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李元貞 – 作曲家
李元貞,為臺灣年輕輩作曲家。20歲時即以室內樂《葬》不尋常的配器與北管風格使她受到作曲界的關注,而在 2003年【東京2003年亞洲音樂節】(Asian Music Festival 2003 in Tokyo) 首演的大型管絃樂《春日醉起言志》顯示她卓越的管絃樂法與想像力,為某種程度似乎總結了近半個世紀台灣追求二十世紀「音樂現代性」的成果”(連憲升, 2008)。碩士學位的代表作《間奏曲:參》納用古琴,轉化戲曲聲韻的音色現象至室內樂的樂器實踐,來闡述禪坐的心靈空間。作曲家李子聲評(2010):「少見作品編制為十件西洋樂器與罕見用於合奏的中國古琴,此異質性與個性極強的古琴並非如往常作曲家將之視為主奏者的處理手法,而是徹底融入合奏中,與其他樂器平起平坐,共同營造出樂曲迷人的氛圍。」而她在古箏獨奏《貓嬉》所運用的肢體、念唱或演奏場域等表演元素,解放古箏固有的性向,其逆向操作和趣味大受傳統音樂界的矚目。編曲風格多元,除了為國寶級客家歌手賴碧霞等改編國樂團伴奏外(2006),也在2010年的改編作品《福爾摩沙之民歌新聲集》,以台灣四大語系國、台、客暨原住民語等流行歌謠組成,打造精緻藝術化、適合古典美聲的「民歌集」。留美後的寫作重心轉為開發音樂中的意念與聲域兩者之間的迴遊與轉化,例如古箏協奏曲《飛天》,大提琴協奏曲《漂點》,利用獨奏與協奏的關係,在支聲複音 (heterophony) 與獨創的梵唄體 (free-chant) 來闡述人與自然,人與社會的衝突與包容。

 
李元貞幼時由吳丁連啟蒙作曲與古典音樂,與梁孔玲學鋼琴。1998年起就讀臺北藝術大學,跟隨作曲家洪崇焜與楊聰賢,獲得學士與碩士學位,並向李楓和李殿魁學習古琴與音韻學,並在「2000亞太藝術節」期間與日本能笛家瀧澤成實學習能笛。2006年旅美留學,於2008年取得耶魯大學藝術家文憑,師事 Martin Bresnick  Michael Friedmann 等人;在2015 年以音樂作品「漂點」取得音樂哲學博士 (人文學院音樂系)。期間師事波蘭作曲家 Marta Ptaszynska,和新音樂節目系列 contempo 藝術總監 Shulamit Ran 的指導,向芝加哥交響樂團現代音樂 (MusicNOW) 總監 Cliff Colnot 學習管弦樂法和排練。留學期間,與音樂總監梁孔玲、作曲家李子聲、指揮家江靖波、以及國家表演中心等有重要的合作。作品獲選發表於作品獲選發表於 World Saxophone Conference, Society of Composers 全國音樂論壇、Ear Taxi New Music Festival, American Composers OrchestraEarShot】系列、University of ChicagoContempo】系列、Thailand International Saxophone ConferenceImani Winds 音樂節、09年海峽和平交響樂團音樂會、北京國際古箏音樂節、08年紐約【Concert Artist Guild】、08-9新英格蘭【Composer/Pianist Concert Series】、柏林【Soundbridges: New Music From Taiwan】,兩廳院【台灣新銳作曲家聯展】、耶魯大學 New Music New Haven】系列音樂會、07年【Norfolk Chamber Music Festival】、0506年度許常惠文藝基金會之【青年作曲者傑出作品音樂會】與【制樂小集】、十方樂集十週年慶【擊樂嬉遊祭】、日本【東京 2003年亞洲音樂節】,連續0304年度兩廳院主辦之【啟動臺灣的聲音】,2001年【關渡新創新聲】等等。作品已收錄並出版於台灣及海外等唱片和學術電子目錄,《台灣現代箏樂集一》(采風)、《台灣現代音樂三》(十方)Formosa Caprices (Griffin) 等。重要作品與榮譽有國立中正文化中心暨國家表演中心「樂典」系列委託《間奏曲:商》(2012)、《間奏曲:參》獲2005年度教育部文藝獎室內樂首獎,《春日醉起言志》獲亞洲作曲家聯盟之許常惠紀念獎、《葬》獲慈濟藝術獎學金、 並在留學期間獲 Jacob Druckman 獎學金,Ezra Laderman Prize Rena Greenwalk Memorial Prize、教育部留學獎等,以及 2010 年度西提藝術村的駐村作曲家 (台北藝術村贊助)。所接獲的委託,包括十方樂集、采風樂坊 (林軍汎)、國家交響樂團、國家實驗國樂團、樂興之時圓桌武士以及管弦樂團、對位室內樂團、Norfolk Chamber Music Festival,以及演奏名家如顧鈞豪、蔡佩倫、楊千瑩、胡志龍、黃好吟、以及李世揚等等。

