In China, the erhu and piano combination has become popular. In many cases, the piano replaces the Yang Qin (揚琴), a hammered dulcimer.
As a Chinese-Canadian composer trained in the tradition of western music composition, this ensemble is problematic for me. This ensemble does not only comprise of instruments, but iconic cultural objects: the erhu and the piano both signal their cultures strongly. In writing for this ensemble, one is not only confronted with the standard range and dynamic parameters of the instruments, but the relationship between China and the West.
In China, many things western are idolized. In the west, many things asian are fetishized and commodified. To address this, I have also “sampled” or quoted excerpts from western and Chinese repertoire both old and new and “mapped” them onto the piano and erhu. The piece will work systematically, exhausting all the possible permutations between the piano and erhu and their “shadow instrumentations”: the piano and violin, the erhu and the yang qin (among other supporting instruments). You will hear traditional Chinese song, Bach, Tan Dun, Boulez, and more.
You will also hear, in one “empty” sounding section, suggested harmonies provided by Microsoft’s Songsmith program for Windows. These suggestions can be an insight into the commodification—of the commodification—of western harmony in popular music. These suggestions will support an old, traditional chinese tune.
Finally, the last section are my direct thoughts on the matter. Hopefully, by this time, the game is clear.
Instrumentation
for erhu and piano
Performances:
- Sound of Dragon Music Festival 2014 -- May 11th, 2014 -- Roundhouse Performance Centre, Vancouver BC
- Snow in Summer -- Dec 6th, 2013 -- Roy Barnett Recital Hall, Vancouver BC
Commissioned by Nicole Li and Corey Hamm for the Piano/Erhu Project (PEP).