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."
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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."
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.
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.
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."
