The Sound of Taipei: Unlocking the Marvels of Our Generation
The conceptualization of "The Sound of Taipei" has been a core ambition for the Taipei Chinese Orchestra (TCO), a vision first articulated by CHENG Li-Pin in 2015 when he took on the role of conductor. His aim was to establish a unique and intriguing identity for TCO, characterized by a commanding contemporary sound that embodies the spiritual dimensions and cultural heights of our ethnic heritage. This September, TCO's European tour and the season-opening concert, both fittingly named "The Sound of Taipei," are set to showcase the evolution of this vision. With CHENG Li-Pin's return as conductor, "The Sound of Taipei" is poised to be redefined again.
Since the mid-20th century, pioneers like PENG Xiuwen have laid the groundwork for Chinese Orchestras, modeled after Western Symphony Orchestras, across Chinese communities. The term for Chinese Music varies regionally: "民樂" (folk music) in Mainland China, "中樂" (Chinese music) in Hong Kong and Macau, "華樂" (Chinese music) in Malaysia and Singapore, and "國樂 " (national music) in Taiwan, which represents the music of the Republic of China. With his extensive experience in conducting both Chinese and Western music, CHENG Li-Pin excels in orchestra management and talent development across various ensembles. He is a staunch advocate for the authenticity of Chinese Music, emphasizing its need to reflect local characteristics in both technique and spirit.
In orchestral ensembles, Western and Chinese Music each follows specific technical standards to ensure a blend and resonance. Historically, at Chinese Music concerts, the balance of sounds often diminished the aesthetic appeal of the music. Aware of this issue, CHENG Li-Pin continually adjusted the orchestra's seating arrangement during his tenure as conductor, proactively enhancing acoustic effects to achieve an ideally harmonious sound blend.
Commissioning new works is at the forefront of TCO's annual agenda. CHENG Li-Pin highlights the development of the Nanyang style in Singapore and Cantonese Music by the Guangdong National Orchestra as examples of where ongoing, extensive commissioning has led to their current evolution. In Taiwan, the focus of the Chinese Orchestra should be on engaging Taiwanese composers or creating works that reflect Taiwanese imagery to distinguish it from other cultural influences. The orchestra has a significant demand for a diverse repertoire and continuously performing new works is crucial for them to become classics.
Marketing and promotion remain central objectives at TCO, Taiwan’s premier professional performance group, where challenges lie more in marketing strategies than in the quality of performances. With rising consumer awareness, strategically cultivating and attracting audiences to concert halls is paramount. Under the leadership of CHUNG Yiukwong, program planning has embraced a cross-disciplinary approach, incorporating traditional theatres like Beijing Opera and Taiwanese Opera, which harmonize closely with the tonality of Chinese Music.
Since its establishment 45 years ago, TCO has been pivotal in ensuring the continuous creation of high-quality works, leading to exceptional performances that have contributed to the enduring success of Chinese music. Chinese music, particularly its innovative use of ethnic elements, has shone brightly in contemporary scenes. Only works that resonate with audiences and performers earn the chance for repeat performances, truly testing their lasting appeal.
Music, an abstract art, can transcend the barriers of tradition and modernity, cross cultural boundaries, and intersect with literature, opera, and archaeology. Through its interpretation, it opens up the marvels of a generation, revealing the ineffable and eternal truth and beauty inherent in music. As "The Sound of Taipei" propels the great wheel of time at TCO, it upholds a legacy of enlightenment and innovation, marking 45 years of its rich history.
Celebrating 45 Years: “The Sound of Taipei” Goes Global as CHENG Li-Pin Returns to Lead TCO
Text / LIU Ma-Li (Adjunct Assistant Professor at Fu Jen Catholic University and National Dong Hwa University) Image / Taipei Chinese Orchestra
Taipei, a historic city with a 140-year history, has embraced tradition and modernity as time passes. This year marks the 45th anniversary of the Taipei Chinese Orchestra (TCO), a cornerstone of Chinese Music nationally. TCO has pioneered the integration of folk culture and fine arts into its musical evolution. Through relentless refinement and innovative experiments, TCO has revitalized ancient ethnic sounds, infusing them with new life and expanding the scope of Chinese music ensemble performances. This ongoing mission encapsulates TCO's artistic legacy, sustained over its 45-year journey.
