ShylikeBlushingFlowersMusic-TheatreProject

“HisdiscerningblendofEastandWestcreatesanintriguing,kaleidoscopicsonicworld,onethatcarriesa

strongemotionalimpact…”(TheMusicTrust,Australia)

“somethingspaciouslyAsianbutwithaneffectivelycommunicativevocabularyofWesternnewmusic…Crossmanisarealforce”(GapplegateClassical-ModernMusicReview,USA)

CHINESE-AUSTRALIANMUSIC-THEATREWORKThis music-theatre work—Shy Like Blushing Flowers—is a collaboration betweenAustralian artistsBruceCrossman (composer/musical director), SimonKillalea (videoartist),IanStevenson(sounddiffusion)withperformersAnnaFraser(mezzo-soprano),ClaireEdwardes(percussion)andinternationalcollaboratorLindaYim(piano)fromtherenownedHongKongNewMusicEnsemble(HKNME).Thespringboardforthisworkisthe text of Tang Xianzu’s Chinese opera "Peony Pavillion," with hints of the Judeo-Biblical text “Song of Songs” and Shakespeare’s "Antony and Cleopatra". Fromdistinctivelydiversecultures,theseworksappearedatbothjuxtapositionalandsimilartimes(1598and1606respectively)andcorrelatethematically,exploringlovepermittedtoexistasdreammergedwithreality,andthesubsequenttemporal/spatialseparationof lovers (human and spiritual) and connection toDaoist “dao” and Christian “spirit.”Thecentralprotagonistsfromtheseclassicalworks,thevivaciousunmarriedfemaleandhigh status queen, are reinterpreted as a single persona in an intercultural fusion ofgrittytensionwithpoeticlushness,bringingaboutadeepeningmutualunderstandingofAustralian/Chinese cultures towardsa contemporaryAsian-Pacific artistic identity. ItsmulticulturalnatureaimstodirectlysynergizeEnglishandMandarinsoundsasbothaformofcommunicationandasdelicateandvigoroussoundpatternswithinaConfucianliving-colouraestheticinmusic-theatre.Event:TheArtsNSWDevelopmentofShylikeBlushingFlowersisatTheJoanSutherlandPerformingArtsCentre,QTheatreinPenrithfrom3-4pmon11October2017.Entry:ByInvitation.Requestinvitationbyemailingb.crossman@westernsydney.edu.auDirections:JoanSutherlandPerformingArtsCentreisat597HighStreet,Penrith.FromtheM4motorwaytaketheMulgoaRoadturn-offtoPenrith.FasttrainservicesleaveregularlyforPenrithfromthecountrytrainplatformsatCentralStation.

