℗ 2019 Navona
Released | July 26, 2019 |
Duration | 1h 13m 36s |
Record Label | Navona |
Catalogue No. | NV6242 |
Genre | Classical (Contemporary Era) |
1.1
|
Night Poem
Wong Hok-yeung Alfred; Wolfgang Nüßlein; Mary Wu |
8:20 | |||
1.2
|
Cross-Currents
Chan Chin-ting; Chen Yu-fang |
8:21 | |||
1.3
|
Postcards
Chan Chin-ting; Chen Yu-fang |
8:11 | |||
1.4
|
Pyrus Flower in Rain
Lee Kar-tai Phoebus; Lee Kar-tai Phoebus |
7:09 | |||
1.5
|
Stretch of Light
Chen Yeung-ping; UCSD Bass Ensemble; Chen Yeung-ping; Mark Dresser; Matthew Kline; Kyle Motl; Thomas Babin; Timothy McNally |
10:48 | |||
1.6
|
Prelude II
Ng Chun-hoi Daniel; Clarence Mak; Ng Chun-hoi Daniel |
4:27 | |||
1.7
|
Dyeing
Au Tin-yung Alex; Judith Ring; Paul Roe; Martin Johnson |
8:50 | |||
1.8
|
November Winds
Ng Chun-hoi Daniel; Cheung Chung-wang; Ray Tsoi; Kan Pak-kin; Betty Tang |
5:33 | |||
1.9
|
Clouds in Twilight
Wong Chun-wai; Hong Kong Philharmonic Orchestra; Bright Sheng |
11:57 | |||
Digital Booklet
|
Wong Hok-yeung opens the Hong Kong Composers’ Guild’s Resonating Colours 5 with Night Poem, a composition for cello and piano. Rhapsodic and ambling, the piece conjures nightly thoughts, welling up and vanishing with lifelike authenticity. Chan Chin-ting features with two pieces for solo violin: Cross-Currents, an exploration of the violin's full tonal range, and Postcards, an assortment of, in the composer's words, "six miniatures/musical gifts," which, quite like the name suggests, can be played as standalone pieces, but also feature a common theme that unites them.
Lee Kar-tai's Pyrus Flower in the Rain is a minimalist evocation of temporality. Written for solo piano, its structure and execution reveal a great deliberation and decisiveness behind every single note and effect, quite like a traditional ink-and-washing painting. Stretch of Light, a contrabass quintet by Chen Yeung-ping, starts out with drawn-out notes more reminiscent of fragmented Indian raga music than of Chinese composition. But the surprise is unwarranted: After all, Stretch of Light is supposed to be an examination of the nature of space, and the long, layered lines evoke this quite naturally.
Dyeing, a trio for violin, clarinet, and cello by Au Tin-yung was inspired by an anecdote experienced by the ancient Chinese philosopher Mozi, who was mesmerized by the process of coloring fabric. Au Tin-yung aims to explore this fascinating yet utilitarian process in his composition, in which he handles the instruments' different timbres in quite the same manner in which a craftsman would handle differently-textured fabrics.
Seasonal changes are at the heart of November Winds by Ng Chun-hoi, a string quartet as ephemeral as the annual variances in weather and nature. This impression is counterbalanced by another work by the composer, Prelude II, a tonal composition for two guitars which employs the instruments in both a melodic and percussive fashion.
Finally, Wong Chun-wai's Clouds in Twilight rounds off the album with an atmospheric meditation on a sunset. In its dramatic ebb and tide, culminating in a rich, full orchestration, lends the perfect and indeed, the most fitting, ending to Resonating Colours 5.
44.1 kHz / 24-bit PCM – Navona Studio Masters
Tracks 5, 8 – contains material which has been processed by a perceptual audio coding algorithm
Tracks 5, 8 – contains material which has been processed by a perceptual audio coding algorithm
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -0.50 -0.53 to -0.50 | -26.44 -30.05 to -21.57 | -21.16 -25.10 to -17.10 | 16 12 to 19 | |
1 | Night Poem | -0.50 | -27.72 | -22.3 | 17 |
2 | Cross-Currents | -0.50 | -23.74 | -17.1 | 14 |
3 | Postcards | -0.50 | -27.47 | -19.2 | 18 |
4 | Pyrus Flower in Rain | -0.50 | -29.71 | -23.9 | 19 |
5 | Stretch of Light | -0.53 | -23.57 | -21.3 | 15 |
6 | Prelude II | -0.50 | -28.89 | -25.1 | 18 |
7 | Dyeing | -0.50 | -25.23 | -19.8 | 16 |
8 | November Winds | -0.50 | -21.57 | -17.1 | 12 |
9 | Clouds in Twilight | -0.50 | -30.05 | -24.6 | 17 |