Chihchun Chi-sun Lee 李志純
Taiwanese-American composer, CHIHCHUN CHI-SUN LEE’s works were described as “eye-openingly, befittingly, complex, but rather arresting to hear” by Boston Globe, “exploring a variety of offbeat textures and unusual techniques” by Gramophone and “eastern techniques blended with sophisticated modern writing style” by “Amadeus” Il mensile della grande musica. The winner of the 1st Biennial Brandenburg Symphony International Composition Competition in Germany and 2015 Guggenheim Fellow, is originally from Kaohsiung, Taiwan. She has received numerous honors; these include commissions from the Boston Symphony Orchestra (the 1st Taiwanese and the 4th Asian composer), Fromm Music Foundation at Harvard University (2018 & 2001), Barlow Endowment, the Taiwan National Culture and Arts Foundation, Taiwan National Symphony Orchestra (NSO), National Taiwan Symphony Orchestra (NTSO), National Orchestra of Korea (NOK) and Taiwan National Chinese Orchestra, Theodore Front Prize from International Alliance for Women in Music, ISCM/ League of Composers Competition, International Festival of Women Composers Composition Prize, Florida Individual Artist Fellowship, Gugak Fellowship, and the Golden Melody Awards nomination for “best composer” (2019 & 2009) and ”Best Crossover Music Album Award” (2022). She was the 1st Taiwanese/Asian composer to serve as a composer-in-residence at NeoArte Syntezator Sztuki, Poland in 2022 with a portrait concert. In 2017, Lee is honored with Alumni Achievement Award in Music in Recognition of Outstanding Contribution to Music at Ohio University’s 100th anniversary of music department.
Lee has written more than 50 compositions for traditional Chinese/Korean/Japanese instruments. Some of her most significant performances have included Carnegie Hall and the 2010 Winter Olympics in Vancouver, UNESCO International Rostrum of Composers, NeoArte Syntezator Sztuki, Muzički Biennale Zagreb, Svensk Musikvår – Festivalen för Svensk Konstmusik, Tage Für Aktuelle Musik, ISCM-Musicarama, Randfestspiele, INTERCICLOS Festival Internacional de Música Nueva en Querétaro, Beijing Modern Music Festival, Daegu International Contemporary Music Festival, ARKO Contemporary Orchestra Music Festival and Shanghai New Music Week, as well as with Boston Symphony Orchestra, Seoul Philharmonic Orchestra, Förderverein Brandenburger Symphoniker (Germany), Philharmonia Bulgarica, Kiev Philharmonic, Moravian Philharmonic Orchestra (Czech), Limeira Symphony Orchestra (Brazil), Korean Symphony Orchestra, Moscow Contemporary Music Ensemble, NeoQuartet and Kwartludium (Poland), Les Temps Modernes (France), Ensemble Phorminx (Germany), Keuris Quartet (the Netherlands), Duo Harpverk (Iceland), Pacific Quartet Vienna (Austria), just to name a few. In addition, her music has had numerous performances and broadcasts worldwide in Australia, Austria, Brazil, Bulgaria, Canada, Croatia, the Czech Republic, Finland, France, Germany, Greece, Iceland, Indonesia, Israel, Italy, Japan, Korea, Mexico, the Netherlands, the Philippines, Poland, Romania, Russia, Singapore, Slovakia, Spain, Sweden, Switzerland, Taiwan, Thailand, Costa Rica, Ukraine, Vietnam, China, Hong Kong, and around the continental United States (including Hawaii). Her works appear on CDs from the SONY, Albany, Capstone, ERMedia’s Masterworks (Naxos), Ravello Records/PARMA, Delos, New Ariel Records, NACUSA, Donemus (Netherlands), OdaeO and Korea Arts Council in Korea, Celebrity Music Pte. Ltd. in Singapore, Taiwan National Theater & Concert Hall PAR, Himalaya Record Co. Ltd, ACL-Taiwan, ISCM-Taiwan Glorious Pantheons Production and Ambisdom Inc in Taiwan. Publications related to Lee’s music can be found in New Music for Oxford (Very Short Introduction Series), 20th Century Asian Composers’ Biographies, World Music: Traditions and Transformations, Korean Musicological Society Musicology Journal, Routledge Handbook of Asian Music: Cultural Intersections, Advanced Techniques of Piri, Contemporary Pipa Music, Taiwanese contemporary music composers’ interview for Chinese traditional instruments (1970-2011), Shuangshi Music Forum, The Development of Taiwan’s New Music Composition after 60’s in the 20th Century and Forum of Current Zheng Music Education Practical Affairs in Taiwan.
