As the pear blossoms fall... (*)

Reflective Commentary

I chose this piece because it is the largest chamber ensemble work I have composed, involving both vocalists and instrumentalists. It showcases my skills in writing idiomatically for both while contextualising the text effectively. As a former linguistics student, I have a strong interest in interpreting and rearranging text to offer new perspectives. This performance is particularly unique in that it reimagines Cantonese Opera text in a more contemporary and Western way.

Beyond creativity, the ways in which I deconstructed the lyrics are rare, delicate, and faithful to the meaning of the text, with a consistent focus on storytelling and atmosphere. Taking inspiration from "Dust Bury The Bridge of Xian Yang" by Doming Lam, a choral piece that achieves a full and emotional sound, my piece similarly draws on a rich emotional content and sound effects. However, my work is written in Cantonese and features a larger number of instruments, whereas Lam's piece derives its power from a grand and expansive choir.

Before making any compositional decisions, I spent considerable time analysing the text, staying attentive to my immediate thoughts and emotional responses to the words. I gave close attention to the central message and structural organisation, dividing the text into sections and identifying the key point of each before determining what to foreground and emphasise. Since preserving the storytelling quality of the piece was a priority, I placed great value on a clear, linear narrative progression. I also drew on both the instrumental writing and the collective vocal sound mass to heighten the atmosphere of each section, while stretching and amplifying key words or phrases to reinforce the distinct character of each part.

Unlike most Cantonese choral works, which tend to centre on harmonies and lyrical melody lines, my piece experiments with a broader range of vocal textures and articulations, including rhythmic, pointillistic, percussive, speech, and whispering sounds. This approach allowed me to move beyond conventional choral writing and explore the full expressive potential of the human voice.

Cantonese intonation presents a particular compositional challenge, as incorrect tonal inflection can alter the meaning of a word entirely, leading to misunderstandings or unintentionally humorous moments. To address this, I carefully researched the intonation of every word to ensure that all vocal lines remained intelligible. I also made a deliberate effort to avoid clichéd or predictable melodic choices, and I believe the resulting vocal writing is both fresh and distinctive.

The audience is invited to immerse themselves in the tragic love story and to feel the depth and sorrow of the characters' emotions. The piece has received a warm response, as its reimagination of the original lyrics offers a fresh encounter with the Cantonese Opera tradition, brought to life through powerful operatic singing and a mixed ensemble of Chinese and Western instruments. The bold decision to open the piece with a pipa solo further underscores its distinctive character.

One weakness I have identified is that my compositional approach to this piece closely resembles the method I used for my other choral a cappella work, both being deeply rooted in text. This raises the question of how I would develop a new approach when writing for voices without a textual framework. Interestingly, I find that when composing pop songs, I naturally adopt a different method, focusing on the melody and developing it throughout, with repetition playing a significant structural role. This contrast has made me curious about how I might approach a future vocal work from a new angle, and it remains a creative challenge I look forward to exploring.