Yuan Chen Li – composer
Yuan-Chen Li is Portland based composer, she is also an avid improvisor (piano and guqin), and educator.  Li first arrived on the contemporary music scene in Taiwan with her very personal use of instrumentation and style in her chamber music piece Zang (the funeral) in 2000. In 2003, the expression and orchestration of her orchestral work Awakening won the prize at the Asian Music Festival 2003 in Tokyo from the Asian Composers’ League, and was subsequently premiered by the Tokyo Philharmonic Orchestra. In recent years, Li’s music reflects her transformation of processes and concepts in Chinese phonology, Taiwanese chamber and aboriginal music, Asian traditional arts, literature, and Buddhism into a compositional technique for solo, chamber, and orchestra of both Western and Chinese instruments, offering new experience to her audience and collaborators with the cross-cultural and cross-disciplined approach to musical time, space, and drama. With her virtuosity in instrumentation and fluency in converging and synthesizing contrastingly cultural, musical and conceptual ideas, her treatment of the space of the sonority, temporality, texture, and syntax have engaged musicians of different practices, critics, researchers, and worldwide listeners.Her Taiwanese upbringing, a Buddhist spirit, Western musical knowledge, and the symbolic aspects of nature and art, have inspired her work. The range of Li’s repertoire extends from large-scale force, such as orchestra and concerto to more sensitive chamber and solo music. 

 
Born and raised in Taiwan, Li holds a B.A. and M.A. in music composition and theory from Taipei National University of the Arts (Taiwan) and an Artist Diploma from the Yale University School of Music. In 2015, she completed her Ph.D. at the University of Chicago, where she studied composition with Marta Ptaszynska and orchestration with conductor Cliff Colnot. Relevant honors, awards, and grants include Artist Residency at Cité Internationale des Arts, Jacob Druckman Scholarship, University of Chicago Scholarship, and National Culture and Arts Foundation (Taiwan). In 2016-2017, Li joined the Department of Music at Reed College as a visiting professor where she taught music theory, composition, and conducted the orchestra.  For more information, please visit her website http://yuanchenli.wordpress.com
 

Reminiscence II (2019) – Yuan Chen Li
離歌 II (2019) – 李元貞
The Reminiscence II applies the form Theme and Variations, a common structure in genre for Guqin (古琴) that gives the dramatic rendering of any given theme. Li’s theme is an adaptation of a tune sung by her late grandmother Quan Guan Fu (況光福) about the festivity of her hometown, the separation caused by the war, and the sense of wandering and loneliness. By composing out of this tune, Li presents the complexity of the immigration in the modern time, and wishes her late grandmother a wonderful journey to heaven. 
李元貞的《離歌》系列作品採用亞洲傳統的音響,揉和現代音樂技巧,處理的是慣常對立的元素。《離歌 II》環繞的是作曲者之祖母況光福在失智的歲月中嗚咽的歌聲,唱著別離、逃難、漂流、與孤單的心情,並藉由這首作品呈現出因戰亂而移民的心情。作曲者在追憶逝世的祖母同時,也希望能與世界祈福,共願太平。