李志純
臺灣高雄人，密西根大學（University of Michigan）音樂系作曲博士學位，為首位榮獲美國波士頓交響樂團委託創作的台灣作曲家，曾為采風樂坊駐團作曲家，並常年與國內外樂團及音樂家們合作及委託創作。李志純曾獲第一屆德國布蘭登堡國際作曲大賽首獎、古根漢獎 (Guggenheim Fellowship)、2001與2018美國哈佛大學弗洛姆音樂基金會(Fromm Music Foundation-Harvard University) 、巴洛基金會(Barlow Endowment) 、臺灣國家交響樂團及國家文化藝術基金會的委託創作、美國作曲家協會（SCI/ ASCAP）第二屆委託創作作曲獎、國際女音樂家聯盟（IAWM）Theodore Front Prize、現代作曲家協會及作曲家聯盟作曲首獎、女作曲家國際音樂作曲獎、其個人專輯《柳絮》及《東西顰笑》入圍金曲獎傳統藝術音樂類《最佳作曲獎》。于2017年榮獲俄亥俄大學百年慶之最傑出校友。 重要演出包括美國紐約卡內基廳,臺灣國家音樂廳,韓國國家劇院及國立國樂院,中國國家大劇院，2010 冬季奧運及國際許多知名現代音樂節(UNESCO International Rostrum of Composers聯合國教科文組織國際作曲家講壇, Muzički Biennale Zagreb薩格勒布Muzički雙年展, 瑞典音樂之春-瑞典藝術音樂節Svensk Musikvår – Festivalen för Svensk Konstmusik, 德國達姆施塔特的Tage Für Aktuelle Musik 及 Randfestspiele, ISCM-Musicarama, 北京現代音樂節，巴西利梅拉的Encontro Internacional de Cordas，墨西哥克雷塔羅的INTERCICLOS國際新音樂節，ARKO當代管弦樂節, 大邱國際現代音樂節和上海當代音樂週等)。合作團體包括波士頓交響樂團、首爾愛樂交響樂團、保加利亞交響樂團、烏克蘭基輔愛樂交響樂團、捷克交響樂團、捷克摩拉維亞愛樂樂團、德國布蘭登堡交響樂團、巴西利梅拉交響樂團、韓國交響樂團、韓國國家國樂團、臺灣國家交響樂團、采風樂坊、紐約長風樂團、新加坡鼎藝團、小巨人絲竹樂團、臺灣國家國樂團、國立臺灣交響樂團、台北市立國樂團、莫斯科現代樂團、維也納的Pacific Quartet Vienna、波蘭的NeoQuartet、Kwartludium、荷蘭的Keuris Quartet、法國的Les Temps Modernes、德國的Ensemble Phorminx、及冰島的Duo Harpverk等等。並於澳大利亞、奧地利、巴西、美國、保加利亞、加拿大、克羅地亞、捷克、芬蘭、法國、德國、希臘、荷蘭、以色列、義大利、印尼、日本、韓國、墨西哥、菲律賓、波蘭、俄羅斯、新加坡、西班牙、瑞典、瑞士、臺灣、泰國、哥斯大黎加、烏克蘭、越南、中國及香港等地演出。
“Taiwanese Dragon Legends” (2025) – Chihchun Chi-sun Lee (Taiwan)
for dizi, flute, erhu, violin, guitar, ruan, zheng, cello, percussion
commissioned by the Sound of Dragon Ensemble with the assistance of the BC Arts Council
《臺灣神龍傳奇》－ 李志純作曲，笛子、長笛、吉他、二胡、小提琴、阮、古箏、大提琴、打擊
龍吟滄海樂團委託創作，加拿大BC省藝術評議會贊助
“Taiwanese Dragon Legends” is a multi-movement piece, based on dragon folktales from Taiwan:
i) Yun Long & Chì Giú 雲龍與赤虯 – Yun Long or Cloud Dragon inhabits in the Puppet Mountain in southern Taiwan. This black dragon appears following each time a comet shooting across the sky, creating winds, clouds, and heavy rain. The red dragon Chì Giú has the same abilities to cause torrential rain.
ii) Whirlwind Dragon 旋風蛟 – Whirlwind Dragon flies out from the deep mountains in southern Taiwan. It flaps big wings to cause violent hurricanes.
iii) Han Long 旱龍 – The appearance of Han Long or Drought Dragon is followed by serious droughts.
iv) Baralebale (Dragon of Death) 巴拉勒巴勒神龍 – Baralebale, from the legend of the Rukai tribe in Taiwan, brings bad luck. When the Baralebale emerges from the spiritual world, people who see it will soon die.
v) Wood Dragon 木龍 – Wood Dragon, a ship spirit in Taiwanese folklore, gives warning to those on board of impending disasters.
vi) Yellow Dragon 黃龍 – After residents of Longtan or Dragon Pond (originally named Lingtan in Taoyuan, northern Taiwan) prayed for rain to end the drought, a yellow dragon rose from the pond. Soon the rain poured down and the earth was restored to life.
“Phragmites Under the Sun” (2018) – Chihchun Chi-sun Lee
for cross-cultural ensemble, 9″30, premiered at the 2018 Sound of Dragon Music Festival, Vancouver
《炎日下的蘆葦》－ 李志純，跨文化樂團
This piece is in memorial of my composition teacher Prof. Yen Lu, for his 10th anniversary after he passed away in 2008, by utilizing some motivic ideas, certain characteristic of his musical language and orchestration techniques to re-develop in this concerto grosso for dizi, erhu, liuqin, pipa, sheng, accompanied by the western chamber ensemble, in total of 21 parts. The composition is funded by the Department of Cultural Affairs, Taipei City Government, written for the Little Giant Chinese Ensemble from Taiwan and Turning Point Ensemble from Canada.
這首作品是為了紀念盧炎恩師逝世十周年，為21聲部中西混合樂團所創作的大協奏曲。以盧炎老師的大作間接取材，以類似的配器手法、調色盤的原理，及老師的作曲風格、手法及音響，再以我個人的方式將其素材及聲響加以發展及運用，將盧老師音樂中的精髓以不一樣的方式再次呈現。藉由中西樂器的交匯，蘊育出為各個樂器既有的特色，並將其帶入彼此的演奏手法中加以發展與發揮。將來自不同國度的樂器，在此作品中做一結合。相互共振與合作融合，締造出多樣的音樂語彙。此作品由臺北市政府文化局藝文補助，為小巨人絲竹樂團與加拿大轉捩點樂團創作，於2018年溫哥華龍吟滄海音樂節首演。