Crippled Symmetries - Cube Band: Traditional Instruments, Modern Sounds

00:00:04: Welcome to Klankat, on some of the K&M's podcast about contemporary music artistic research and international encounters.

00:00:12: This episode dedicated our Crippled Symmetries Festival in April.

00:00:15: twenty-twenty six takes us to Tauan.

00:00:19: it is hosted by master students in Music Sound Performance at Free University Berlin.

00:00:25: Julia goes and Bronislava Bronka Paljowa.

00:00:28: I am Bronka.

00:00:29: this is Julia from Free University of Berlin And today in our podcast episode, we have very interesting guests from Taiwan.

00:00:38: The Q-Band and they're all professional musicians We have on pipa Yun

00:00:45: Han

00:00:46: On the gujeng ,we have Yan Zhuan .And on the percussionist we have Xin.

00:00:52: So

00:00:54: They will be performing later tonight at the

00:00:57: festival

00:00:57: cripple symmetries here in Berlin.

00:01:00: And yes, for now we are very excited to talk you and hopefully... You will enjoy the podcast in this episode too.

00:01:11: So welcome!

00:01:12: Thank you so much for being here.

00:01:15: Let's get started with our first question.

00:01:18: Your trio was brought together by Studio Acht which is a gathering of musicians composers artists and performance groups dedicated to contemporary music and performance arts.

00:01:34: And your combination of traditional and modern instruments is quite uncommon in Taiwan, could you tell us more about your group?

00:01:44: How it was formed initially... ...and how you found a unique sound?

00:01:53: For us because we are the director for Studio Act and the director, Fang Yuling.

00:02:04: She kind of told us this plan like

00:02:09: she

00:02:09: really wanted to do contemporary with traditional instruments because for percussion it's got different perspectives can connect traditional instruments I mean for the sound together.

00:02:26: so she thinks why not?

00:02:30: We try different elements to try different instruments, different instrumentations.

00:02:36: But for us because our common feature is they are two plucked instruments like it's a point like an adult for percussion as well.

00:02:48: so we really short sound.

00:02:51: So how about we connect or like point

00:02:55: lie,

00:02:56: plan like this kind of perspective together.

00:03:00: So I think that's why we get it together and work very well.

00:03:06: This is super interesting!

00:03:08: And yeah especially if there are completely new sound then... ...that isn't heard regularly.

00:03:15: so yeah.. Very very interesting.

00:03:19: The name Cube Band quite special and we wanted just, what does it mean?

00:03:24: Why did you choose Cuba as your name.

00:03:27: What is the meaning for

00:03:28: you?".

00:03:28: And that's a very interesting story because I think to make an end of our trailer where when talk about so many names then they ask me, Shane do have any ideas...I really like Cuban because cube eight is like Rubik's Cube.

00:03:49: you can make different formations and different combinations.

00:03:55: so we kind of expect our music could be like any possibilities to explore more formation through all instruments.

00:04:05: And for Cube, because yeah with three probably people say it should be a triangle band.

00:04:13: Yeah I guess cube.

00:04:14: yes!

00:04:15: Because with three I thought about

00:04:22: stereoscopic,

00:04:24: like a three-dimension.

00:04:27: So it means for percussion because i got so many choices for instruments... ...so I can kind of broaden the sound and then to be kind of my three dimensions.

00:04:41: That's why we think Cuban is probably cool cause its hard like to guess what we are going to do, or the music is going to be like.

00:04:52: So I think Cube and it's easy to remember.

00:04:57: And then for yeah...I think people will say that Cube probably got four members.

00:05:04: so the fourth member would have been the audience.

00:05:08: I mean, for any kind of music we need audience to share.

00:05:12: To share our philosophy with music feel... ...to share our thoughts on music.

00:05:18: so i think audience would be all.

00:05:19: fourth member very important one.

00:05:23: Yeah that's actually a really cool explanation!

00:05:25: I didn't think about it before but yeah in the cube is everything included what you said.

00:05:32: So

00:05:34: since I was a kid I really like Rubik's Cube.

00:05:37: Yeah, it has a lot of different forms also.

00:05:40: And that's what your music is about.

00:05:43: or we saw in the rehearsals?

00:05:47: Because we were thinking about this too and there was an imaginary person in our group maybe because they are four sides but this kind makes more sense actually!

00:06:04: Do you have different roles when you play in a group?

00:06:07: Like for example, if somebody is the leader and others are following it changes up or how does your group work.

00:06:18: Maybe sometimes there's change because I'm good at playing.

00:06:24: And my role as Cuban is probably like... a badminton player because sometimes I could attack, but sometime i could defense.

00:06:37: Because Guggen is the plug instrument

00:06:39: and

00:06:40: have the twenty-one strings And... The instruments probably compare to the pipa.

00:06:48: Have more bass note or lower frequency.

