...

Vancouver Inter-Cultural Orchestra
Vancouver Pro Musica
Vancouver Community College
present

Imagined Worlds: Japanese Interventions

Saturday-May 29, 2010 at 8 pm
Vancouver Inter-Cultural Orchestra
JinZhang, conductor
with specialguestsCurtis Patterson (koto), Bruce Huebner (shakuhachi)
& the Little Giant Chinese Chamber Orchestra
and

Little Giant Chinese Chamber Orchestra

Sunday May 30, 2010 at **7 pm**
Chih-Sheng Chen, artisticdirector
with Heidi I<rutzen (harp) & Coat Cooke (saxophone)
and membersoJVancouver Inter-Cultural Orchestra

Vancouver Community College Auditorium
1155 Broadway at Glen Dr.
Vancouver, BC

THE MUSICIANS
WELCOME FROM THE ARTISTIC DIRECTORS

Vancouver Inter-Cultural Orchestra

Ali Razmi tar
Geling Jiang zheng/ sanxian
Gordon Grdina oud
Guitian Liu pipa
Navid Goldrick santur/oud
Jonathan Bernard percussion
Neelamjit Dhillon tabla/percussion
Charlie Wan Chor Lui dizi/xiao
Jeff Pelletier flute
Lauris Davis oboe
Mike Dowler clarinet
Johanna Hauser bass clarinet
Jun Rong erhu
Lan Tung erhu
Reza Honari kamanche
Kathryn Lee violin 1
Sam Tsui violin 1
Susan Cosco violin 2
Zuzanna U skovitsova violin 2
Josh Belvedere viola
Manti Poon viola
Ben Goheen cello
Finn Manniche cello
Tim Stacey bass
Russell Sholberg bass

It is with great pleasure and pride that we present to you our May 2010 concerts. We are honoured by the
participation of the Little Giant Chinese Chamber Orchestra of Taiwan (gCO) - their generosity, as
well as that of the Taipei Economic and Cultural Office, has been second to none, and we fervently hope
to build upon this first collaboration. Our featured performers on Imagined Worlds: Japanese
Interventions, Curtis Patterson (koto) and Bruce Huebner (shakuhachi) truly represent the unstoppable
spirit of intercultural collaboration in our world today, having dedicated themselves to the study and
practice of Japanese traditional music for over 20 years. For the VICO, having tl1ese artists from Japan
and Taiwan with us represents the ongoing fulfillment of our hopes to spread the new art of intercultural
music making all over the world.

SpecialGuests:
Curtis Patterson koto
Bruce Huebner shakuhachi
Coat Cooke saxophone
Heidi Krutzen harp
Little Giant Chinese Chamber Orchestra

Chang, Chunhao dizi
Chu, Lening sheng
Wu; Tzuyu yangqin
Su, Ywihan pipa
Yu, Hsinchieh ruan
Chung, Chiyuan da ruan
Lin, Y ahsiu zheng
Chen, Yuhsuan gaohu
Liu, Shihchieh erhu
Ouyang, Hsuan erhu
Wu, Chifang erhu
Chung, Yujui zhonghu
Jou, Y owhsuan cello
Lin, Weitien bass
Lin, H uichieh percussion

Presenting original intercultural works for a large scale ensemble is what the VICO has been striving to
do since its inception. 2011 will mark the VICO's 10th anniversary, and we can say without equivocation
that the hard work of our musicians, composers, and administrators has begun to result in the
achievement of our vision and mandate: to bn'ngtogethermusiciansand musicalideasefthe mmryculturesefthe
worldand topresentnewinterculturalworks on a grand scale.We hope to celebrate this anniversary in significant
ways, and invite you to celebrate with us, by coming to concerts and educational programs, and by
considering supporting the VICO in any way you can.
We acknowledge and thank our kindred organizations, who have supported us in presenting these
concerts: Vancouver Pro Musica and Vancouver Community College. And to all those who feel
strengthened in tl1eir own personal and artistic visions by what we do, we extend our thanks for your
support and your presence.