指揮鄭立彬
Conductor CHENG Li-Pin
Redefining “The Sound of Taipei”
TCO has long been committed to formulating "The Sound of Taipei," a concept initially proposed by CHENG Li-Pin during his first tenure as General Director in 2015. CHENG expanded TCO's vision with his expertise, propelling Chinese Music artistry onto the international stage and pursuing works that capture the zeitgeist. As CHENG returns to leadership this year, he brings a fresh definition to "The Sound of Taipei.”
Life challenges have reshaped CHENG Li-Pin's thinking and motivated him to make significant decisions. He initially hesitated when the Department of Cultural Affairs invited CHENG to return as the General Director in May. However, after discovering some health issues in June, he was prompted to reevaluate his life’s direction closely, pondering how to make a more meaningful impact in the music world.
CHENG noted, "On one hand, I contemplate whether returning would allow me to achieve more than before. I've noticed several troubling trends in academia over the past three years. Significant recruitment challenges have arisen due to declining birth rates and bleak job prospects for graduates. Moreover, the lackluster ticket sales for numerous Chinese Music performances indicate a deeper, systemic issue within our industry. The inability of schools to attract students and performances to draw audiences forms a detrimental cycle, presenting a profound trial for the entire Chinese Music sector."
Although CHENG Li-Pin is returning to lead the team with whom he has a strong rapport, he views every aspect as an opportunity for innovation and development.
"The work environment and colleagues are familiar, and the core business activities remain the same. However, there have been changes in the administrative structure and personnel due to retirements and new hires. Yet, the most significant change is in our mindset. We need to consider different perspectives and explore new possibilities. Otherwise, adhering to our previous methods in the face of today's significant obstacles will likely prove even more daunting."
Regarding TCO's new season planning, it is grounded in historical practices yet aims to introduce unique highlights each season. CHENG Li-Pin aims at attracting audiences to the concert hall and fostering talent. He outlined the season's planning process: "The program for the new season was already set by July and August, and I officially took on my role on September 1st. By then, most of the concert schedule was in place, requiring only slight modifications from me. A crucial aspect of my job was establishing a central theme and focus for the season." In line with TCO's longstanding principles, a significant emphasis continues to be placed on engaging composers and creating commissioned works.
Framing the Theme of “Classics and Heritage” Through Composers and Their Works
In contrast to Western Music, which frequently emphasizes the reinterpretation of classical pieces, creating new works is crucial in Chinese Music. "One thing I often emphasize is that the evolution of Chinese Music critically depends on its new works. Unlike Western symphony orchestras, which have accumulated a vast array of classical works over two to three hundred years, giving them extensive choices for each season's programs, their goal is to provide more nuanced interpretations." Indeed, while Chinese Music includes ancient tunes passed down over millennia, most of its revered classics were composed in the 20th century, typically having less than a century of history.
Upon resuming his role as General Director, CHENG Li-Pin proposed that each season at TCO be centered around a prominent Taiwanese composer. Focusing on composers and their works allows TCO to articulate the theme of "Classics and Heritage," tracing a timeline that showcases diverse expressions and captures the dynamic spirit of the times. By emphasizing authenticity in Chinese Music, the initiative aims to reflect "The Sound of Taipei," highlighting composers who have significantly influenced Taiwan's musical landscape. This season, TCO has selected QU Chunquan and his compositions to highlight this theme.
QU Chunquan's contributions to the Taiwanese Chinese music scene are well-recognized, having produced significant work and mentored numerous emerging talents. "Mr. QU served as the principal conductor at TCO, and after I stepped down in 2021, he continued as an honorary conductor and artistic advisor. In 2022, he was honored with the Taipei City Cultural Award. Therefore, selecting him as the featured composer for my first season back was appropriate and fitting. As a result, we have tailored the season around him, and the new season's brochure highlights several concerts with the subtitle ‘The Music of QU Chunquan.'"
Conductor QU Chunquan
Regarding sheet music, CHENG emphasized the importance of accuracy and usability. "We often encounter issues with the fidelity of sheet music for earlier compositions. Scores from past rehearsals might be unclear or contain errors and omissions. Typically, ensemble members have made only personal annotations without systematic revisions. Many are still in handwritten form and haven't been updated or digitized. Re-performing these works under such conditions is challenging. Therefore, I plan to take this opportunity to thoroughly revise and publish Mr. QU's scores."