00:06:53: So I think that sometimes when playing the bass line beat with the percussionist, but sometimes I lead a melody.

00:07:03: Or sometimes when our melody or tempo is overbeated by the pipa...

00:07:10: Yes!

00:07:12: And for the pipas because of their frequencies are much higher than guzhen.

00:07:16: so sometimes they play as a singer role and we also have some percussive effects.

00:07:23: So i can

00:07:24: become

00:07:24: a percussionist in our band.

00:07:27: So the role among us is often changing,

00:07:31: yes?

00:07:32: I think the main point was how to blend.

00:07:35: well so we kind of like catch both.

00:07:39: yeah so it's kind of jump and then sometimes when we blend together and then we swim in same direction but sometime we are different lines.

00:07:54: Yeah, I had a fun to play with them.

00:07:56: The

00:07:58: contemporary music is likely and also improvisation is likely.

00:08:04: So my volume question actually you started answering it already.

00:08:10: It would be because your instruments are a bit uncommon in Europe And maybe some of the audience doesn't know about it.

00:08:19: I didn't know about them before either, so maybe you could give like a quick introduction about your instrument.

00:08:25: what is it?

00:08:25: What do you play?

00:08:26: how does it work?

00:08:27: or You also brought a lot of different instruments.

00:08:31: Maybe you can give us the raw outline of what you've brought each of you

00:08:37: In tonight's

00:08:38: concert.

00:08:39: Sometimes because in the contemporary music composer would like to explore more new sound.

00:08:47: Yeah, new style in the traditional instrument.

00:08:51: So for example my first our first piece My instruments.

00:09:00: be prepared.

00:09:02: prepare strings full of clay and hard paper And create the percussive sound.

00:09:10: but or use more objects like that base cello bow Or the... or what?

00:09:23: I think for Gu Zhen, the composer was trying to break the stereotype.

00:09:28: For Gu Zhen.

00:09:29: people always think Gu Zhen is probably an ancient instrument and a sound like we can imagine it's with green tea.

00:09:40: And listen to Gu Zhen music You can relax Like literature kind of that way.

00:09:47: But I think four contemporary composers they would love to break that kind of stereotype and then make audience can't guess.

00:09:58: It's really hard imagine what we are going bring.

00:10:02: the music, I think thats different perspective from composers

00:10:08: because sometimes i play more percussive song but sometime in stand piece i put some string is create a traditional rhyme.

00:10:20: Yes, it's a good blend with the same piece.

00:10:26: I think this is very interesting for me but maybe like again to guess what?

00:10:36: It comes from Gu Zhen or from the percussionist of another.

00:10:42: This has been a great experience

00:10:46: and

00:10:47: also be an audience.

00:10:52: And for pipa, pipa is also an ancient Chinese instrument with long history and four strings.

00:11:00: I play it on both fingers as you can see or I always wear artificial nails in my hands.

00:11:11: As a plucked instrument, I make melody from a series of dots precise different dots with different timbre like that.

00:11:24: so we can make different emotions and expression through this series of dots.

00:11:30: And let's look at the beauty of paper, Of course when you notice I'm playing I have fancy techniques on my right hand but deep beauty is lies in your left

00:11:45: hand.

00:11:46: You see My left hand, we're bending the strings over nuance on my right hand.

00:11:53: It makes melodies also expression very delicate and small nuances of it.

00:12:00: And in tonight's concert at Les Canpies when there are things you can notice You can perceive a lot about this kind of beauty he made on paper.

00:12:12: Even in contemporary music composers try to blend the traditional spirits with their new innovations in this instrument and also because I have so many different kind of scales but they will try to break up the stereotype as guzhen.

00:12:33: So, for example we had one scale called jiaoxian.

00:12:37: it means i have to put my finger on a crossing line- crossing strings put my finger on it to make a percussive sound.

00:12:47: And usually we just play that for maybe one note or two notes, but for the composer they will ask me to sustain maybe ten bars or fifteen bars like that.

00:13:00: so It would be a challenge.

00:13:02: Yeah So then might challenge our skills of original sounds To make new dimensions.

00:13:11: Yeah, I think that's a very special and good aspect to appreciate our contemporary music in tonights concert.

00:13:23: And as a percussionist... Very busy!

00:13:31: For percussionists Even though I still play, but i'm thinking for like two bars after what's going on.

00:13:39: For a quick mullet change because the composers...I mean tonight we're gonna perform four pieces so every composer got their favorite instrumentations.

00:13:52: So I need to use different mullets try to achieve the sound and work well with two plug instruments.

00:14:02: So I try different stuff, even though like for the composer Kiyong Zhong... ...I think he kind of knows so well about percussion.

00:14:16: He said to me why not you can blow on paper?

00:14:20: Because we need one more winged instrument.

00:14:24: We don't have winged instruments!