2

INTERCULTURALMUSIC-THEATRE

The living colour moment aesthetics of the Asia-Pacific and its calligraphical motionideasappliedtofilmarepresentinCrossman’sShyLikeBlushingFlowersmusic-theatreproject. Thedevelopment has two framing films as dream sequences—“FragrantRainClouds of Love” and “Strange Invisible Perfume”—amidst which sits the liveperformanceof“GardenofFire.”Inthefirstinterlude,“FragrantRainCloudsofLove,”Killalea’sstrongrootedtreeimagesofHongKongwithPicasso-likeCubistspaceofmoderncityscapes,whereemptinessandskyscraperssuggestintimatepresence,isareinterpretationofancientChineseplaywrightTangXianzu’s‘clouding’intimacyandsensualmassivesonicburstsofsoundwithlingeringmetaldelicacyofmyownmusic.TheancientKunqutradition,followingDaoistprinciplesoftheaffinityoftheartistwithnature,suggeststheeroticthroughthenaturalreverberanceofspringenergiesandisreinterpretedbySimonKillaleaasthegentlypulsingpresenceofHongKongasacontemporary‘sensualclouding’.Thegentleflowoftimethroughwaterbecomesintimateasdotheskyscraperslowmovementsyettheyarepepperedwiththeslowcruisinghumourofthepassingcarmotionandmusing.TheChineseoperatraditionofKunqusparked,inamoment,thedelicatetransientcrotalesmetallingeringsoundsamidstwrestlinginterval-colourspacioussplashesofensembleamidstwrigglingvocallinesinmymusicalscore,titled“GardenofFire.”ThetrioversionwillinvolvesopranoAnnaFraser(SongCompany),percussionistClaireEdwardes(EnsembleOffspring)andpianistLindaYim(HKNME)inaliveperformancewithreal-timedigitalvisualmixingbyKillalea.Inthisstrippedversion,thewrigglingvocallinesarelaidbare,withdelicatebowedvibraphoneebbingjoiningthedarkgong-likestoppednotesbeddingthevocalbeneath,withinterpretationsofthespacesthroughmetaphoricalnatureandcityscapeimagesofHongKongintime-lapsefilmmaking.Inthesecondinterludedreamsequenceofthemusic-theatrework’s“StrangeInvisiblePerfume,”themusicmergesthesensualityofShakespeare’salluringCleopatrawithTang’s“Douderixiayanzhiyushangxian,”amidsttheJudeo-Biblicaltradition’stranscendentsensualityof“Iarosetoopenformylover”fromtheSongofSongs.Killalea’sSydneyandHongKongshotCubistinterplayswillinterpretthemusicasadreamfilmsequencewithinShylikeBlushingFlowers.Inmyscorefor“StrangeInvisiblePerfume,”thePekingOperagongs’suddendemarcationsandquiveringmalletsoncrotales,lingerlikefragrantperfumeoverthewrigglingguzhengtonesandsharplyarticulatedbell-clearharmonics.

3

ARTISTSAnnaFraser–sopranoSydney-basedandagraduateof theSydneyConservatoriumofMusic(2000)andNewEngland Conservatory (2002) in Boston, Anna Fraser has gained a reputation as aversatile soprano specialising predominantly in the interpretation of early andcontemporary repertoire. In 2002, before returning to Australia, Anna attended theBritten-PearsYoungArtistProgramundertheexperttutelageofthelateAnthonyRolfe-Johnsonandwasa featuredsoloist inHandel'sDixitDominusandthemasqueAcisandGalateadirectedbyRichardEgarrat theAldeburghFestival.Asamemberof theSongCompany,Annaregularlyperformsinnationaltours.ClaireEdwardes–percussionClaireEdwardes(percussion)isaninternationallyrenownedpercussionistandartisticdirectorofSydneynewmusicgroup,EnsembleOffspring.Careerhighlightsincludesoloperformances at theHuddersfieldContemporaryMusicFestivalandprizewinner as partofDuoVertigoat the2005 InternationalGaudeamusInterpretersCompetition. Shewonthe 2016ArtMusicAwardfor Outstanding Contribution by an Individual andwas the1999YoungPerformeroftheYear.LindaYim–pianoLindaYimisacorememberoftheHongKongNewMusicEnsemble,oneoftheleadinggovernmentfundedartsinstitutionsinHongKong.TheHongKongNewMusicEnsemble(HKNME)wasfoundedin2008topresentcontemporarymusictoHongKongaudiences.It has been widely praised for its innovative programming and interdisciplinarycollaborationswithartists fromdifferentmediums.TheHKNMEhascollaboratedwithorganisationsincludingZuniIcosahedronandGuangdongModernDanceCompany.BruceCrossman–composerBruce Crossman's sound world embraces Asian traditional musics, free formimprovisation and European influenced interval-colour sonority towards a personalPacific identity. Peter Sculthorpe, ChouWen-chung and Chinary Ung have influencedCrossman's Pacific-based aesthetic. Crossman's aesthetic is influenced by cross-disciplinaryideasfromChineseesthetics,Japaneseaestheticsandarchitecture,Filipino-Australianpoetryandabstractart.https://brucecrossman.comSimonKillalea–filmmaker/projectionistSimonKillalea isprojectionist filmmakerwho largelyworks in the fieldof rockmusicvisuals,includingwithSydneybandDecoderRingatCarriageWorksandforthetouroficonicAustralianbandColdChisel,includingthosewithanEastAsianfocus.Hedidthevisuals forBruceCrossman’sChineseopera-basedprojectwiththeCampbelltownArtsCentre,titledGentleness-Suddenness.IanStevenson–sounddesign/diffusionIan Stevenson is senior lecturer in sound technologies. His research interests are insoundtheory,listening,soundrecordingandsoundinstallationpractice.HeisamemberoftheDigitalHumanitiesResearchGroupatWesternSydneyUniversity. Inadditiontonumerous freelance engagements he has held the following positions: DocumentationManager,FairlightESP,Sydney;SoundEngineer,AutographSoundRecording,London.Eventwebsite:https://brucecrossman.com/teaching/events/Mediasamples:https://brucecrossman.com/media/

