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Composers + Summer Academy 2017

By Dr. HueyChing Chong

In August 2017, I was selected to participate in Composers+ Summer Academy at Kaunas, Lithuania. This course was initiated by Lithuanian young accordionist Martynas Levickis with the purpose to encourage new repertoires for accordion, in both solo and chamber set up. The guest tutor for accordion was renowned Spanish accordionist, Iñaki Alberdi who often worked closely with living composers, including José María Sánchez-Verdú, Ramon Lazkano, Gabriel Erkoreka, Sofia Gubaidulina, Jesús Torres and many more, to create many new repertoires for accordion. Composition related tutors were Dr. Rūta Vitkauskaitė (Lithuania/UK) and Ben Lunn (UK). Dr. Vitkauskaitė is a composer, performer, new music event organiser, and a teacher who has developed deep interest in music education (Learning Trainee at BCMG, Fellow at Open Academy at RAM, since 2013 working creatively with people living with dementia) and research on personal music performance. While Lunn is an award-winning composer who is also a keen advocate and promoter of accordion music. He has written pieces for accordion ranging from solo to orchestral works.

This Academy started in 2014 and the 2017 academy was the fourth season. The academy took place from 18th to 26th August 2017. In this course, each composer is paired with one selected student accordionist to create two new pieces, solo accordion, and accordion(s) with string(s). Lectures, activities, open masterclasses, concerts were all part of the academy. 

What makes this academy very unique was that it provided a platform for young composers and young accordionists to interact and receive direct feedback to create two new pieces together. At the same time, both composition and accordion tutors were present to guide the young participants during the process. In my opinion, this unique arrangement provides both the performers and composers to view things from each other’s perspectives because the response was instant and the communication was continuous throughout the nine days period. Besides that, lectures by Alberdi on composing for accordion; Dr. Vitkauskaité on collaboration; and Lunn on Sound Plasma, were all very mind opening for both participating composers and accordionists. 

Besides intense composing and trials sessions, we were also provided with many activities with the intentions to connect our inner self with creative ideas including yoga, outdoor games etc. This academy was incredibly well-organised. This being said, the stress to finish two new pieces in nine days and present them on a world premiere concert was inevitable. I felt the organising team was very considerate as they noticed the stress of participants and acknowledge the need for a short break half way through the program. Instead of the usual bus ride, all of us went for a boat ride from the castle where our activities were held, to the town where we were staying. This further showed that this academy was putting much focus on the process of creativity instead of solely on final results, which we all appreciates very much.

It proved to be challenging for me to complete two new pieces within nine days, however, I managed to compose introductions of two pieces. One of which I later developed into a full piece after the academy with the practical knowledge I gained during the academy. As a results, sixteen new accordion pieces by eight composers were composed, recorded, and published within this academy in 2017.

The list of pieces composed is as below: (in alphabetical order based on composers’ surnames)

1. Joshua BROWN (United Kingdom)
a) Mosaico for accordion solo
b) Double Duo for two accordions and two cellos

2. HueyChing CHONG (Malaysia)
a) introspection-intro for accordion solo
b) ask, and then… / ? intro for accordion and string quartet

3. Dominykas DIGIMAS (Lithuania)
a) Suspense for accordion solo
b) A Little Off the Ground for accordion and string quartet

4. Rylan GLEAVE (United Kingdom)
a) Paper Birch for accordion solo
b) Of the People for accordion and viola

5. David MASTIKOSA (Bosnia and Herzegovina)
a) Escape for accordion solo
b) Dimensio for accordion and string quartet

6. Michele SARTI (Italy)
a) Il Ponte Degli Aceri for accordion solo
b) Lighthouses - Solitude of Space for accordion and cello

7. Fabian SVENSSON (Sweden)
a) Hushed Tones for accordion solo
b) Nothing Happens for accordion and string trio

8. Cong WEI (China/Germany)
a) Duality for accordion solo
b) The Illusion for accordion and string quartet

All the pieces above were created through close collaboration with the participating accordionists and guest string players:

ACCORDIONISTS: Kamila Olas (POLAND) Pietro Roffi (ITALY) Maria Mogas Gensana (SPAIN) Māris Rozenfelds (LATVIA) Valerijus Kračius (LITHUANIA) Vytenis Danielius (LITHUANIA)

STRING PLAYERS: Simas Tankevičius (violin) (LITHUANIA) Rakelė Chijenaitė (violin) (LITHUANIA) Ulijona Pugačiukaitė (violin) (LITHUANIA) Konrad Levicki (violin) (LITHUANIA) Kristina Anusevičiūtė (viola) (LITHUANIA) Dalia Sakavičiūtė (viola) (LITHUANIA) Ignė Pikalavičiūtė (cello) (LITHUANIA) Arnas Kmieliauskas (cello) (LITHUANIA)

Each piece displayed each composer’s original perspective on accordion. It is important to note that, this was the first experience composing for accordion for most of the composers participated. In my case, it was the second time. 