00:14:26: How do you hit on paper, and then you blow it.

00:14:34: In the first place I was like why are we talking about?

00:14:38: But...I did try many options for some papers that were baked.

00:14:48: For bakery orders or drawing.

00:14:50: I tried so many different materials of paper And i found one worked really well.

00:14:58: So we'll hear that tonight.

00:15:02: Super interesting, you can even use paper to make percussive sounds

00:15:06: and a wind like of instruments.

00:15:08: Yeah

00:15:09: when we saw it in the rehearsal Bronco and I said what would she do with her paper before he started?

00:15:15: We didn't imagine but super interesting.

00:15:18: It

00:15:18: sounds like bird

00:15:19: For real, yes.

00:15:21: And also with your instruments you see the variety when you look at it because you have so much on stage.

00:15:28: but um... It's also really nice to hear what Pippa and Gugeng how big of an like- What can do that?

00:15:37: Like How variable.

00:15:39: they could be Also Because They're antique But You Can Use Them So Much In Contemporary Music So Its Really Interesting To Hear.

00:15:48: Yeah, I just wanted to say with your percussions on the rehearsals we saw you and you even had instruments that you wouldn't imagine.

00:15:58: You could play them or like own them because you have a fidget spinner in Taiwanese toys then a car spring... And i didn't know what it was.

00:16:11: so you explained this to me.

00:16:13: So

00:16:15: my brain is like factory So many things going on.

00:16:20: Yeah, especially you have to coordinate so much like jump from one instrument to the other.

00:16:27: I need to be precise but at a same time i still need to listen to my two band members.

00:16:33: they are layer dynamics and then their timbre...I really need to fit in.

00:16:38: yeah that's very challenging stuff.

00:16:45: What do you think, like how does Gu Jiang and Pipa respond to a Western kind of percussion sound?

00:16:53: You already told us that your playing style is different from what Pipa and Gu Jiang would normally use or the traditional way.

00:17:02: Could you just tell us more about how we are playing with this technique used?

00:17:10: I think... The dance of our notes.

00:17:13: Just like what I mentioned, Gu Zheng has a long sustain and people are just very direct and sharp.

00:17:19: And also percussionist.

00:17:21: her sound is also very... Also of course she can control.

00:17:25: but how to make our dots together?

00:17:29: That's the point.

00:17:31: yeah that's the points.

00:17:32: so because we are very familiar with contemporary music I work together.

00:17:40: We are trying to negotiate different spots, different notes and maybe breathes especially as a paper player sometimes because my note sounds very sharp and direct so sometime it will be faster than

00:17:57: them.

00:17:59: yeah i think that's the way of breathing.

00:18:05: breathe.

00:18:06: Yes,

00:18:06: because like like like wingsmans that you can see their breath in.

00:18:11: and then for pipa player cuz it's so close to strings maybe just like And they play.

00:18:18: yeah but for percussion I need to lift.

00:18:20: i Need to leave my drumsticks.

00:18:22: a thing for guzhen.

00:18:24: yes

00:18:24: Because the is different the strength of those strings?

00:18:29: and because my sometimes It's difficult to the group employer is because Guggen have so many strings, so Kambusu would like to try

00:18:41: more

00:18:41: new

00:18:42: objects or prepare a string for the least instrument.

00:18:45: So sometimes probably I build my traditional timbre in some contemporary music and it does not work Because there are so many different strings that sound very different from me.

00:19:04: Just like I said, Pipa's sound is more higher and more sharp.

00:19:09: But Gu Zheng Nad is a more resonance.

00:19:13: So...I think the challenge for me was how to find balance in our playing.

00:19:25: It's very difficult because sometimes Traditional, right?

00:19:32: But sometimes I also at the same time need to keep the grooving because i'm in a row with the bass and percussionist.

00:19:42: So it's very busy to change my set

00:19:47: but you're using different tuning that usually is used.

00:19:52: yes

00:19:56: Yes, because Gu Zhen is so many strings.

00:19:59: So every composer would like to create their unique tuning...

00:20:10: Yeah different pieces

00:20:11: are different.

00:20:12: Different tuning and a different prepare or different objects.

00:20:17: maybe in the least concert I have two Gu Zhen but also need to change.

00:20:25: So probably each composition, each piece we have... I needed time to change the tuning.

00:20:34: Yes it's a. yeah It is common.

00:20:38: It's a common thing for the guzheng player.

00:20:40: i think they are in my...

00:20:43: For me that was very interesting and It's like magic because she needs to memorise different layouts.

00:20:54: So probably the second string, in previous piece is D. for the second piece that must be A. so it's very different and she has to memorised it.

00:21:05: For me... wow!

00:21:10: For people we also have different tunings but luckily I only had

00:21:13: four strings

00:21:18: with less strings to memorize the tuning for.

00:21:23: But it's crazy to memorize every, every tuning from... For every string when its different at each piece.