4

INTERCULTURALCOMPOSITIONBACKGROUND

TheaestheticsoftheAsia-Pacificanditscalligraphicalmotionideasappliedtofilmarepresent inCrossman’spastmusic-theatreworks,Gentleness-SuddennessandWherearetheSoundsofJoy.TheseworksdrawonHongKongnew-inkmasterShou-kwanandhisfreegesturalimagery,whichCrossmanusedwithinsonicswirlsandun-dampenedgongresonance within extensive use of Peking Opera gongs. These ideas were developedduringa2010residencywithintheChineseOperaInformationCentreinHongKongandcametofruitioninthe2013CambelltownArtsCentreportraitconcertofhismusic.Herehe worked with a living colour aesthetic to produce the visually interactive music-theatrework,Gentleness-Suddenness,whichincludeddigitalpixilationbySimonKillaleaandphotographerDavidCubby.Thiswasfeaturedina2-hourprogramonmymusiconABCClassicFM(2014)andcurrentlyfeaturesasa45-minuteABCNewWavesPodcast(2016). These ideas are an extension of its precursor work,NotBroken-Bruised-Reed(2010)—especiallythecalligraphicalsonicgestures,whichfeaturedinaliveABCClassicFMbroadcastatthe2010WorldNewMusicDaysinSydney.Finally,thefilmvisualsforthemusic-theatreworkaredevelopedwithinitsbirthplaces—HongKongandWesternSydney. This lays the foundation for collaboration with the Hong Kong New MusicEnsembleforfullstagingperformancesin2019inHongKongandSydney.LINKSCollaboratorsAnnaFraser:http://www.annafraser.net.auClaireEdwardes:http://www.claireedwardes.comLindaYim:https://www.hongkongnewmusic.org/ensembleSimonKillalea:http://www.simonkillalea.com/cold_chisel.htmlIanStevenson:https://www.westernsydney.edu.au/staff_profiles/uws_profiles/doctor_ian_stevensonBruceCrossman:https://brucecrossman.comChineseopera:Gentleness-Suddenness(2013)&ShyLikeBlushingFlowers(2017)See:https://player.vimeo.com/video/140882039See:https://brucecrossman.com/media/Contact:AssociateProfessorBruceCrossman,email:b.crossman@westernsydney.edu.au