- Moshe Denburg and Mark Armanini
Co-Artistic Directors

VICO

PRODUCTION CREDITS

ABOUT THE VICO

Artistic Directors: Moshe Denburg & Mark Armanini
Administrative Coordinator: Melanie Thompson
Administrative Assistant: Jess Zhang
Project Manager / gCO Liaison: Lan Tung
Graphic Design & Audio-Visuals: Don Xaliman
Sound & Lighting (Vancouver Community College Auditorium): Daniel Ruiz

The Vancouver Inter-Cultural Orchestra is the only professional
concert orchestra in Canada with a specifically cross-cultural
mandate and roster, dedicated to performing intercultural music on a grand scale. Since its inaugural
performance in 2000, the VICO has commissioned and performed the world premieres of over 30
intercultural pieces by respected Canadian composers (e.g. Jin Zhang, Mark Armanini, Farshid
Samandari, Grace Lee, Neil Weisensel, Joseph "Pepe" Danza, Moshe Denburg, Michael O'Neill, Elliott
Weisgarber, Coat Cooke, Ron Samworth,John Oliver, Trichy Sankaran and Niel Golden). The ensemble
has produced and performed between 1 and 3 stand-alone concerts per year, in addition to making guest
appearances and presenting educational programs and workshops. The VICO has collaborated with the
Vancouver Symphony Orchestra, the Chan Centre for the Performing Arts, the Vancouver Community
College School of Music, Capilano University, UBC School of Music, the NOW Orchestra, Vancouver
Pro Musica, Laudate Singers, the Sacred Music Festival, and the Canadian Memorial Church and Centre
for Peace. In April 2004, VICO appeared with Laudate Singers and the Vancouver Symphony Orchestra
in Celebration
for Peace,a tribute to His Holiness the Dalai Lama held at the Orpheum TI1eatre. In 2008,
The Geo-rgia
Straights world music columnist described our programming as "music that sounds like
Vancouver looks."

Programme: Melanie Thompson
Chinese translation: Lan Tung
Japanese translation: Tom Sakaino
VICO Board of Directors:
K. Louise (Naomi) Arney
Lan Tung
Mark Fenster
Jeff Pelletier
Ian Migicovsky

VANCOUVER
INTER-CULTURAL
ORCHESTRA

www.v1-co.org
2

3

PROGRAMME: Imagined Worlds - Japanese Interventions
Saturday May 29, 8:00 pm

Flying to and fro.
How often they have awakened
The guard at Suma Pass!

Echigo Jishi - Lion Dance of Echigo (ca. 1790) by Minezaki Koto
S hakuhachz:koto and voice
Echigo J ishi (Lion Dance of Echigo) is a jiuta piece composed by Minezaki Koto of Osaka, a prolific composer
of the 18th century. Yaezaki Kengyo (1766? - 1848) of Kyoto later arranged it for koto and shamisen ensemble.
It is considered to be one of the main sources for a popular nagauta piece of the same title. The idea for the
piece is taken from a traditional folk perfotming art called Echigo-jishi. In this dance a man wearing a beautiful
red and gold lacquered lion-head does an acrobatic, comical, ceremonial dance as an auspicious lion. The tegoto
(instrumental interlude) section depicts the lion dance itself, while tl1e song text enumerates on the surface the
noted products of the Echigo region (modern Niigata prefecture) such as eels, hemp rope, cambric, cotton
crepe and herbs, as well as of course , the lion dance. At another level however, the seemingly unrelated words
have amorous associations which reveal a substream of playful love flowing through the piece.

to the clouds a bfrd (2010) by Farshid Samandari
S hakuhachz:koto and interculturalorchestra

Arranger'sNote: I have arranged this work into a modest double concerto for koto, shakuhachi and strings. The
koto and shakul1achi are playing their traditional solo lines; the strings are an elaboration based on the original
song melody. The koto and shakuhachi provide an ornamented and virtuosic setting of my musical
interpretation of a traditional Japanese nature painting. The strings also reinforce the melody using a number of
string techniques, such as pizzicato ricochet and harmonics, providinge descriptive sounds representing a flock
of plovers in tl1eirnatural habitat in and amongst the shoreline marshes.