00:21:29: so that is a big challenge!

00:21:33: So now we talked about your instruments.

00:21:37: We were wondering like why did you learn them?

00:21:40: Like when decided to learn an instrument Why do they say oh I want people or percussion.

00:21:48: What was the reason?

00:22:12: for Chinese music, so I have to pick up one Chinese instrument.

00:22:15: Actually my mother wants me to choose cello but i don't want you do what she wants!

00:22:22: So...I chose another instrument and the pipa toward that character.

00:22:28: it looks very beautiful.

00:22:30: So..i just picked this instrument.

00:22:32: So It was kind of a rebellion to your mom?

00:22:38: Yeah, my reason is also simple because when I was a kid

00:22:43: probably

00:22:44: six.

00:22:45: My mom asked me oh the question is where would you like to learn?

00:22:49: And then i think uh...I think

00:22:52: why?

00:22:53: yeah we should do so

00:22:54: many things as a violin and piano.

00:22:56: but my mom asks me guzhen what's about guzheng?

00:22:59: Because my auntie it's the guzheng teacher.

00:23:03: So that thing um..i think my mom thinks It's a story.

00:23:10: If you finish your homework, it will let you go to your auntie's house and learn

00:23:17: Guzheng.

00:23:18: So

00:23:18: that happens in the meantime.

00:23:20: I think yeah.

00:23:21: so i learned Guzhen originally from My aunties,

00:23:28: yes.

00:23:29: Oh and your mom didn't have to buy another instrument from you?

00:23:31: Yeah yeah yeah!

00:23:32: Your auntie's instruments that is good.

00:23:35: No it was really nice having a teacher already in the family.

00:23:41: For percussion I think when i was a kid... ...I was very good at running as an athlete.. ..I thought about learning or competing like a runner because I'm so in love with running.

00:24:00: and then my mom like took me to a concert.

00:24:03: See say, um.

00:24:05: I think you need to listen to music not just Running every day or practice like as a runner.

00:24:14: And the first thing from your attention is percussion.

00:24:19: So i think wow they can project really big volume.

00:24:26: it's like an athlete.

00:24:28: Yeah, because when you watch my performance like martial arts or something like athletes and I didn't want to sit down to play... Because i can feel the resonance And then the vibrations through percussion instruments.

00:24:48: That is why I just fall in love with percussion instruments.

00:24:53: So you also really combined your both passions, like the old passion and then with your new passion for percussion?

00:25:00: Yes.

00:25:01: And then for percussion it's so... The variety I mean..I really liked it.

00:25:07: Like the style of percussion is like a kaleidoscope.

00:25:11: It has so many ways different instruments.

00:25:16: My mom thought that i just need to buy some drumsticks And that's enough to play all those drums.

00:25:23: But I think, yeah she may like... Oh no!

00:25:29: Yeah and we need space to put the drum kit.

00:25:32: or because i learned percussion like an orchestra percussion.

00:25:40: So my mom said oh you need to buy marimba, xylophone, snare drum.

00:25:45: it is not what I thought.

00:25:49: Yes, so I kind of persuade her to buy measurements because she thinks that i just spend time in practice room.

00:25:57: Because i think the practice room is my playground.

00:26:01: Yeah That's a time when mom said you need go out But i'm just so into it.

00:26:13: It was probably also really big right?

00:26:15: Your rehearsal room?

00:26:17: Yeah, yes.

00:26:20: Did you also use stuff from your house because now you play with the paper?

00:26:26: You told us did it just took something I don't know... Your mom's stuff or...?

00:26:31: Yes!

00:26:32: I took some like... For example..I did an experiment to use her brush To play maybe on symbols Like doing like own drums, yeah.

00:26:49: Yeah don't tell my mom Also

00:26:51: play

00:26:51: on the kitchen.

00:26:52: Oh

00:26:52: you also use your mom's brush to play on kitchen.

00:26:56: Yes

00:26:57: because in contemporary music I need to find more objects Because the composer would like too.

00:27:03: So maybe...I found a

00:27:06: comb In

00:27:06: his

00:27:07: brush From my mom.

00:27:12: That's super nice and super interesting to hear all your anecdotes from childhood.

00:27:17: Yeah, especially like as you said You have so many different instruments And we will see them today in the evening Because you're changing your instruments for every set As We saw.

00:27:31: So yeah that's very exciting.

00:27:33: then we were gonna see this through it today.

00:27:36: and Yeah, we actually wanted to ask you The technique is a bit different.

00:27:43: You are using different techniques for your instruments that you probably normally would use as traditional instrument, is it kind of physically challenging to play in the different way?

00:27:56: Or... Is this still alright or are you used to it?

00:28:01: Yes In the beginning For example I In the contemporary.

00:28:10: In contemporary music, the use of the cello bowl or baseball and guzheng is a very common thing.

