SeattleConcert西雅图中西合璧音乐会

野草序《秋夜》 “Wild Grass — Prologue: Autumn Night” by Austin Huang黄晓枫

野草第一乐章《形与影》 “Wild Grass — Movement I: Form and Shadow” by Austin Huang黄晓枫

野草第三乐章《希望与虚妄》 “Wild Grass — Movement III： Hope and Delusion” by Austin Huang黄晓枫

野草第四乐章《战士》 “Wild Grass — Movement IV: Warrior” by Austin Huang黄晓枫

野草尾声《一觉》 “Wild Grass — Epilogue ： Awakening” by Austin Huang黄晓枫

野草第二乐章《恩与仇》 “Wild Grass — Movement II: Grace and Enmity by Austin Huang黄晓枫

The track was originated from a rural village in Northern Shaanxi. During the winter recession, when villagers, free from farm work, gathered together to sing Daoqing in celebration. Daoqing music was originated from Daoqing Opera, which has its roots in the ancient Shao Music of Shaoshan, Hunan. In the mid-Qing dynasty, an official from Xiangtan, Hunan, was assigned to Northern Shaanxi. He arrived with an entourage that included chefs, opera troupes, and household servants, bringing Daoqing Opera to the region. Daoqing Opera, in essence, is a form of Shao Music. Confucius once famously said, "Upon hearing Shao Music, I lost my taste for meat for three months." Later, during the War of Resistance Against Japan, artists at the Lu Xun Academy of Arts in Yan’an rediscovered this musical form and, playing on the homophone, renamed it Daoqing, meaning "The spirit of the Dao."

I have always been eager to compose a symphony about Changbai Mountain. I was born in Huadian, Jilin Province, grew up in Changchun, and later lived in Tonghua, Ji’an, and Huinan—places all nestled at the foot of Changbai Mountain. To me, Changbai Mountain has long been an inseparable part of my soul. While creating this piece, I was constantly contemplating the water ecology of our planet. When the work was completed, I felt a deep sense of fulfillment, as if it were a profound gift dedicated to Changbai Mountain. Although I did not follow the traditional approach of gathering local folk songs, I firmly believe that as someone who grew up in the embrace of Changbai Mountain, my experiences and emotions are deeply rooted in this land. This symphony continues my established compositional style, built upon twelve-tone serialism, to create a work of pure music with a global resonance. I hope it conveys the majesty and sanctity of Changbai Mountain, expresses reverence for nature and life, and evokes profound and solemn emotions. Through this symphony, I wish listeners to feel the power of nature and its transcendent aura. This, I believe, is the true essence of Changbai Mountain as I envision it. Movement I: Inception. Movement II: Waterfalls and Infiltration. Movement III: Impressions.

I have always been eager to compose a symphony about Changbai Mountain. I was born in Huadian, Jilin Province, grew up in Changchun, and later lived in Tonghua, Ji’an, and Huinan—places all nestled at the foot of Changbai Mountain. To me, Changbai Mountain has long been an inseparable part of my soul. While creating this piece, I was constantly contemplating the water ecology of our planet. When the work was completed, I felt a deep sense of fulfillment, as if it were a profound gift dedicated to Changbai Mountain. Although I did not follow the traditional approach of gathering local folk songs, I firmly believe that as someone who grew up in the embrace of Changbai Mountain, my experiences and emotions are deeply rooted in this land. This symphony continues my established compositional style, built upon twelve-tone serialism, to create a work of pure music with a global resonance. I hope it conveys the majesty and sanctity of Changbai Mountain, expresses reverence for nature and life, and evokes profound and solemn emotions. Through this symphony, I wish listeners to feel the power of nature and its transcendent aura. This, I believe, is the true essence of Changbai Mountain as I envision it. Movement I: Inception. Movement II: Waterfalls and Waters. Movement III: Impressions.

秦腔穿越 by Austin Huang黄晓枫

qin qiang, violin concerto, piano concerto, sym. no. 2 mov 1

Tribute to Changbai Mountain 《长白山之巅》Sym No. 4 Mov. 1 by Austin Huang黄晓枫

那一年，中国著名京剧演员史依弘要来我们文化节活动，演唱梅派著名唱段贵妃醉酒。心想着手头上刚好有一个交响乐团，闲置太可惜了。想起了现代京剧里的交响乐，心情澎湃，不给这段唱腔配上交响乐团心里就觉得不舒坦。 杨贵妃也算是皇家重量级人物，出场怎能没有明亮的铜管和激越的鼓乐相随。想起了在孔府听到的孔府大典上的音乐。经过一点变动成为了这段音乐的开场。 黄晓枫 （Austin XHuang）

2013年底，旅居温哥华的北京京剧院的花脸金老师找到我。他在帮沈阳音乐学院来温哥华定居的小提琴老师李欢筹备她的个人音乐会。金老师想请我帮忙把京剧《智取威虎山》里的打虎上山那一段改编成小提琴独奏与乐队。他说当时有一版小提琴与钢琴的。但是，他感觉还是想请我完全另写一版他中意的。时间紧迫，也没有机会再仔细推敲对一些问题地方进行修改。当时在温哥华的一个乐团首演。这是2016年在美国Bellingham的一场Bayshore Orchestra的音乐会上演奏的。

In 2011, the Seattle-Kaohsiung Sister Cities Association approached me and asked me to write a small piece about Taiwan. When the Kaohsiung City delegation came to Seattle to participate in the Seattle International Friendship City event, they could be played by Americans, which was different from the previous welcoming events where Chinese faces played their own folk music instruments. Hence this little work. It was originally written for several instruments of a small band at the time, piano, a flute, a clarinet, two violins, a viola, and a cello seven instruments. Later, in 2011, it was changed to the Symphony Orchestra. In 2016 the local community band Bayshore Symphony collaborated with me and gave me half time, which included this piece.

Composer：Austin Huang 黄晓枫 Harmonia Orchestra & Chorus 演奏 指挥：William White 2023年6月25日 西雅图 Benaroya Hall

Composer：Austin Huang 黄晓枫 哈尔滨交响乐团演奏 指挥：于学锋 2019年12月17日 哈尔滨音乐厅

Composer：Austin Huang 黄晓枫 哈尔滨交响乐团演奏 指挥：于学锋 2019年12月17日 哈尔滨音乐厅