---INTERMISSION---

Little Giant Chinese Chamber Orchestra of Taiwan
Spring Awakening at Mount Yangming (1960) by Jung Sen, Tung
Dizj solo- Chun Hao, Chang
This piece describes the beautiful scenery of Mount Yangming (Taipei) in springtime and the sense of
•
excitement as visitors arrive from all over Taiwan. Born in 1932, Professor Tung has composed over 70 works
for Chinese instruments. He has taught at various music schools and contributed greatly to tl1edevelopment of
Chinese music in Taiwan. In the 199Gs,Tung in1migrated to Canada and has lived in Burnaby ever since. This
piece was used as the tl1eme song by a daily TV show in Taiwan, and is therefore the most famous among his
compositions.

Based on a famous Basho's haiku:
This autumn
Why an1 I aging so?
to the clouds, a bird ....
Composer's
Note: This single movement double concerto explores the paragon of high art and folk. At one end
the historic Shakul1achiand Koto present intricacy of the traditional high art, and at the other the Intercultural
Orchestra brings in transparency of the folk music and vigor of the high art. Moreover, while the duo
introduces a spectrum of introvert sonorities, the orchestra exhibits a range of extrove1ted spectral amalgams
arid musical textures, ranging from bright and translucent sonorities to dark thick timbres. Bold juxtaposition of
the conventional pitch-oriented idiom and timbral writing creates yet anotl1er level of polarity. Though the
piece presents daunting differences of different idioms, it explores parallel and unifying elements. These distinct
elements will eventually bridge the chasm, while preserving the charm of components.

Chidori no Kyoku (Song of the Plovers) by Yoshizawa Kengyo (1800 - 1872)
Arranged by Mark Armanini
S hakuhachz:koto and interculturalbowedstrings

Between Water and Clouds (2006) by Chih-Hsuan Liu
Water and clouds are one substance in two forms. Having no ftxed shape, they transform into each other, and
co-exist at the same time. The piece starts and ends with similar gestures, symbolizing images mirrored in water.
The winner in the composition category at the 2006 International Competition for Chinese Chamber
Ensembles, Liu is a prominent young composer in Taiwan.

Deep Forest (2007) by Bruce Huebner
Shakuhachiand Koto
Naima (1959) by John Coltrane
S hakuhachiand Koto

While Chidon·no Kjoku is relatively new, composed just before Japan's opening to the West in the mid 19tl1
century, the mode and elegant koto techniques hark back to the ancient Gagaku court orchestra. This is one of
tl1emost well known pieces for koto and voice. The lyrics, referring to a small bird commonly found by the
sea, are taken from an ancient antl1ology of court poetry. The following is a translation of the lyrics.

Qi Dao (The Way through the Air) (2010)by Jin Zhang
S hakuhachz:Kotoand interculturalorchestra
Composer's
Note: Qi means air, and Dao means road or the way to go through. But the throughway is in the
human's mind and body. This is one of the concepts that is common both to Chinese and Japanese cultures. In
certain ways, people can use their minds to make the air go through the entire body, thus strengthening
themselves mentally, and physically as well. This power, used positively, can make people healtl1y,wise and
generous; used negatively, it can make people evil.

At Shioyama
Frequenting the sand spit
Plovers call out
"You, my lord,
May you live eight thousand years!"
At Awaji Island
The call of the plovers,

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PROGRAMME: Little Giant Chinese Chamber Orchestra
Sunday May 30, 7:00 pm

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The Hundred-Pace Snake Tattoo on Pottery (2004) by Zhen-Nan Huang
Inspired by the legends of the aboriginal Pai1vanpeople of southern Taiwan, this piece draws elements from
therr trad1t1onalmusic. The Sun God laid eggs on the pottery and commanded the Hundred-Pace Snake to
guard the eggs. From the_eggs, came the ancestors of the Pmwanpeople. Therefore, Hundred-Pace Snake
became an 1mportant Paz1vansymbol.