00:28:18: Yes but in the beginning I used it...I learned that its difficult because i don't like the

00:28:26: powder

00:28:27: Because the bow have the rosin.

00:28:29: Yeah yeah have had the rosine powder.

00:28:32: It's really

00:28:34: thick

00:28:35: for my nails difficult to play.

00:28:40: So I think this is my strategy, like the bow or prepare strings just say a mute string.

00:28:49: Mute strings are more different.

00:28:51: so it's very different from original songs and i need find balance because Probably I cannot play it more, more strongly because... It's very similar with the percussion-safe song.

00:29:14: Yes so this is

00:29:15: my challenge.

00:29:16: Yeah we'll control.

00:29:22: Articulate but not harsh?

00:29:24: That's a common thing in percussion.

00:29:28: We played particular sound and attack.

00:29:31: But not harsh.

00:29:33: Yes, we'll control it!

00:29:36: It did a great job.

00:29:37: We all did a good job.

00:29:40: Yeah I think the country is most difficult thing because on balance of our volume Because as people The nature sound This instrument's not so loud.

00:29:53: And when i have to play with guzhen and percussion Especially percussion Well, that may be enough but usually it's not enough.

00:30:04: So we have to negotiate the strength and dynamic or sometimes I will do more much too much in a piece

00:30:14: Or

00:30:15: one technique into my own techniques And...

00:30:19: Yeah!

00:30:20: Sometimes is not about volume because on music probably like with three written like Mesoforte, but my Mesoforte is not her Mesoforta because we got different instruments and then different articulation.

00:30:36: And the

00:30:38: frequency?

00:30:39: Yes!

00:30:39: So you kind of need to do a little bit adjustment...

00:30:43: Yeah

00:30:44: that's physical challenge.

00:30:48: yes That sounds quite challenging for the volume set everything up.

00:30:53: so Like the other, like one isn't super loud though.

00:30:57: One is too quiet.

00:30:59: so...

00:31:00: And yeah this evening you will be playing four pieces by different composers from various countries and could you tell us how you approach to these different pieces?

00:31:13: Did you work closely with the composers or did they just give you a score?

00:31:19: How does cooperation work?

00:31:22: Like three pieces, like from In-Wang.

00:31:26: From Kiyong Zhong and from Ducking Wen.

00:31:30: I think they composed this piece is when the COVID happened.

00:31:36: So at that time it was in year of twenty one We didn't have a chance to work with composers.

00:31:42: we kind of... We did FaceTime With Google Meet And then we discuss the aspect and concept from The Composer.

00:31:56: But the sound is quite hard as a reference, because even though I play on these mallets but The Composers think no it's not what i think... ...but through Google Meet or through technology sounds so different.

00:32:15: So yeah We spend alot of time to understand what the composer really wants.

00:32:22: And then we go through music, because for... The music I mean is like a puzzle game.

00:32:31: We need you figure out what's the clue Like what the composers want to produce What they really want.

00:32:41: So we kind of spend time and share our ideas.

00:32:46: Okay, yeah because we're three.

00:32:48: We got different thoughts in one music so it kind of spent a lot of time to do like read the music.

00:32:59: yes I think that's very interesting and i kind of really cherish that that time cuz everything is so different since then when the covid happened.

00:33:15: Yes

00:33:17: But you told us, like in the rehearsals that we still kind of could rehearse because it's just three of us.

00:33:24: Three of you.

00:33:25: so you can go into the rehearsal and... Yeah,

00:33:28: yeah!

00:33:29: Make this number is four.

00:33:32: Yeah,

00:33:33: it's same every

00:33:34: show.

00:33:34: at a time Like quarantine It's illegal to have five people in the room, but we are trio.

00:33:42: So...

00:33:42: We can practice!

00:33:43: Yeah that's

00:33:45: a good thing.

00:33:46: so

00:33:47: yes

00:33:48: and re-predict yeah.

00:33:50: That is why when you make a trio not going to chat

00:33:55: And this time at Berlin it was also our first time meeting.

00:33:59: Campos of Ingwong.

00:34:00: Ah yeah

00:34:02: It was his first time.

00:34:04: This is he will see us playing live.

00:34:07: That's

00:34:09: great.

00:34:10: Yeah, but yeah the challenge with COVID I can imagine like you just being the three... It is kind of practical than if you had a bigger band and do feel that every composer has different approach to your instrument?

00:34:28: That everybody makes something completely different out of them in that sound is different.

00:34:37: Yes

00:34:40: Yeah,

00:34:40: it's just their personalities.

00:34:42: Exactly!

00:34:44: The composers.

00:34:45: so you can go through the music.

00:34:47: to know these composers

00:34:49: like

00:34:50: for example like Hyeong-jong I need to blow on paper wow this crazy guy We also have to sing.

