Wenhan Jiang (viola) 04/03/2024

Composed in 1997 by Musgrave, is for unaccompanied viola. It is intended as a moment of peaceful contemplation after the day’s activities cease.

“Pensiero,” meaning “thought” in Italian, unfolds as a contemplative piece, resonating with an elegiac mood. The restrained textures and fragmented accompaniment create an introspective atmosphere, showcasing Bridge’s meticulous attention to harmonic elements and melodic contours. Notably, the opening dissonance, serving as the viola’s initial melodic gesture, and its recurrence in a different harmonic context during the lyrical middle section, underscores Bridge’s nuanced compositional detail. In contrast, “Allegro appassionato” in B minor bursts forth with exuberance and expansiveness. Bridge’s phrases sweep broadly, evident in the soaring viola cantilena. The piece reflects Bridge’s dramatic flair, even in its concise form.

“A Bird Came Down the Walk,” composed by Takemitsu in 1994, is a five-minute, richly evocative piece for viola and piano. A notable melodic feature is the use of tremolo to suggest bird song; at one point Takemitsu employs the descriptive marking “as a bird’s calling” in the piano part. While the evocation of bird song connotes the title of the piece, it also reflects another influence of Messiaen, the most celebrated composer of bird song, who died 2 years ago before this piece was composed. The title based on a poem by American Poet Emily Dickinson.

During the Cultural Revolution in China, a period marked by cultural uniformity, a notable wave of young violin enthusiasts emerged, despite the scarcity of repertoire beyond revolutionary songs. In the later stages of the Cultural Revolution, Pan Yinlin, the principal violinist of the Shanghai Symphony Orchestra, frustrated by the monotonous repertoire, sought out the composer Chen Gang, who had been sent down to the countryside for ‘re-education’, encouraging him to compose new violin repertoire.

Pan’s invitation rekindled Chen’s creative passion. Starting in 1974, Chen composed eight to nine violin works, including the adapted “The Sun Shines on Tashikuergan” in 1976. Chen aimed to create works aligning with Chinese aesthetic standards. Reflecting the prevalent inner desire for “sunshine” during that period, Chen felt a responsibility as a composer. In the midst of China’s cultural movement towards nationalization, Chen turned to Xinjiang’s rich musical heritage, particularly the Tajik music from the Kashgar area. This region’s music, with its Persian-Arabic influences, differed significantly in melody and rhythm from Han Chinese music. Ultimately, Chen integrated the songs “Beautiful Tashkorgan” and “Pamir Spring,” both in the Tajik style to compose the piece “The Sun Shines on Tashikuergan “.

The composition “Jiu Kuang,” literally translated as “Drunken Frenzy,” is believed to be the creation of Ruan Ji in ancient China. Ruan Ji lived in the early Wei-Jin period and served as a court official. Initially aspiring to contribute to governance, Ruan Ji had to abandon his political ambitions due to the turbulent atmosphere. Faced with political upheaval, he became a prominent figure opposing oppressive rule. In an act of resistance and to avoid persecution, Ruan Ji adopted a strategy of feigned madness and intoxication to express criticism and non-cooperation with the ruling authorities. Consequently, his poems and verses often took on an obscure and intricate style, using nature as a metaphor to convey his melancholy.

The idea for Vent nocturne (‘Night Wind’) first occurred to me while I was reading a bilingual edition on the poems of Georg Trakl. This synchronicity of the two languages – German and French – led me to muse on the relationship between the viola and electronics.

The work is in two parts: Sombres mirroirs (‘Dark Mirrors’) and Soupirs de l’obscur (‘Breaths of the Obscure’). These, as their names suggest, focus first on symmetrical thinking and then on the variation of the glissando, not unlike a sigh, that rounds off the phrases.

To me the sound of the viola has always suggested that of breathing, which, along with the wind, became a major element of the electronic part.

Note by Kaija Saariaho.

“The act of transcription – like, sometimes, that of translation – may imply three different conditions: The transcriber can identify emotionally with the text, the original text can become a pretext for experimentation; or, finally, it can be overwhelmed and philologically ‘abused’. I think you reach a solution when these three conditions co-exist. It is only then, I believe, that an ideal situation occurs; when the three conditions come to blend and coexist freely and with full awareness. Only then does transcription become a truly creative, constructive act.”

Scored for solo viola, percussion, and tape, the piece immerses the listeners in the raw, indigenous sounds of Peppino Celano, captured through field recordings in Palermo, Sicily. The haunting street vendor cries of the region, intricately sung by Celano, serve as both inspiration and foundation. Originally conceived as a dance score, “Naturale” transcends its origins to delve into the dichotomy between “art music” and “functional music.” Berio, in an interview with David Osmond-Smith, confesses to being a pragmatic egoist rather than an ethnomusicologist. His interest lies in folk techniques and expressions that can be assimilated seamlessly, allowing him to bridge seemingly alien musical worlds. Through “Naturale,” Berio takes a few steps forward in the pursuit of a unity underlying musical worlds that, on the surface, appear alien to one another.

Note by Luciano Berio.

Chinese violist Wenhan Jiang is currently undertaking his role as the section leader viola of the Ulster Orchestra, and also appears as a Guest Principal of Royal Philharmonic Orchestra, Welsh National Opera and Sinfonia Viva. He graduated from the Royal Academy of Music under Paul Silverthorne. Thanks to the generous support from the Dorothy Stone Award, Wenhan is currently on the Royal Northern College of Music’s prestigious International Artist Diploma course. This course includes incredible opportunities to refine his skills during the year, performing a concerto with the BBC Philharmonic and giving recitals at RNCM.

As a concert performer Wenhan is working on expanding music for the viola, transcribing music from other instruments and working closely with living composers. He has been awarded the first prize in Theodore Holland Viola Competition and the third prize at the Oskar Nedbal Competition. He has been invited by festivals all over the world, including Britten-Pears Young Artist Programme, Pacific Music Festival, Encuentro Santander, Lucerne Festival.

In addition to the viola, Wenhan also plays the Violoncello da Spalla, a five-string historical instrument worn on the shoulder. Crafted by Italian luthier Daniela Gaidano, the Violoncello da Spalla adds a unique dimension to his musical repertoire. Together with his mezzo-soprano wife Cicely Hé, they establish the duo ‘Hé the two.’ Devoted to adapting and performing a diverse array of early music and folk music, they actively venture into cross-genre and cross-cultural expressions, pushing the boundaries of their musical endeavour.