In addition to performing significant works by composers, hosting special concerts, and publishing scores, creating biographies of distinguished Chinese Music figures is also essential. "One of my initiatives is to feature a Taiwanese composer each year, publishing a biographical volume highlighting their contributions. This effort is to educate students and the broader community about the compelling stories in Taiwan’s Chinese Music scene," states CHENG. He underscores the urgency of recording and preserving these narratives in written form as an essential task.
With TCO hosting numerous performances annually and CHENG Li-Pin conducting fewer than in past years, fostering effective collaboration and communication with other conductors has become crucial. "The principal conductor handles most of our performances each year, autonomously planning their programs with our administrative support. We always respect the principal conductor’s planning autonomy. This approach has been maintained since I collaborated with Mr. QU.
Given this season's shift towards prioritizing quality over quantity, CHENG Li-Pin aims to ensure excellence in every performance, with an equal emphasis on artistic quality and boosting ticket sales. "With fewer performances scheduled, each one's success at the box office becomes increasingly critical. Previously, TCO sustained its annual operations through a high volume of performances. Now, each event must be crafted with even greater care. For a professional orchestra, engaging with different guest conductors is vital. This collaboration invigorates the ensemble and allows us to explore the unique impacts of diverse conducting styles."
Blending Chinese and Western Music: CHENG Li-Pin's Journey to Exquisite Mastery
CHENG Li-Pin has expansively studied Chinese and Western Music, dedicating himself to mastering these distinct traditions. However, he emphasizes the unique approaches required when discussing his experiences conducting Western and Chinese Orchestras. "Do not assume I lead a Chinese Orchestra in the Western style. Chinese and Western Music each has its unique sonic characteristics. Particularly, Chinese Music is enriched with extensive improvisations and embellishments by performers, features that are not as prevalent in Western Music yet key to the charm of Chinese Music."
Therefore, in this era of rapid evolution, TCO, with its distinctive "Sound of Taipei," not only preserves the essence of traditional music but also integrates contemporary innovation. This fusion of heritage and modernity has been TCO's steadfast pursuit and mission for the past 45 years.
Through developing "The Sound of Taipei," CHENG Li-Pin has infused TCO with new vitality and direction. His broad vision for the aesthetics of sound and commitment to advancing innovation in Chinese Music drive his ongoing efforts to revitalize the orchestra. As the pioneering conductor who led TCO to its historic debut at Carnegie Hall, CHENG Li-Pin shoulders the profound responsibility of advancing and elevating Taipei’s Chinese Music legacy, an endeavor met with great anticipation and significant expectations.
這一期的「作曲家系列專題」，把焦點轉往海外，關注國樂團在不同國度的美學內涵、文化實踐以及思維。本文以三 位作曲家為代表，分別是王辰威（新加坡）、江賜良（馬來西亞）以及何啟榮（ Vincent HO ）（加拿大）。他們不僅 與臺北市立國樂團有著深厚情誼（三位都曾參與「跨樂季協奏曲委創計劃」，作品發行於去年的錄音專輯《源》）， 也都持續活躍於國際舞臺，他們的美學思考以及生態觀察都值得我們借鑒反思。在看見自己與它者的差異之後，或許 我們能更認識所謂的「國樂」，認識自己是誰。
Question 4: Please share what are the most common problems you encounter when rehearsing with the youth Chinese orchestra? And further share how to rehearse efficiently?
Question 3 : What main abilities do you think a Chinese orchestra conductor must possess?
CHANG Yu-An: I think the main ability that a conductor of Chinese orchestra must have is to be able to understand and respond to the special characteristics of Chinese instruments; understand how the instruments create sounds, because the sound production method of instruments are unique. We can imagine that the mouth shape of a brass instrument differs from that of a woodwind instrument, and the sound produced by plucking is also distinct from that of a suona. The ability of a conductor lies in having a sense of empathy. Can we feel what kind of mechanism is used to sound the instrument? When musicians see the musical cue from our hands, they are on the same page and feel natural and confident to sound in unison with the rest.
Moses GAY Enhui: Actually, I don’t distinguish between Western symphony orchestra and Chinese orchestra very much, but if I really wanted to, Chinese music is more difficult in terms of regional styles. For example, when performing the Mongolian style, how do you immerse yourself in the Mongolian style? Often, you have to listen more, observe more, and research more before you are immersed and can understand; of course, the learning is never finished. The same is true of opera. Styles such as "singing freely upon a rushing accompaniment" really needs to be mastered.