00:35:01: yeah we do hum and then we sing the melody Yeah, and I think for like.

00:35:08: yeah of course different approach.

00:35:09: Like the composer in one She really liked.

00:35:17: Like two plug instruments like percussion instruments.

00:35:20: so with three is it's like It works like a circle when we do cycling.

00:35:29: So they're really smooth And then quite rhythmic

00:35:35: Yes.

00:35:36: Very organic and very full of energy.

00:35:38: Yeah, very energetic.

00:35:41: So with three you need to be like three in one.

00:35:45: Like coffee

00:35:47: Three-in-one

00:35:47: coffee tastes just one taste.

00:35:49: She needs

00:35:51: more.

00:35:52: Yeah exactly.

00:35:53: so like DERKING ONE Because the instrumentation is so different.

00:36:00: It's marimba.

00:36:02: Marimba was two plug instruments.

00:36:05: So, of course the low register.

00:36:08: The resonance is so huge compared to two plug instruments.

00:36:13: We kind of tried different... Yeah I try different mallets Try a pairing with them.

00:36:23: So we do a lot work To do three really beautiful melodic instruments together.

00:36:31: And

00:36:31: then for

00:36:32: the Jin Shen Zhong I think that's the new one.

00:36:37: That is the latest piece, and yeah as you mentioned i play so many Taiwanese toys And then some...I just brought me into my childhood Like it was not very serious to music.

00:36:54: Yeah still very strict But I can feel kind of joy since when I was a kid.

00:37:01: So different perspective

00:37:03: And also, her music is just like a game.

00:37:07: So you might listen or perceive we are playing again and competing in that music into nice concerts.

00:37:17: So four

00:37:17: pieces for personalities?

00:37:20: Yes!

00:37:20: That's super interesting especially even the one where she said it sounds like a games.

00:37:26: The Dave is even like mini-mini-minimoo

00:37:31: with three From the music, you can see we three like a chameleon.

00:37:37: So we change.

00:37:39: Yeah yeah... We change a lot!

00:37:40: We change color and then change characters.

00:37:44: Like we switch.

00:37:50: You already told us about the pieces but could you tell me briefly what are the topics of the piece?

00:38:01: What is it that content is all about?

00:38:09: For In One Space, the name is Trail in a Cube because it's our commission and she wants to build up a

00:38:20: cube

00:38:21: with three planes inside that cube.

00:38:25: So just like what we mentioned there are four of energy and very rhythmic Very full of tension in that music.

00:38:38: So it's like a square and then the cube, three balls jumping to it.

00:38:44: so you can imagine kind we're jumping around... And

00:38:50: whole music is with directions?

00:38:53: You listen follow our direction from beginning directly towards end.

00:38:58: Yes It's definitely a total in-one piece.

00:39:01: Yes, it needs more passion and energy or power.

00:39:08: so we call this piece is very in

00:39:09: line yes.

00:39:12: And the second song Dajing Wen's piece one

00:39:17: song

00:39:17: right?

00:39:18: It's

00:39:19: hard

00:39:20: to memorize.

00:39:22: Actually these pieces come from two his memories from maybe his childhood or some period, and he made some variation of that.

00:39:35: two songs.

00:39:36: And it's the most melodic pieces within todays.

00:39:42: four pieces Yeah.

00:39:44: so you also can follow his melody to imagine what is thought.

00:39:51: Yeah, go through a melody and then to realize that there's certain story

00:39:57: from

00:39:57: his

00:39:58: memory.

00:39:59: And the sound texture is totally different than in one.

00:40:03: Pippas' sounds...and even guzheng style.

00:40:07: we have much more warmer I think in this piece.

00:40:10: It has a more traditional skill because not Spatial tuning, not

00:40:18: super string

00:40:19: but just use a very difficult traditional skill to play.

00:40:27: And the third one is... Jin

00:40:34: Shen's piece?

00:40:36: Yes!

00:40:36: Yes, I'm the one who only remembers.

00:40:43: So that's

00:40:46: our new commission and now it is a short one And she wants us to bring out curiosity again.

00:40:59: The attitude of playing a game To be realized when we are playing, that's what I'm trying to do.

00:41:07: And then the final piece... Wow!

00:41:10: Do you remember

00:41:11: this name?

00:41:12: Walking

00:41:13: through

00:41:14: a shadow of nightly valleys it might be.

00:41:19: The nighting means COVID-Nighting and the names come from maybe one sentence from Bible Yes…and whole piece is like a mural, paragraph ten in middle the center and then pair, pair.

00:41:36: So like a mirror.

00:41:37: so yes I think that's the piece.

00:41:40: it is all about breath.

00:41:43: so every time when we rehearse or perform sounds different because its one sentence but divided into three parts with three express one sentence.

00:42:01: So we need to be like three in one, a coffee.

00:42:05: Yeah really tasty.