5

ADDITIONALDETAILS

Structure–ShylikeBlushingFlowers(ca.60minutes)Part1:“GardenofFire”–fullensemble&livefilmprojections/mixing(mezzo-soprano,flute,viola,erhu,guzheng,percussion,piano)Interlude1:“FragrantRainCloudsofLove”–liveduo&film(percussion,piano)Part2:“Bloomslatewhenspringisgone”–soloerhu,speaker&livefilmprojections/mixing(mezzo-soprano,erhu)Interlude2:“StrangeInvisibilePerfume”–liveduo&film(percussion,guzheng)Part3“LoosenOurSash”–fullensemble&livefilmprojections/mixing(mezzo-soprano,flute,viola,erhu,guzheng,percussion,piano)ArtistsHongKongNewMusicEnsembleWilliam Lane (viola/artistic director), Angus Lee (flute), Chiu Tan Ching (guzheng),LindaYim(piano),HKNMEprincipalconductor(forthcoming)SydneyArtistsAnna Fraser (mezzo-soprano), Ying Liu (erhu), Claire Edwardes (percussion), SimonKillalea (video artist), Bruce Crossman (composer/music director) and Ian Stevenson(sounddiffusion/recording)DevelopmentandProposedPerformancesinSydneyandHongKong2016:September–Interlude1:“FragrantRainCloudsofLove”Michael Kieran Harvey (piano) and Tim Phillips (percussion), Western SydneyUniversity2016:December–Part1“GardenofFire”WilliamLane(viola/artisticdirector),AngusLee(flute),ChiuTanChing(guzheng),TimChan(percussion),LindaYim(piano),HongKongUniversity(workshop)2017:July–Interlude2:“StrangeInvisiblePerfume”Chiu Tan Ching (guzheng), Claire Edwardes (percussion), Luping Zeng (painting), IanStevenson(digitalprojections)–Part2:“Bloomslatewhenspringisgone”YingLiu(erhu),ShenWednesday(painter/reciter),IanStevenson(digitalprojections),WesternSydneyUniversity2017:11October–Interlude1:“FragrantRainCloudsofLove”(film);Part1:“GardenofFire”(trioversion;live/digitalvisuals);Interlude2:“StrangeInvisiblePerfume”(film)30-minuteshowing;AnnaFraser(mezzo-soprano),ClaireEdwardes(percussion),LindaYim(piano),IanStevenson(sounddiffusion/recording),SimonKillalea(videoartist),BruceCrossman(composer/musicdirector),TheJoanPerformingArtsCentre(QTheatre),Penrith;ArtsNSWfundeddevelopment2019:FestivalHongKong(TBA),fullproductionwithHKNME,fullproduction2019 Intercultural Festival, NSW (TBA), full production with HKNME/ The JoanPerformingArtsCentre,fullproduction

6

ReviewsGentleness-Suddenness–music-theatreworkPerformanceinSydney2013:“Hearing several of Crossman’s pieces in successionprovided a clearwindow intohisaesthetic—space, clarity, action and reaction—and language, one that incorporatesaspectsofAsianmusicexpressedthroughtheidiomaticsoundsofWesterninstruments.Harvey, Edwardes, Cuddeford and Latukefu took painstaking care to bring out theensembleandindividualdetailsthatcramCrossman’sscores.Theworkswererecordedduring theweekprior to theconcertandtherewillbemanyamongtheaudience, likemyself, who will be keen to have a second listen to the performances of thesemysterious and subtle pieces. Thiswas an engrossing and satisfying concert ofmusicthat displayed the highest artistic ambition and craft on the part of composer andperformers.”(Nightingale, James. “Gentleness-Suddenness, Bruce Crossman,” Partial Durations,Realtime,e-dition,Jul42013.https://partialdurations.com/2013/07/03/gentlenesssuddenness-bruce-crossman/CDreleaseintheUSAonNavona2017:“CrossmanallowsthemusicofthePacific,specificallyofJapanese,Chinese,KoreanandFilipino traditions, to influencehismoreor lesshighmodernattention to soundcolorand sound space…something spaciously Asian but with an effectively communicativevocabularyofWesternnewmusic…Crossmanisarealforceforthepresent-future.”(GapplegateClassical-ModernMusicReview,USA,May18,2017)“ThewealthofmusicalactivityinPacificrimcountriesisclearlyasourceofinspirationto Crossman, adding a fascinating dimension tomusic from a European heritage. HisdiscerningblendofEastandWestcreatesanintriguing,kaleidoscopicsonicworld,onethatcarriesastrongemotionalimpact…Gentleness-SuddennessisdescribedbyCrossmanasa“meditationonloveandcreativity”,settingsoftextsfromChineseoperatraditionofKunqu (The Peony Pavilion)and Judeo-Christian Biblical texts from Genesis, Psalms,SongofSongsandRevelation.Giventhoseinspirationalsources,itisnotsurprisingthatthispieceisatour-de-force.”(TheMusicTrust,Australia,July3,2017)