CHIANG Chen-Hao:I think the basic conducting competencies are the same, whether for a symphonic orchestra or a Chinese orchestra. Our job is to receive the information from the music score, then convey that through gestures, so the orchestra can perform well. Simply put, this is it. Our most important core competencies, including how we interpret music scores and how we work harmoniously, are actually these two components.
LIEN Boon Hua: I think it is very important to gain more experience, especially practical experience. The main competency requirements are that the basic skills must be solid, such as auditory discrimination skills for rhythm and pitch. In addition, the ability to solve problems is a very important skill for a conductor. Although it sounds very technical, this is a basic skill f or me. When you hear a problem, can you quickly analyze why this problem exists? Why are some sections rushing? Or why are some other sections dragging? I feel that if these basic problems can not be solved, then there is lofty musical ideas would se em superficial to the orchestra.
CHANG Yu-An: Many youth orchestras are exposed to works for the first time, and they still need to meet technical standards first. Therefore, sectional practices are very important. At this time, a good youth orchestra would need to train ho w to breathe with the conductor. A good conductor’s breath work has syntactic and expressive qualities. At this time, train the youth orchestra to try to listen. In fact, listening is more important than seeing. In addition to listening, also talk about h ow to sing this phrase? And then where is the crescendo? Where to fade? How to go about the harmony? I think this is the direction in which a youth orchestra can improve, and not just in terms of technical pursuits.
Moses GAY Enhui: A common problem encountered by youth orchestras is that they often come unprepared. Often, everyone is still figuring out their own parts. Therefore, my requirement is that everyone must come prepared to the first rehearsal It is to instil in them that they should first be well-prepared, then attain the best standards. When you have practised well, we can all improve on the problem together and learn how to match each other's voices, so that we do not waste time. Some orchestras may take several months before they can officially perform. At the university where I teach, I also train them to go on stage after a few rehearsals.
CHIANG Chen-Hao: I think when working with youth orchestras, it is inevitable that we have another role as a teacher. We need to spend time coaching them, teaching them how to respond to the conductor, or how to understand the music. We need to set a very worthy goal from the beginning, and then each rehearsal must clearly move closer to that goal. This goal should be felt and seen by everyone in the orchestra. Once they feel that "this conductor is serious now, and we have to meet this standard," they will try their best to show up and attain this standard within the limited rehearsal time, and then we can proceed. Set such a standard at the beginning, and then urge everyone to move towards this standard in the shortest possible time. Of course, it may not be possible to complete concert rehearsals as quickly as a professional orchestra. However, I believe orchestra rehearsals should not be longer than necessary, as doing so can compromise the organic nature of the music. Once the orchestra members lose interest in the music, the music becomes like stagnant water.
LIEN Boon Hua: I think efficient orchestral rehearsals and rhythm management are the most important things for a youth orchestra. Often, students are afraid of seeing mixed time signatures. As a conductor, I try to equip students with concepts to internalize and simplify complicated rhythms in order to stabilize their tempo. In addition, students must also learn to listen to one another and understand the function and relationship of each other’s “parts” to to achieve a more balanced sound. When these important issues are resolved, the orchestra can take care of itself and move forward on its own, without having to watch the conductor “to” keep the time. Although the conductor's main responsibility is to solve the orchestra's problems and enable the orchestra to have better quality performances, the most important thing is the conductor’s musical vision and direction and making magic happen on the stage during the concert.
Conductor Moses GAY Enhui (Source: Singapore Chinese Orchestra)
連汶華指揮新加坡交響樂團歡慶濱海藝術中心 20 週年（資料來源：新加坡交響樂團）
LIEN Boon Hua conducts the concert celebrating the 20th anniversary of Esplanade (Source: Singapore Symphony Orchestra)
連汶華與新加坡華樂團聯手帶來兒童音樂會（資料來源：新加坡華樂團）
Singapore Chinese spacing between’ s Children Concert with LIEN Boonhua (Source: Singapore Chinese Orchestra)
Question 5: Please give some advice to young people who want to pursue conducting as their profession.