00:42:07: and then.

00:42:08: so if one of us did some slightly change it makes big changes.

00:42:20: Super interesting to hear about all the different topics.

00:42:23: It's really great variety.

00:42:28: And yeah, especially with your explanation and the coffee example.

00:42:36: But it makes sense.

00:42:37: so I really enjoyed you answer!

00:42:41: Yeah i had a bit of different question like thinking about these compositions.

00:42:50: how is music notated?

00:42:51: Is everything notated?

00:42:53: could you improvise?

00:42:55: or was everything written down, because I imagine like experimental music is probably more complicated to write down in a score than classical piece.

00:43:07: So how does the score look?

00:43:11: Yes it's all like... In the notation its all noted and both for percussion Like Keon Jones' piece For some passage different elements, but I can use these elements to explore and then develop.

00:43:34: But in a certain like...I could have five beats do that.

00:43:39: so how fast for each note i can decide?

00:43:43: And they just pair with them.

00:43:48: We two also had

00:43:49: this

00:43:50: characteristic in Qiong's piece.

00:43:53: Yes

00:43:54: So then you had like work a bit more with the composer, so they kind of... Like did they listen to your recording first?

00:44:01: So they kinda listened.

00:44:02: Okay is this how they imagined you playing it?

00:44:06: or Did You just decide?

00:44:08: okay This Is The Right Sound.

00:44:10: We Will Leave It Like

00:44:11: This.

00:44:11: I think we're lucky enough because we got the fully trust from composers.

00:44:17: So the composer just said, you decide.

00:44:20: That's why we three need to... We've got really intense rehearsals every week so we share our thoughts.

00:44:30: maybe like people needs more time to expand and express And then we kind of discuss with it-we have to gaze towards

00:44:41: this.

00:44:45: Going a bit from your country to Taiwan Can you maybe tell us a bit about the contemporary music scene there?

00:44:53: Do you feel it has grown in different, recent years or what does it consist of.

00:45:01: We are trying!

00:45:03: Yes I think for contemporary music we're definitely more repertoire of contemporary music, especially for with three because we are kind of unusual combinations.

00:45:17: So I think how to create more repertoire For contemporary music?

00:45:24: That's the key.

00:45:25: and then audience needs time To listen to contemporary music.

00:45:33: so like...for example We're planning on doing some workshops like with audience and then to kind of, yeah in May we are going into a workshop.

00:45:45: And then to share our music here until the audience's concept or album that why were gonna make this album?

00:45:56: Why not just sell it!

00:45:58: Of course we need... We want to sell CDs but the key point is we need a conversation like today.

00:46:08: We share our thoughts with the audience and really close face-to-face, not on live streaming or something.

00:46:18: I think nowadays it's important to see people face to face And then... ...we can feel feedback from audiences.

00:46:29: The audience can see what is really sincere More music and then to share with them.

00:46:37: Yeah, I think we just need more repertoire.

00:46:39: And when you time two build up.

00:46:41: Yes

00:46:43: Are there like other bands that are doing back kind of style?

00:46:46: You're doing or how is it?

00:46:49: in Taiwan

00:46:50: yes It is but these Orchestrate orchestration.

00:46:55: the trio is only one.

00:46:58: yeah But other groups still during the contemporary music.

00:47:01: but audience need time to get used to this gap.

00:47:05: Before traditional instruments, it's not many

00:47:09: yet?

00:47:11: Yes So do you feel your influence the scene with music that

00:47:18: grows more?

00:47:21: You mean from contemporary music?

00:47:26: Yes After joining Q-Band I think my... Skill, also my concept or dimension to think music is exported.

00:47:41: Expanded yes and because in contemporary you need to be open your mind accept different kind of concepts And everything Is possible?

00:47:53: Everything is reasonable if it's from specific aspects.

00:48:00: It could be okay to be say it loud and that's what I learned from Q-Band, learn more a lot about them.

00:48:13: And listen to different kind of music and articulations which is totally different from P-Part.

00:48:19: when i play contemporary by myself and play contemporary with these two its totally different Yes.

00:48:26: But that's also really beautiful, you have so many possibilities and can experience so much new stuff?

00:48:33: Yes!

00:48:37: I learned Chinese percussion then classical percussion at the same time.

00:48:46: The special thing is before I joined Cuban... ...I'm a Tempanist in Orchestra.

00:48:54: So I think that kind of influenced my thoughts on music, because as a timpaniist we need to like wear the catcher in baseball.

00:49:07: We look after it in the field and know what's going on with this situation.

00:49:17: so overall... In Cuba when you take certain roles to go for it, I can kind of express and explore more from my instruments.

00:49:27: So we three are like the soloists but still a team member.

00:49:32: so when i hear her playing that's so great!

00:49:41: I don't want to lose.

00:49:43: I wanna play as good at her as Sam.

