PAN Hwang-Long（Taiwan）
Hwang-Long Pan, born in Taiwan in 1945 and graduated from National Taiwan Normal University. After graduating, Pan studied with Hans Ulrich Lehmann and Robert Blum in Zurich. In 1976, he studied with Helmut Lachenmann and from 1978 to 1982, with Isang Yun.
Pan was elected to be Dean of School of Music from year 2002 to 2008 at Taipei National University of the Arts (TNUA) and is currently Emeritus Professor of TNUA.
Pan is the founding president of the International Society for Contemporary Music - Taiwan Section and also is currently honorary president of ISCM - Taiwan Section. He was elected to be Chairman of Asian Composers' League in 2012.
Pan was the winner of the Jurgen Ponto Kompositions - Wettbewerbs (1979), the Wu Sanlien Award (1987) and Taiwan's National Arts Award (1992, 2003). His compositions have been performed by numerous ensembles including the Berlin Philharmonic Orchestra (1982), the Ensemble Inter Contemporain / IRCAM (1983), the New Japan Philharmonic Orchestra (1989) and performed at International Gaudeamus Music Week (1980), ACL / APMF etc.
Hwang-Long Pan, born in Taiwan in 1945 and graduated from National Taiwan Normal University. After graduating, Pan studied with Hans Ulrich Lehmann and Robert Blum in Zurich. In 1976, he studied with Helmut Lachenmann and from 1978 to 1982, with Isang Yun.
Pan was elected to be Dean of School of Music from year 2002 to 2008 at Taipei National University of the Arts (TNUA) and is currently Emeritus Professor of TNUA.
Pan is the founding president of the International Society for Contemporary Music - Taiwan Section and also is currently honorary president of ISCM - Taiwan Section. He was elected to be Chairman of Asian Composers' League in 2012.
Pan was the winner of the Jurgen Ponto Kompositions - Wettbewerbs (1979), the Wu Sanlien Award (1987) and Taiwan's National Arts Award (1992, 2003). His compositions have been performed by numerous ensembles including the Berlin Philharmonic Orchestra (1982), the Ensemble Inter Contemporain / IRCAM (1983), the New Japan Philharmonic Orchestra (1989) and performed at International Gaudeamus Music Week (1980), ACL / APMF etc.
"Praises・Hua Jia" for Woodwind Quintet
The Japan Federation of Composers, found in 1962, will celebrate its 60th anniversary on 2022. To mark this meaningful event, I was commissioned to compose a woodwind quintet, hence the birth of "Praises・Hua Jia".
"Hua Jia" in the title means "Sixtieth Anniversary", a long journey represented by a set of six pieces. With this work, I am sending my best wishes to JFC's great future.
The forms and tempi of the six pieces are lised below:
Ⅰ. Andante
Eleven (4+3+4) pitches : A S(E♭) E S(E♭) ・S(E♭) E H - A E S(E♭) A, a code derived from the title "Praises・Sixtieth Anniversary", are arranged into Hauptton, and expanded by various embellishments and subtle quarter tones.
Ⅱ. Adagio
Pre-programmed sets of "primary chords (pitch structure)" emerge in sequences, shaping the melodic and harmonic contour, responding and imitating each other, to construct a fresh imagery, slow yet ready to move.
Ⅲ. Moderato
Complex tone colors start expansion from middle register to both higher and lower registers, forming wide Klangfarben layers, then return to simplicity of the beginning. It leads us through a fanfare before going back to complex players of Klangfarben.
Ⅳ. Allegro
The sonic prototype's ups and downs and its layers are altered by fast-changing instrumentation and primary chords. Rhythmic and fragmentation always appear in different registers, opening new fields of sonic structure.
Ⅴ. Lento
In between different primary chords, the music leads to fluctuating sonic layers, glowing with dotted lights and ripples. It calmly awaits the appearance of disorder, seeking common ground while reserving differences, in order to produce endless circulation of cause and effect, movement and stillness.
Ⅵ. Andante
A short recapitulation of the secret code from "Praises・Sixtieth Anniversary", recalling the characters and sonic prototypes in each of the previous pieces. Both alienation and fixation methods are used to review the glorious trajectory of the years, while enriching the Klangfarben layers, to express the celebration of JFC's sixtieth anniversary.
The Japan Federation of Composers, found in 1962, will celebrate its 60th anniversary on 2022. To mark this meaningful event, I was commissioned to compose a woodwind quintet, hence the birth of "Praises・Hua Jia".
"Hua Jia" in the title means "Sixtieth Anniversary", a long journey represented by a set of six pieces. With this work, I am sending my best wishes to JFC's great future.
The forms and tempi of the six pieces are lised below:
Ⅰ. Andante
Eleven (4+3+4) pitches : A S(E♭) E S(E♭) ・S(E♭) E H - A E S(E♭) A, a code derived from the title "Praises・Sixtieth Anniversary", are arranged into Hauptton, and expanded by various embellishments and subtle quarter tones.
Ⅱ. Adagio
Pre-programmed sets of "primary chords (pitch structure)" emerge in sequences, shaping the melodic and harmonic contour, responding and imitating each other, to construct a fresh imagery, slow yet ready to move.
Ⅲ. Moderato
Complex tone colors start expansion from middle register to both higher and lower registers, forming wide Klangfarben layers, then return to simplicity of the beginning. It leads us through a fanfare before going back to complex players of Klangfarben.
Ⅳ. Allegro
The sonic prototype's ups and downs and its layers are altered by fast-changing instrumentation and primary chords. Rhythmic and fragmentation always appear in different registers, opening new fields of sonic structure.
Ⅴ. Lento
In between different primary chords, the music leads to fluctuating sonic layers, glowing with dotted lights and ripples. It calmly awaits the appearance of disorder, seeking common ground while reserving differences, in order to produce endless circulation of cause and effect, movement and stillness.
Ⅵ. Andante
A short recapitulation of the secret code from "Praises・Sixtieth Anniversary", recalling the characters and sonic prototypes in each of the previous pieces. Both alienation and fixation methods are used to review the glorious trajectory of the years, while enriching the Klangfarben layers, to express the celebration of JFC's sixtieth anniversary.