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Drinking Alone Under the Moon (1997) by Ying Li

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This piece is an interpretation of a poem, by the same name, of the great poet Li Bai (Li Po) of the Tan
Dynasty (618-907 A. D.). Under _themoonhght and among the flowers, Li Bai invited the moon and hisg
shadow for a dnnk. They were h1s companions_on this lonely night. The moon was a favorite subject of Li Bai.
The legend has said that one day after a few dnnks, the poet fell into the lake and died while trying to • k tl
moon out of the water.
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the Ta1pe1Municipal Chillese Orchestra.

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among overseas Taiwanese communities around the world.
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The Cruising Illusions (2003) by Hsin-Wen Tsai
Duo: Le-Ning Chu - sheng& Yun-Han Su -pipa
Late at ni_ght,tl1isquiet bar is tl1eperfect place to be. Sharing some wine witl1 friends, with whom OU can
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dialogue between h1s two favonte Chmese instmments, sheng (mouth organ) and pipa 0ute).

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instruments. Their ability to suggest the sounds of nature is a source of inspiration in my music. The harp fits
perfectly into the ensemble as a harmonic/ bass anchor and its transparent timbre blends effortlessly into the
many textures along the way.

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Ba Ban Variations (2009) by Lan Tung
Soloists:CoatCooke(saxophone),
Lan Tung (electn·c
erhu)andJonathanBernard(percussion)

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Note:Inspired by Ba Ban or Eight Phrases, tl1e root of hundreds of pieces in traditional Chinese

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repertoire, this original work written for in1provising musicians explores tl1econtrasts between tonalities and
genres. It embodies tl1e paradox of many opposite characters: chromatic and pentatonic passages, composed
and improvised materials, contemporary and traditional forms, with sudden shifts between surreal or
mysterious quality and an exciting fast 3+2+3 rhythmic cycle. Ba Ban Variationsincorporates graphic notation
and conduction to give tl1e performers more freedom in interpretation. It was premiered by tl1eVancouver
Creative Music Institute at the 2009 Vancouver International Jazz Festival, and has since then been performed
by a number of ensembles. It was released by Birds of Paradox on its 2009 debut CD.

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The Beggars (1984 & 198~) by Chung-Sheng Chen
T11eBeggars is based on "Crying Tone" of Taiwanese opera. Between the xiao (vertical flute) and the erhu
(Chinese violin), it tells the story of an old homeless man. Born in Taiwan in 1956, Chung-Sheng Chen is a
dizi (Chinese bamboo flute) player, composer, conductor, and educator. He has won nwnerous awards in
composition and dizi performances in a career spanning over 30 years.

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Earth Song (2006) by Xin-Cai Huang
Soloist:Ya-Hsiu Lin - zheng

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This zheng (Chinese zither) concerto consists of three sections: 1) w1metered introduction, 2) main theme
based on MountainSong(faiwanese Hakka music), 3) variations and developments of MountainSongand two
Taiwanese folk songs interweaved together in a fast tempo.

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Born in Taipei, bassist and composer Xin-Cai Huang graduated from tl1eNational Taiwan University of Arts
in 1980 and Conservatoire National Superieur de Musique de Paris in 1985, and currently teaches at the
National Taiwan University of Arts.

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Sounds by Sounds (1996) by Ying Li
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Based on the Chinese pentatonic system and idiomatic harmony in traditional pipa music, this Minin1alistpiece
creates many layers of sound utilizing floating melodic materials over rhythmic variations, reflecting mountain
peaks above seas of clouds in Chinese painting.

