【群山迴響，靈魂之舞】Winners of 2024 Oriens Composition Competition..First Place of Junior Division, Zi-Jun Wang 王子鈞...

Performer: Dr. Mann-Wen Lo, violinist / Tanya Burton, violist / Shih-Ting Huang, violin / Olive Chen, cello

First Place of Junior Division, Zi-Jun Wang 王子鈞

Zi-Jun was born in 2009 and began his musical journey at age three, starting with piano lessons and continuing as a piano major until he was nine. His passion for music led him to start composing at nine, and by ten, he had completed my first self-taught piece, a piano concerto movement. Afterward, he studied under Liu Chih-Hsuan from ages 10 to 12 and has since been under the tutelage of Fan Li-Pin. He had twice secured the 1st prize in the composition category at The Taiwan National Student Competition of Music. He was recommended to enter the music program of the Affiliated High School of Taiwan Normal University and has been studying as a composition major there ever since. In addition to his musical pursuits, he has developed a strong proficiency in computer programming, earning three MTA certificates in various programming languages.

Echos of the Mountains, Dance of the Spirit for String Quartet 群山迴響，靈魂之舞 This composition is inspired by two traditional Taiwanese Hakka folk songs: "Old Mountain Song" (老山歌) and "siib badˋ miaˊ" (十八摸). These tunes were chosen to contrast the primitive, natural world with the lively, human aspect of folk music, showcasing the diverse styles of Hakka music. "Old Mountain Song" is the most primitive form of Hakka folk music, originally used for communication between mountain dwellers, characterized by long notes and simple harmonics. In contrast, "siib badˋ miaˊ" is a lively tune depicting a man’s pursuit of a fair lady, filled with joyful rhythms and vivid movements. The piece is divided into three sections. The first section introduces the "Old Mountain Song" with a misty, obscure accompaniment, using long notes and simple harmonics to imitate the mountainous landscape. The second section develops motifs from this melody, incorporating contemporary harmonics and varied rhythms that convey the tune’s underlying sorrow. The final section shifts to a lively, dance-like rhythm, introducing the joyful spirit of "siib badˋ miaˊ." This part blends traditional folk harmonies with modern, slightly sarcastic interruptions, mimicking the vibrancy of a folk dance. The piece concludes with the return of "Old Mountain Song," leading to a jubilant and vivid ending.