林佳瑩

臺灣作曲新銳 林佳瑩的創作受到英國星期日泰晤士報(The Sunday Times)讚為具有「明顯的才情」(manifest flair)。2018年榮獲英國皇家愛樂協會作曲大獎(RPS Composition Prize)，成為該協會設立逾二世紀、獎項成立70年來第一位台灣得主。畢業自臺北藝術大學、英國曼徹斯特大學及義大利羅馬音樂院，並於布達佩斯以及倫敦進修作曲。作品發表遍及歐、美、亞洲。自2015年來榮獲義大利法魯利(P. Farulli)國際作曲比賽首獎、芬蘭西貝流士(J. Sibelius)國際作曲大賽第三名、義大利納瓦羅(M. Novaro)國際作曲比賽第二名、英國W. Howard愛之歌國際作曲比賽首獎、韓國歌德學院委託創作獎，以及2018-19美國西雅圖管弦樂團Celebrate Asia國際作曲比賽首獎。出版作品包含《永恆之歌》由倫敦Orchid Classics唱片發行；《弦樂四重奏》由義大利RICORDI出版等。

Chia-Ying Lin

Described as having “manifest flair” (The Sunday Times), Chia-Ying LIN is a composer from Taiwan. Her works have earned international recognition since 2015, including a third prize at the International Jean Sibelius Composition Competition (Finland), a first prize at the International Composition Competition Piero Farulli (Italy), a second prize at the International Composition Competition Michele Novaro (Italy), a first prize at William Howard’s Love Song Composing Competition (UK) and a commission prize from the Goethe-Institut Korea for its Asian Composers Showcase 2017. In 2018, she won the prestigious Royal Philharmonic Society [RPS] Composition Prize and was selected as the winner of Seattle Symphony 2018-19 Celebrate Asia Composition Competition.

Chia-Ying studied composition at Taipei National University of the Arts, University of Manchester and Conservatorio S. Cecilia di Roma, and has received further training in Budapest and London. Her works have been performed in Asia, Europe and USA by various orchestras, ensembles and soloists including London’s Philhamonia Orchestra, Seattle Symphony, NTSO, Ensemble TIMF, Hong Kong New Music Ensemble, Psappha Ensemble, Quartetto Maurice, Quatuor Béla among many others.

《啞》為交響樂團

此作品靈感來自於自身接觸台灣佛教，聆聽僧眾以低沉喉音唱誦「梵唄」的經驗。以藏密三字真言「唵啞吽」，其中的「啞」音(同「啊」)作為樂曲初始概念。「啞」是一切梵音的根本，為開口音，象徵生命之啟發，以及「語」之清淨。樂曲開始段落的持續低音可喻為「啞音」，其上衍生出其他泛音。又，將念誦「唵」與「吽」所產生的呼聲反映在管絃樂器的奏法之中。

Sutra意為佛教真言、契經；詞源為梵文Sūtra，代表經線、絃線，與sūnā一字相關，後者有「交織」之意。樂曲將多樣樂器之長音延伸變化，織出想像中的泛音色彩，並策略性地發展壯大。同時取「啞」字別意，將原始低音時而隱身在變幻的泛音之中，並於特定樂段使用某低音獨奏樂器來呼應低沉的喉音聲響效果。

Sūtra for orchestra

This work is inspired by my personal encounter with Taiwanese Buddhism. In particular, the experience of listening to the monks chanting in a style influenced by the Tibetan ‘Brāhma’. The style is characterized by a sonorous low tone coming from the throat. The concept of a 3-word mantra is used for the piece: On, Ah, Hong. As the foundation of Sanskrit, ‘Ah’ symbolizes the origin of life and the purity of ‘speaking’. This is analogous to the drone in the beginning of the piece, which triggers the imaginary soundscape of its overtones. In addition, a solo bass instrument is used in a later section to echo and refresh the drone material. The sounds of ‘On’ and ‘Hong’ are reflected in the breathy tone and air sound coming from instruments.

The Sanskrit word ‘Sūtra’ means ‘string, thread’, which is related to ‘sūnā’ meaning ‘interwoven’. The long-held pitches from various instruments—explored with different musical expressions—are woven together and develop strategically.