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Taiwanese Folk Song Suite (2001) by Wen-Xiang Liu

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This is a suite of five folk songs from different regions in Taiwan: To Rememberdescribes the lives of the older
generation; JasmineefJune is a love song; Grasshopper
and Roosterdescribes the bickering between a couple;
MountainLiJveSongis from the Hakka people; Diu Diu Dang describes the sound of a train going through the
caves, while water drips on the roofs.
Born in Tainan, Liu is an erhu performer, conductor, ethnomusicologist and composer. He currently conducts
the Tainan City Traditional Orchestra and teaches at Tainan National University of the Arts. Many of his
compositions are influenced by Taiwanese opera.

7

ABOUT THE FEATURED PERFORMERS - May 29

ABOUT THE FEATURED PERFORMERS - May 30

A native of Chicago Illinois, Curtis Patterson studied
with modem koto great Tadao Sawai. He holds a master's
license from the Sawai Koto Institute and is the first nonJapanese national to graduate from the NHK training
program for young performers of traditional Japanese
instruments. Currently residing in Tokyo where he also
teaches koto and shamisen, Patterson has performed with
a wide variety of artists including screen actress
Matsuzaka Keiko and popular singer/ songwriter Kei
Ogura. He was part of the AUN drumming unit's SOconcert tour in 2002 and appeared on tl1e main stage at
tl1e 2004 Rain Forest World Music Festival in Sarawak, Malaysia. A member of the Sawai Tadao Koto
Ensemble, Soemon and the US based Koto Phase, Patterson released a solo CD "Oto No Wa" in 2002
and was musical director for the 2005 documentary film "Magnificent Obsession: Frank Lloyd Wright's
_Buildingsand legacy in Japan." Aside from his teaching activities, and performances with various kotci
groups and other musicians, Curtis is most active performing with shakuhachi player Bruce_Huebner.
"Curt & Bruce" presented their original compositions and arrangements at over 50 venues m Japan m
2007, and January 2008 saw them in tl1e Pacific Northwest for their Nortl1 American debut tour. The_y
were joined by singer Susan Osborn for their 2008 "Sakura Zensen Tour" in April and May, performing
at nearly 20 venues around Japan.

The Little Giant Chinese Chamber Orchestra
The Little Giant Chinese Chamber Orchestra ("gCO") was founded in October 2000 by its artistic
director and conductor Chih-Sheng Chen. Witl1 ten years of experience, the gCO has matured into an
ensemble of both technical and artistic proficiency. A strong musical force in Taiwan, it represents a new
generation of Chinese orchestral music. It strives to demonstrate the energy and passion of its dedicated
musicians with every performance. The gCO breailies new life into an art form that holds ancient roots,
and devotes itself to promoting Chinese music on ilie world stage.
The gCO's repertoire ranges from ilie classics of Chinese traditional music to the latest contemporary
compositions by Taiwanese and Chinese composers. It offers a full season at the prestigious National
Concert Hall in Taiwan, presenting botl1 ilie full orchestra of over one hundred musicians and smaller
chamber ensembles iliroughout the year. In recent years, the orchestra has presented large-scale
interdisciplinary projects, combining ilieatre and multimedia wiili orchestral music. Its international
appearances include ilie Zentrum fur Kunst und Medientechnologie (ZKM) at the 2007 Flying Circus
Festival in Germany, the 2008 Hong Kong International Chinese Music Festival, and ilie 2010
Edmonton Chinese Music Festival. In addition, the gCO's educational programs have introduced
tl1ousands of young audience members to Chinese music. The gCO has released iliree CDs and one
DVD from its live performances.

Chih-Sheng Chen - artistic director & conductor
One of tl1e most prominent young conductors in Taiwan, Chih-Sheng Chen
studied conducting with Ying Lee, and ilieory witl1 Chao-ying Huang and ShiPei Ding. He started his musical training as an erhu (Chinese violin) player at
the age of ten. He began to conduct during his high school years. At ilie
National Taiwan University (NTU), he conducted the university's Chinese
orchestra at many concerts and won tl1e first prize at tl1e National Music
Competition. At ilie same time, Chen performed with the Taipei Chinese
Youth Orchestra, as tl1e principal zhonghu (lower tone erhu) player from 1994
to 2005.

