These include such composers as Dai Fujikura, Si Ang Chen, Roydon Tse, Brian Cherney, Keith Hamel, Dorothy Chang, Chan Ka Nin, Alice Ping Yee Ho, Hope Lee, Jordan Nobles, Jocelyn Morlock, Scott Godin, Remy Siu, Edward Top, Aaron Gervais, Jared Miller (and dozens more).Ĭurrently Concert Master of the B.C. PEP (Piano and Erhu Project) has commissioned over fifty composers to write works since it began just three years ago. PEP is delighted to see composers deal with these elements in such different ways. The blend is not only a tonal and musical one, but also cultural.
March 15th-31st, 2019 Nicole Ge Li, erhu Corey Hamm, pianoĮrhu and piano virtuosos Nicole Ge Li and Corey Hamm began PEP (Piano and Erhu Project) to explore the fascinating blend of these two iconic Eastern and Western instruments.
War Dance, the final movement, is dramatic with strong accented 1/8 notes.
#Ho ho hopefully piano series
But this does not last as he realizes he is now free – a series of choral bars signifying hope. But he is sad, lamenting his time in captivity. The second movement, Gryphonsong, had me seeing the freed Gryphon wandering in a meadow listening to birdsong. At one point you can imagine a Gryphon who is imprisoned in a dungeon scratching his talons on the wall to get out. The first movement, Serpentile, features a frenetic energy going from the low to high register. One could say that each movement is a character piece of three mystical gryphons inspired by each of these players. Each movement is loosely based on the personalities of each player of the Gryphon Trio: I – Jamie Parker (pianist), II – Annalee Patipatanakoon, III – Roman Borys. Much of the work is based on musical materials from my solo piano work Eccentric Gestures. It is in three movements and takes the listener through the mystical world of gryphons. The work explores the colouristic, virtuosic, and expressive possibilities of the piano trio while highlighting my more personal musical language. This needed to be taken into consideration – having them express themselves as one entity, not three separate players. Being that they have been performing together for so many years, they have established a sound that defines their group.
As well, it was important to have the work specifically tailored to the Gryphon Trio. We decided that this would be the direction to go. To my surprise, of their twenty-one years of commissioning new works, the “gryphon” mythology had not yet been explored as a theme. After brainstorming with them, we came up with enough ideas to formulate the thesis of the piece. In addition, this was an opportunity for me to explore new ideas with a group that has devoted themselves to performing new music as well as standard repertoire. Up until that point, I had held off writing for this medium mainly because I wanted ensure my technique was firmly established before taking on such a project, most especially when high-caliber players are involved. When I was asked to write a work for the Gryphon Trio, I was absolutely thrilled with the opportunity.
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