In Brown’s solo piece, Mosaico, four distinctive characters could be found under four tempo indications, Agitato, Lento, Presto ritmico, and Tranquillo. This piece showed clear structure through contrasting materials. According to the composer, “Mosaico delves into the various elements of the accordion’s sound world that the composer and performer explored together in numerous sessions, and can be heard either as a fragmented concert extemporisation, or as a conceptual recording of the collaborative process”. 
Audio : https://soundcloud.com/accoakademija/joshua-brown-mosaico-for-accordion-solo

In his ensemble piece, Double duo, according to the composer, “it was composed as a vehicle for performers to have the freedom to explore their own instincts, amid the physical sensation of performing in a resonant space”. Brown detailed intended soundscape elements in his notation and created space that allows performers a certain amount of freedom in time to realise these elements resulted in a highly acoustically effective performance.
Audio : https://soundcloud.com/accoakademija/joshua-brown-double-duo-for-two-accordionsand-two-cellos

My solo piece, introspection-intro, is a trial piece in preparation for my first large scale accordion solo piece. I made an elaboration of the idea of musical breathing, which I explored within my accordion duo Bare-bones I (2015). Here, I explore the possibilities between the accordion’s physical breathing when performing, including the control of the bellow and my ideas of musical breathing. The sonority in this piece relates closely to one’s inner energy while performing. This piece was awarded a diploma from the academy as the best solo piece written during the academy edition year 2017.
Audio : https://soundcloud.com/accoakademija/huey-ching-chong-introspection-intro-foraccordion-solo

My ensemble piece, ask, and then… / ? intro, is the introductory section of a larger scale piece. The texture is very thin and directly expressed. Subtleness and the direct character of sonority are intended simultaneously. The being, or life force, of the ensemble is the result of experimentation with the use of fluid independence and fluid interdependence. Therefore, the reaction to each other’s energy is crucial within this section.
Audio : https://soundcloud.com/accoakademija/huey-ching-chong-ask-and-then-intro-foraccordion-and-string-quartet

Digimas’s solo piece, Suspense, opens with the piccolo range of accordion and stay mainly from mid to high range of the accordion with the bass note enters shortly to give a support to the suspense atmosphere as the title indicated. Variation of vibrato and bellow shakes are observed in this piece. During the second half of the piece where the accordionist’s voice begins to integrate with the instrument through whistling and vocalizing sounded very effectively.
Audio : https://soundcloud.com/accoakademija/dominykas-digimas-suspense-for-accordion-solo

In his ensemble piece, a little off the ground, was inspired by a quotation from John Cage’s “A Year from Monday” :
In the course of a lecture last winter on Zen Buddhism, Dr. Suzuki said: “Before studying Zen, men are men and mountains are mountains. While studying Zen things become confused: one doesn’t know exactly what is what and which is which. After studying Zen, men are men and mountains are mountains.” After the lecture the question was asked: “Dr. Suzuki, what is the difference between men are men and mountains are mountains before studying Zen and men are men and mountains are mountains after studying Zen?” Suzuki answered, “Just the same, only somewhat as though you had your feet a little off the ground”.

This piece embraced an overall zen-like atmosphere yet embedding with much restless energy. Two contrasting characters intertwined beautifully without “rejecting” each other.
Audio : https://soundcloud.com/accoakademija/dominykas-digimas-a-little-off-the-ground-foraccordion-and-string-quartet

Gleave’s solo piece, Paper Birch, beautifully integrated speech with musical elements that derived from various natural theme such as stars, birds, wind, trees and etc. A piece of music that triggers the imagination of the audience.
Audio : https://soundcloud.com/accoakademija/rylan-gleave-paper-birch-for-accordion-solo

In his ensemble piece, of the people, Gleave took up the challenge as requested by the director of the academy to encompass Lithuania’s independence. Thus, he took his inspiration from the 1918 Vilnius Conference, where the council discussed and declared the country’s dominion.
Audio : https://soundcloud.com/accoakademija/rylan-gleave-of-the-people-for-accordion-andviola

Mastikosa’s solo piece, Escape, displayed many theatrical-like fun and humoresque elements. Expression marks found in his notation include “insane”, “look around and say”, “whispering” etc. Voice is integrated in this piece as well. In contrary to Gleave’s and Digimas’ pieces, Mastikosa’s piece uses voice for the role of monologue. In Gleave’s piece, is more of a narration, and in Digimas’ piece, the voice blended in with the musical instrument as if they are one.
Audio : https://soundcloud.com/accoakademija/david-mastikosa-escape-for-accordion-solo