00:49:47: They two are amazing the good way to encourage myself, do more and then so we can grow up together as a Cuba

00:49:57: members.

00:49:59: Yes for me I think i learned about it from Cuban is communication because before I joined the cuban I usually played with other musicians but that's why Very funny and great to me.

00:50:24: And from now on, I also solo play the solo and also create.

00:50:29: but when i joined the Cuban,I found more different my side of my members because it's a different instrument although It is also the plug instrument But its very different instruments The percussion is more different.

00:50:52: Yeah, it's a little bit different

00:50:54: and I think the

00:50:57: island really learn.

00:51:00: so there are lot about communication how to communicate with their Great language or great attitude.

00:51:11: this

00:51:11: my partner?

00:51:13: It's very Important things too me because sometimes When I play the solo piece, I just arrange myself or play my self.

00:51:26: It's okay because this is good and to me it's a good thing but in the true it's very different.

00:51:33: so communication is very important for me And i learned a

00:51:40: lot.

00:51:41: Yeah cause people think if you're playing ensemble we need to learn how to compromise, but I don't think that's compromise.

00:51:49: It is we three find a solution with our new way.

00:51:53: probably we haven't thought it like by ourselves.

00:51:57: so if i a new way and then you do it...I think thats yeah in the good manner.

00:52:03: yes

00:52:03: one thing I want mention also because we play improvisation Modern, in the twenty-one century and although we are traditional instruments somehow it has to... We should find our language nowadays in this traditional instrument.

00:52:28: In a new concept with all of our traditional skills but can use old languages or we cannot say classic language in any other concepts.

00:52:41: that's also what we're working on

00:52:43: I think for Cubans.

00:52:45: or our big feature is we are so open-minded and we love to work with composers.

00:52:52: Please more repertoire, please!

00:52:54: And then yes... because it's not just follow composers' decisions It isn't that they're written.

00:53:06: We enhance each other, we help each other to get the one that you really love.

00:53:13: I think this is how we grow

00:53:17: up together

00:53:17: through our music.

00:53:18: We do argue with Composer!

00:53:20: Yeah and then they

00:53:22: come over ask why?

00:53:24: And just like...I

00:53:25: would love what you wrote but physically i can't do it.

00:53:30: so should we find a new way?

00:53:32: That's my way to do it.

00:53:35: Do you want like have a listen?

00:53:37: And then come up and say, well okay I'm happy with that.

00:53:41: so i think that is the way not just refuse Not just saying no because we find new ways together.

00:53:50: Yes!

00:53:57: Yes, so the Cripple Symmetries Festival combines collectors from different countries and cultures.

00:54:04: And besides playing here in Berlin The Kahnem Ensemble will also come to Taiwan... ...and do a porcour of music at the museum with you.

00:54:15: In general how does the collaboration with the Kahneme Ensemble work?

00:54:20: How does it influence your work and your playing style?

00:54:33: I think this is our first time to come to Berlin, to join this festival and share our conversations.

00:54:47: Yes!

00:54:48: So i think it's a very important experience for us because we could approach so many different cultural background audience or compose our musicians, and we could find another maybe probably like the other new ourselves.

00:55:20: Or influence our original language over

00:55:26: there.

00:55:27: We heard on Sambokan in Berlin, Taiwan and then we attended the concerts.

00:55:34: And I think that's wonderful because as a new trio... ...I think it is really good model like what you want to achieve.

00:55:45: Like professional.

00:55:48: That really hands our perspective

00:55:55: really

00:55:55: want to be that good, like as a traditional instrument with percussion.

00:56:02: So we can try different variety I think because... As an audience We always watch many of the concerts we want to attend.

00:56:14: That's what we learn Because it is all about listening Like when you listen more sound Philosophy from different musicians.

00:56:25: I think that's quite important because something sometimes it just The philosophy just changed my mindset, but probably II won't notice But just it make like a ripple Like in my music.

00:56:44: Yes and In the coming September we'll have a performance in Taiwan Just like what you're saying.

00:56:52: Museum in Nantou is a totally different performance from our classical one, in the council hall.

00:57:00: But this time it's in the museum.

00:57:02: then The curator Fang Yi and also Thomas Kenberling were trying to.

00:57:08: they will make most of that building so we might be part.

00:57:16: We don't know what will become or how it'll happen yet.

00:57:22: But we are very looking forward to that cooperation in the coming September, and with that.

00:57:30: museum is a beautiful building in Taiwan!

00:57:34: And maybe you can come

00:57:37: to Taiwan?

00:57:39: In

00:57:40: September?!

00:57:47: We would like to thank you a lot for the talk and all of your information.

00:57:51: It's super interesting, it gives us good preparation for our concerts so we know about everything in the background.

00:57:59: Thank-you very much!

00:58:00: We're really excited to see you play.

00:58:04: Thanks for inviting me.