California-born Bruce Huebner studied shakuhachi under the late
Goro Yamaguchi (Living National Treasure) at the prestigious Tokyo
University of Fine Arts and Music. He is the first non-Japanese to
receive a master's degree in traditional Japanese music performance at
the university. He earned his master's license from Chikuyusha, one of
the oldest shakuhachi guilds, in J 997, and gave two solo shakuhachi
recitals of Japanese classical music. In 1998 Bruce produced an
instructional video on shakuhachi performance in English, and in
August 2000 he led the Contemporary Sankyoku Ensemble's six-state
US tour while releasing a solo CD of traditional shakuhachi music,
"Song of Daybreak." In 1999 Huebner co-founded tl1eJazz/World
Music group "Candela," which has recorded and performed to wide
acclaim in Japan, as well as at venues in the United States, Canada and
Europe. Besides performing, Bruce Huebner teaches shakuhachi at
Fukushima Prefectural Medical University and music history at Yamaha
Music Academy, Hiyoshi as well as conducting private lessons.

In 2000, he founded the Little Giant Chinese Chamber Orchestra (gCO), the
first and only independent professional Chinese orchestra not run by the
government in Taiwan. From 2004 to 2008, Chen was ilie Associate
Conductor of tl1e Taipei Chinese Youili Orchestra and Teachers Orchestra. In 2006, he produced and
conducted ilie featured concert of ilie Evergreen Symphony Orchestra in Taipei.

..

8

To foster interest in Chinese music among young audiences, and to train young musicians, Chen has
designed educational programs and acted as the music director and instructor at numerous schools in
Taiwan. Chen holds a Ph. D from tl1e Institute of Microbiology and Biochemistry of ilie National
Taiwan University. His background in science constantly surprises people. "Chinese music is my true
calling in life," he says.

9

ABOUT THE COMPOSERS

DESCRIPTIONS OF NON-WESTERN INSTRUMENTS

Jin Zhang (Conductor & Composer), associate composer of the Canadian Music Centre, was born in
Beijing, China. He received his first musical education at the Central Conservatory of Music in Beijing.
Then he traveled to Japan and studied at Toho Gakuen School of Music in Tokyo. He studied
conducting with Professor Morihiro Okabe, as well as maestro K.azuyoshi Akiyama and Seiji Ozawa. Jin
came to Canada in 1990, and currently holds the position of Music Director/Conductor with the
Vancouver Philharmonic Orchestra, New Westminster Symphony Orchestra and the Vancouver Youtl1
Symphony (Int.) Orchestra. He is an artistic director of VBCm production. He has received many grants
from the Canada Council for the Arts for his compositions, which have been played by professional and
community groups including tl1e Calgary Philharmonic Orchestra, the Victoria Symphony and the
Vancouver Symphony Orchestra. Currently, he is associated wiili music productions in USA and China
for several CD recording projects. Soon, his second album CD will be published in China nationwide. Jin
has also been invited to conduct Xia Men Philharmonic, one of China's major symphony orchestras.

Dizi (pronunciation: deets):bamboo flute with a membrane covering one hole to create an increase in resonance
and a typical 'buzzing' quality. It is really a renaissance flute with a membrane. Since its projection is excellent it is
widely utilized as a solo instrnment, both in the orchestra and in smaller ensembles.