In his ensemble’s piece, Dimensio, Mastikosa worked with the idea of moving object in music. Spatial imagination could be heard in this piece, This work was composed based on the suggested theme by the director (Lithuania independence) and is dedicated to that ideal and the manifestation of modern national identity within the state.
Audio : https://soundcloud.com/accoakademija/david-mastikosa-dimensio-for-accordion-andstring-quartet

In Sarti’s solo piece, Il Ponte Degli Aceri, he adopted a structure from Chopin’s Mazurka Op. 67 no.4 where ending does not exist. Thus, the soloist can repeat the piece as many time as he wants and stop whenever they feel it is the right moment. This piece was inspired by an ancient Chinese poem Maple Bridge Night Mooring.
Audio : https://soundcloud.com/accoakademija/michele-sarti-il-ponte-degli-aceri-for-accordionsolo

About his ensemble piece, Lighthouses - Solitude of Space, Sarti wrote:
This piece is divided into three parts and each one is intended to be performed in very different ways. It begins with a state of melancholy and loneliness, in which I have imagined myself being put into a lighthouse and left there for a while, hearing the wind and the waves crashing against the surrounding rocks. The music clearly evokes a specific psychological state of mind alongside the natural sounds. In the second section we are ferried into an emotional storm where the accordion plays very high, quiet material while the muted cello’s movement is louder and more ferocious. It is only in the third part that the piece may achieve an apparent sense of stillness and perhaps, in the very last moments, peace.
This piece was awarded a diploma from the academy as the best ensemble piece written during the academy edition year 2017.
Audio : https://soundcloud.com/accoakademija/michele-sarti-lighthouses-solitude-of-space-foraccordion-and-cello

In Svensson’s solo piece, the beauty of vertical texture which is considered as one of the nature of the accordion is explored. According to Svensson, “Some years ago, I was in Cortana, Italy for a couple of weeks, where I stayed at an apartment owned by the Swedish Composers Society. My intention was to write lots of music during my visit, but I ended up not getting much done (too many culinary distractions). However, I did write down a few chords that I liked, but didn’t know what to do with. Now, several years later, I wanted to finally use these chords for something, so I decided to let them serve as the basis for a solo accordion piece. The sound of the accordion turned out to be an excellent fit for my chords”.
Audio : https://soundcloud.com/accoakademija/fabian-svensson-hushed-tones-for-accordionsolo

About his ensemble piece, Nothing Happens, like his solo piece, he created beautiful atmosphere with vertical relation between the accordion and the string trio.
Audio : https://soundcloud.com/accoakademija/fabian-svensson-nothing-happens-for-accordionand-string-trio

In Wei’s solo piece, Duality, she sated that, “the idea of this composition has derived from a form of performance in traditional Chinese opera, that the man plays the woman’s role and vice versa. The way this form of music is performed is through dramatic contrast and becoming abandoned, like many high quality artistic works. I think every human being has a dual gender inside their body, like Yin and Yang, so in my composition I am trying to express this energy through two mainly materials. This piece was planned to be performed without bars to give the performer more free space to feel and express their delicate feelings”.
Audio : https://soundcloud.com/accoakademija/cong-wei-duality-for-accordion-solo

In her ensemble piece, The Illusion, she wrote, "I got the inspiration for this piece from an experience in Switzerland, where I was listening to Olivier Messiaen’s ‘Quartet for the End of Time’ outside of a church with a view of the mountains, forest, clouds and the moon. In a moment I felt myself literally involved in nature and did not exist anymore, I became indivisible part of nature. Therefore, in my music I want to try to express my perception of nature in a very innocent way”. The sensitivity of sound is beautifully reflected in this piece.
Audio : https://soundcloud.com/accoakademija/cong-wei-the-illusion-for-accordion-and-stringquartet


As a final thought after attending the academy, besides acquired the practical knowledge on composing for accordion and working with accordionists, I learnt also humanity. Throughout the process, I learnt that as much as we want to strive for the highest possible quality in music creation, we have to acknowledge that we are indeed working and creating along with living humans with different thoughts and experiences. During this intense process, the question that struck me was, how can we strive for the highest quality in creation at the same time keeping the positive spirit among humans when only a short period of time is available.