CHANG Yu-An: I think everyone has a very romantic ideas about conducting initially, because being able to lead many people is a fantasy of a profession. But in reality, after entering this industry, you will find that you need to invest a lot of effort; there are really too many things to know, and you have to sacrifice a lot at the same time. Then, we have to deal with extremely delicate things; whether technically or psychologically, we must stay in a good state. I think there are several poin ts that are very important. For example, you must be a healthy person. When you are a healthy, both physically and psychologically, only then can you make the best decision possible at every moment, whether for others or for yourself.
The next thing is to try to do as much as possible that which makes you most focused and happiest. If you are lucky and enjoy conducting and all things related to conducting, then congratulations. The road on this conducting journey is very difficult, regardless of whether it is a career. I think not just as a conductor, but as a professional in anything arts-related or not, I think these suggestions are universally applicable.
Moses GAY Enhui: I would like to suggest to young people who are interested in conducting, I think passion is the most important. If you do not have a heart that is willing to work hard to find answers, I suggest not to take the conducting path. Often, this path can be a bit thankless. I remember Bernstein said, “We are both conductors and musicians." Sometimes you know you won't make a lot of money, but you just want to understand the sound and make music better. Once you find the answer and gain a deeper understanding, You will feel that the world is a better place. I believe that a conductor must possess the firm belief that the pursuit of beauty is boundless, and would be more willing to put others before themselves for this ver y belief.
CHIANG Chen-Hao: My suggestion might be "ask yourself in every moment why you want to be a conductor", especially when you encounter setbacks. In fact, I believe that many current musicians or conductors, had such ambitions when they were young, and regarded this as a motivator. This is actually a very beautiful thing. But conducting is a little different from oth er professions... conducting is really lonely. In any other profession, you can still entertain yourself, but conducting is comple tely different. We must always collaborate with others and become accustomed to creating within a group. Yet, we must also be very independent to work alone behind closed doors, where no one knows what we are dealing with. Under such circumstances, I think it is easy for a conductor to lose sight of his or her own truth, so in this career, we must always maintain the mo tivation and enthusiasm to do this job, or always use high standards to examine ourselves. The standards I refer to are not just technical, but also a lot of dealing with people and matters, and when working with our orchestra. When encountering various challenges, I will always return to this starting point. Why do we want to be a conductor? This has become my stride, or my motto in life. Then whenever I encounter some difficulties and setbacks, I feel that this so-called motto can always be the reason for me to persist, so I think it is very, very important to have such an anchor.
LIEN Boon Hua: Seize every opportunity to get better and develop yourself! This is an ongoing journey. In addition to all the wonderful suggestions from everyone, I recommend watching more rehearsals, listening to more music and never stop learning from the people around you.
6 《天地一沙鷗》（英語： Jonathan Livingston Seagull ）是美國作家李查 ・ 巴哈所創作的寓言性小說，於 1970 年出版，並在美國創下出色的銷售紀錄。
《海鷗》箏符琴海，隱喻勵志人生
《海鷗》這首箏協奏曲創作於 1979 年，是鄭德淵教授偶讀《天地一沙鷗》 6 有感而作此曲，為當年極少數之箏協奏曲作 品，作品多次以獨奏、重奏、協奏等形式演出。樂曲描寫海鷗愛好自由，為追尋理想，不怕艱難，飛渡大海，飛遍九 州，自強不息的精神。擬人化描寫人像海鷗般逆風飛翔，勵志迎向目標，奮起向上。樂曲定弦以 G 調五聲音階為主，由 G 、 A 、 B 、 D 、 E 組成。 G 調是古箏常用的調性之一和 D 調相比音色較為明亮。以下為樂曲特色演奏手法分析：
《孔雀東南飛》這首樂曲創作於 1980 年，根據漢朝樂府詩《孔雀東南飛》創作而成，原是 16 弦箏二重 奏 7 ，後由北京 中國音樂學院邱大成教 授 8 將原古箏二重奏的旋律，改編成用一台 21 弦箏演奏，並列入大陸各大院校考試和考級指定 曲 目 9 ，樂曲瞬間廣泛流傳，很多箏友選曲都會選這首來呈現自己。樂曲定弦以 F 調五聲音階為主，由 F 、 G 、 A 、 C 、 D 組成。 F 調和 G 調音階區別在於調高的不同， F 調比 G 調音色較低沉。樂曲分為五段，由 ABA 慢 快 慢組成， B 段是 用 A 段素材做發展而成。以下為此曲的樂曲特色演奏手法分析：