Mark Armanini (Co-Artistic Director, Composer) was raised, educated and lives in Vancouver, Canada
_and holds a Bmus (1981) and Mmus (1984) in composition from the University of British Columbia.
Since 1989 Mark has been composing for various combinations of Chinese, Asian, and Western
instrumentation, and has received numerous commissions and awards for his work. Pieces from his
catalogue of over 60 works for choir, solo voice, chamber and orchestral ensembles have been performed
by ilie CBC Radio Orchestra, the Vancouver Symphony Orches_tra, the Edmonton Symphony, the
VICO, tl1e BC Chinese Orchestra, and ensembles such as Orchid Ensemble and Silk Road. Mark's
'Vancouver style' is noticeable in his several concertos: ' ...of Wind and Water' for Pipa; 'Concerto for
Erhu'; 'Concerto for Yangqin'; 'Dance of Many Colours' for two Dan Bau (a native Vietnamese onestring zitl1er), and 'Incense and Flowers', a double concerto for Yangqin and Harp with intercultural
orchestra. The delicacy, refinement, and versatility of ilie oriental instruments in combination with
orchestra make for a refreshing sound palette for western ears. Mark is an associate composer of the
Canadian Music Centre and since 1994 has been a composition instructor at Capilano University.
Farshid Samandari (Composer) was born in Iran in 1971 into a Baha'i family. This meant that he was
not allowed to pursue academic studies in a university or to leave the country, and in general was
deprived of basic human rights. He witnessed ilie imprisonment, tribulation, and martyrdom of many
friends and scholars. It took him about nine years to legally obtain a passport to leave his homeland.
Notwithstanding these conditions he pursued his music studies, eventually teaching, and founding a
choir. In April 2001 he arrived in Canada, where he has been working as a recital pianist, performing his
own compositions. He has worked with several Vancouver-based choirs as director/conductor, and has
founded a choir of Baha'i singers in BC.

Erhu (pronunciation: ar' - hu):bowed instrument from China with a long neck and two strings between which a
horsehair bow is placed. The Erhu performs an essential role in Chinese classicalmusic as well as in the folk
music tradition. It is held vertically to play.
1
Kamanche (pronunciation: ka-111an
-che):4-stringed bowed lute common in Iran and in other middle Eastern and
Arabic traditions. It can be found all over the near and middle east, and in countries such as Azerbaijan, and
Russia. It is sometimes called a 'spike fiddle' due to its having a spike protrnding from the bottom end.

Koto: a prominent member of the fan1ilyof Asian long zithers, the Kato has seen more than a millennium of
development since it was brought to Japan from China. It normally has 13 strings, which rest on moveable bridges
to facilitate various tunings. It is played with plectra on the right hand fingers, while the left hand is employed
primarily in creating oman1entation and altered pitches.
Oud: a 4- or 5-stringed fretless lute found all over the Middle East, it made its first appearance more than 2000
years ago. Its rounded body gives a full, warm sound and its fretless neck allows for quarter tones and sliding
effects. The European Lute derives directly from it; in fact, tl1eword Lute is derived from El Ud (the Ud).
Pipa: pear shaped fretted lute with 4 strings, introduced into China in tl1e4th century AD. The Pipa has become a
prominent Chinese instrument used for instrnmental music as well as accompaniment to a variety of song genres.
It has a well-projected and ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully.
Santur: Persian hanm1ered dulcimer (more precisely called a struckzjther)with a trapezoid body. It has 72 strings,
which are strung over two sets of 9 bridges on either side of the instrument. The instrument is strung 4 strings to a
note, and tl1egan1ut rendered has a diatonic range of just over 3 octaves. It is_playedwith 2 wooden mallets.
Sanxian (pronunciation: san' - shee- an):long necked fretless lute with three strings. In Chinese, "san" means three
and "xian" means strings. The resonating body is made of a round wooden box covered with snake skin, just like
an erhu. The instrnment is played with a plectmm and is widely used to accompany singing.
Shakuhachi: end-blown notched ban1boo flute of Japan, the modem standard version has four finger holes and
one tlrnmb hole. Originally imported from China by the early 8th century, it reappeared around tl1e 15th century in a
Japanized form and has since come to be used in several quite diverse types of music: meditative solos, small
ensemble pieces, folksong, and modem works by both native and foreign composers.
Tabla: set of 2 pitched kettledrums from North India. The right drum has a ringing definite pitch, usually the
fundan1ental tone of tl1e raga (mode) being accompanied, while the left dmmis lower and more indefinite in pitch.
A staple of North Indian classicalmusic and already very well known all over the world, it is capable of an
enormous degree of rhythmic precision, complexity, speed and pitch inflection.

