings of the universal human spirit. The vitality of exchange between East and West only seems to grow stronger and more relevant each year, and this disc of musical dim sum offers a thought-provoking perspective on the dynamic artistic possibilities of this nexus. Artists: Ying Quartet: Timothy Ying - (violin I), Janet Ying - (violin II), Phillip Ying - (viola), David Ying - (cello) Review: The Ying Quartet, whose members are siblings, offers an important and tasty selection of short pieces for string quartet written by composers of Chinese heritage residing in the United State.* Some names are more familiar to the classical and cinematic audience: Zhou Long, Chen Yi, Bright Sheng, Ge Gan-ru, Vivian Fung, Lei Liang, Chou Wen-chung, and Tan Dun. The first work by Long (2011 Pulizer Prize winner for his opera) is a remarkable imitation of the ancient ch'in [qin] zither favored by scholars and forerunner of the larger zheng. Lyrical and slow at times and punctuated by percussive pizzicato, it reaches back centuries with Chinese melody and harmonic and slide techniques but is otherwise contemporary in spirit. Yi, who is married to Long, is a violinist as well as composer. Her composition thus sings. It is impressionistic of dance and folk festivals, rather jolly and sentimental, energetic and fluid. Sheng, who usually composes strikingly modern, often jagged abstract works, here presents his take on an abandoned mountain Buddhist temple he visited. The Yings selected sections II and IV of the quartet, the first again suggestive of the ch'in and of ancient times with its staccato, the second a melancholic, nostalgic lament developing into an anguish and angry cry. Gan-ru likens his piece to one-stroke cursive calligraphy that commences with the touching of brush on paper, the determined rapid and intensive flowing, and the final lifting of the brush in gentleness. The controlled accident of line and space is the visual aesthetic and that applies here sonically. There is no hint of traditional melody; it is thoroughly avant-garde. Fung, who has been inspired by Indonesian gamelan is her other compositions, here also emphasizes the staccato, plucked structure so characteristic of Southeast Asia but also of the Chinese pipa and zithers. China is an ancient empire incorporating many ethnic lands, including, in its northwest, part of the Mongolian steppe. Liang captures some of the Mongolian folk elements in his study, suggestions of long-form chants, morin khuur fiddle, harmonic throat singing, dances, and shamanic ritual. Wen-chung is the old man of the group. He was a teacher of some of the others, himself studying under Nicholas Slonimsky and Edgard Varèse. Once again the ch'in is invoked as source, with its plucking techniques and percussive staccato, but the Western string quartet tradition is also in play in the second movement with its slow, sad, shimmering bowing. Three sections of Dun's Colors for String Quartet close the album. His cinematographic or operatic pieces are full of energy and color. This album is quite an education and for those of us versed in both classical and world musics, the exploratory fusion is especially enjoyable. The Yings are to be praised for this splendid work. Their performance is certainly equal to the task. [*The liner notes refer to Chinese-Americans; for clarity this term includes those born in or immigrated to America becoming a citizen, and indeed all the composers here, except for Vivian Fung who was born in Canada, were born in China. This distinction is relevant because those comparatively recent immigrants are somewhat more steeped in traditional Chinese musical idioms and sensitivity.] Review: As a long-time lover of contemporary Asian composers (Tan Dun, Toru Takemitsu, Bright Sheng), I greatly appreciate the various tastes on this CD. And as one who considers Tan Dun one of the great living composers (East or West), my only complaint here is the very brief presence of his music on this CD. Nonetheless, the Ying Quartet does a great service with "Dim Sum" by introducing me to a few new composers to my ears, in particualr Lei Liang and Chou Wen-chung. The compositions typically have an earthy quality, a kind of Taoist presentation of the elements. Although traditionally Western instruments are employed, the pieces here are unmistakably Chinese in their roots. Highly recommended for expanding your musical horizons.