​


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    • 2021 >
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      • New Music Room Call for Scores
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      • 10th Rivers Awards Composition Competition
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      • 【衛武營當代音樂平台】國際作曲徵件與彼得.于特福許作曲大師班
      • ​Call for works - ACL New Zealand 2020
      • Call for works - Solo piano pieces by Malaysian composers ​
      • 1ST INTERNATIONAL EISENACH COMPOSITION PRIZE
      • The 10th China ConTempo Composition Competition
      • 第一届上海室内歌剧作品国际比赛章程
      • Passepartout Duo - Music Seminar and a Composition & Performance Workshop ​
      • PIERROT LUNAIRE INTERNATIONAL COMPOSITION COMPETITION 2019
      • 2019 年 第八届「百川奖」作曲比赛
      • 作曲专业 | 柏林音乐表演艺术学院 AfMB-恺撒堡 2019 冬季学校
      • Forum Wallis 2019
    • 2018 >
      • Call for score : ASEAN Youth Ensemble (AYE) 2018
      • 2018 Banaue International Music Composition Competition
      • Ding Yi - Composium 2018
      • Call for application: 2018 International Gugak Workshop
      • PYO CALL FOR SCORE 2018
      • ​Call for scores - 35th ACL Festival and Conference Taiwan 2018
      • Ars Electronica Forum Wallis 2018 CALL FOR STEREO OR QUADROPHONIC ACOUSMATIC WORKS
      • 寻找中国的声音——第六届刘天华奖中国民乐室内乐作品征集简章
      • 2018 Breaking music - International Composition Competition
      • Call for Composition - Breaking New Ground
    • 2016 >
      • ACL 2016
    • 2015 >
      • ACL Philippines 2015
    • 2014
    • 2013 >
      • 32nd Conference and Festival 2014, Japan: Call for Scores
      • ACL 2013 (Asian Composer League)
      • Ninth Thailand International Composers Competition 2013
      • 5th International Pharos Contemporary Music Festival and Ensemble TRANSMISSION
      • New Gamelan Music Festival: Call for Scores
      • Singapore Chinese Orchestra Composer Workshop 2013
      • Chamber•Sounds Regional Call For Chamber Opera Proposals 2013
      • Beijing International Composition Workshop 2013
  • Events
    • 2021 >
      • SoundBridge Virtual 2021
      • Hong-Da Chin Concert Presented by No Exit Ensemble
      • Ding Yi Music Company Composium 2021
    • 2019 >
      • Music improvisation workshop by Otomo Yoshihide
      • 琴弦两岸 - 马来西亚、新加坡小提琴与钢琴作品音乐会
      • Soundbridge 2019 >
        • Soundbridge 2019 - Flyer
      • Into the Sound
      • From NY To KL
      • Natural Spectra by Christoven
      • Cello Recital by Friedrich Gauwerky
      • 4th SoundBridge Contemporary Music Festival 2019
    • 2018 >
      • The 9th Malaysian Composers Concert Series 2018
      • European Journey
    • 2017 >
      • Piano Recital by Simon Nabatov
      • SoundBridge 2017 >
        • An Introduction to the festival
        • Support Messages
        • Gallery
        • 2017 SoundBridge Booklet
        • Soundbridge 2017 booklet for download
        • Post production review >
          • 五棰半 :音桥音乐节| 当代亚洲音乐的发光站
          • 邹向平 :​“音桥当代音乐节”见闻四则
          • Post production review by Teh Tian Yoon
    • 2015 >
      • SoundBridge 2015
    • 2013 >
      • KLC Malaysian Composers Concert Series 2013
      • Young Southeast Asian Composers Shone at Festival
      • ACME and Studio MusikFabrik (Chinese Version)
      • SoundBridge 音橋 2013 >
        • Festival Event Details >
          • Support Message
          • Concert 1 - SoundBridge
          • Concert 2 - Malaysian Voices III
          • Photography and Calligraphy Exhibition
          • Musicians and Artists
          • Malaysian Composers
          • Young Composers
          • Panelist
    • 2010 >
      • Composer Workshop Series I
  • Articles
    • SoundBridge 2021 - People's Music Magazine Feature
    • Sin Chew Daily Feature on SMCC & SoundBridge
    • Tracing Art Music Compositions and Composers in Malaysia
    • Malaysian Young Composers' Workshop 2021
    • 现代音乐永远的夏天 马来西亚第三届“音桥当代音乐节”之热效应 - 邹向
    • 森林里的艺术世界 - 李茜云
    • Interview with Peter Vaele - by Ruth Rodrigues
    • 新音乐中的新音乐 ——参观 2011 多瑙厄申根新音乐节 文/杨琳
    • 多元且專注─2011年第四屆上海當代音樂周總評-林芳宜
    • 亞洲音樂先鋒-亞洲作曲家聯盟暨2011亞太音樂節-林芳宜
    • SKETCHES: THE MANILA COMPOSERS LAB 2009 - BY HUEYCHING CHONG
    • JONAS BAES ON PATANGIS-BUWAYA [2003]
    • Koji Nakano New Approach to
    • Composers+ Summer Academy 2017 By Dr. HueyChing Chong
    • The Barcelona Modern International Composition Course 4th Edition 2017/18 ​By Dr. HueyChing Chong, Oct 2019
    • Atlas Lab 2016 By Dr. HueyChing Chong, Oct 2019
    • BUILDING BRIDGES: Concert 5 (SoundBridge IV), presented as part of the 4th SoundBridge Contemporary Music Festival By Jon Lin Chua
  • Contact Us