Lan Tung (Performer, Composer) is an erhu performer, composer, producer, and administrator.
Originally from Taiwan, she incorporates Chinese music with contemporary expressions in her works,
experimenting with contradictions by taking culturally specific materials outside tl1eir context and fusing
tl1em with oilier genres. An intensive interest in music outside her tradition has been a major drive in her
artistic explorations. Lan has studied graphic scores with Barry Guy in Switzerland, improvisation with
Mary Oliver in Amsterdam, Hindustani music with Kala Ramnaili in India, improvisation at Vancouver
Creative Music Institute, and as an erhu major at ilie Chinese Cultural University in Taiwan from 19921994. Lan is the leader of the JUNO nominated Orchid Ensemble, and she performs with Birds of
Paradox, Tandava, VICO, Mozaico Flamenco Dance Theatre, among many other projects. She has
toured extensively in North America, workingwitl1 composers, musicians, dancers, visual and media
artists of various cultural backgrounds. Her music can be heard on a number of CDs: Birds if Paradox,
Road to Kashgar,Heartland, Tandava and a new Orchid Ensemble CD to be released tl1is summer.

Zheng (pronunciation:jung):plucked half-tube wood zither from China, with movable bridges over which strings
are stretched. The modem Zheng usually has 21 strings, tuned to a pentatonic scale. The performer uses the right
hand to pluck the strings, and the tone can be altered by the left hand pressing the string on the non-speaking side
of the bridge.

10

11

Tar: aft-retted lute from Persia (Iran), tl1e tar appeared in its present form in the middle of the eighteenth century.
The long fingerboard has twenty-six to twenty-eight adjustable gut frets, and there are three double courses of
strings. Its range is about two and one- half octaves, and is played with a small brass plectrum.
Xiao (pronunciation: shee-ow):
vertical ban1boo flute with the san1erange as the dizi but without a membrane. It is
not as flexible as the dizi and is harder to intone. It is a delicate instmment witl1a softer dynamic. The xiao is
excellent for expressive solo playing, but does not project well as part of a larger Chinese ensemble or orchestra.

The VICO EXTENDS SPECIALTHANI<S ...
. . .To our funders:
Canada Council for the Arts
BC Arts Council
City of Vancouver
Hamber Foundation
SOCAN Foundation

... To our co-presenting partners:
Vancouver Community College
Vancouver Pro Musica

.. .To the following organizations & individuals:
Taipei Economic and Cultural Office far hosting/sponsoring
thepost-showreception
onMqy 30
BC Chinese Music Association far lendingmusicalinstruments
Asian Canadian Special Events Association & Egret Music Centrefartheirhelpin ma,rywqys
Jonathan Bernard far lendingpercussion
instruments
Tom Sakaino,far Japanesetranslations
O:i\1NI Diversity Television, ourseasonalmediasponsor

Council for Cultural Affairs, Republic of China (Taiwan) $ -~

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Ministry of Foreign Affairs, Republic of China (Taiwan) $ ~~~fr ®:~Jl.9~5~JB
Overseas Compatriot Affairs Commission, Republic of China (Taiwan) $ -~~~T ®:~Jl{I~~~fr
The Taipei City Department of Cultural Affairs, Republic of China (Taiwan) $-~~

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BC ChineseMusk Association - 15th Anniversary Celebration!

BC Chinese Music Ensemble
"Better. World, Better Life" Concert
July 10th, 2010 Saturday 7:30 pm
Michael J. Fox Theatre

Featuring
Red Chamber
Suona soloists Quan-Xi Wu, Dong-Xiao Wu from China
Local soloists including Gui-Lian Lui, Mei Han, Zhong-Xi Wu, Ge Li

Information:

Tickets $251$30
604-327-8807 or bccma@rogers.com
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