Chinses Painting für Klavier solo

Das Stück ist inspiriert von den fünf Techniken der chinesischen Malerei: Linien zeichnen (nur Tinte), ohne Umrisse zeichnen (nur Farbe), Fingermalerei (auf Papier oder Seide), Imitation (zeigt die Struktur von Stein oder Rinde) und Tintensprenkel. Für die Komposition gilt: Anfangs gibt es nur eine sehr einfache Form, später werden komplexere Emotionen eingebunden. Einführung von Fay Wang: This piece is inspired from the five techniques of Chinese paintings. The composer and performer are playing the role of a painter. First is “Line Drawing”: Originates from line paintings of ancient China. It is a technique, which only outlines the objects with ink and do not put on any color. In music, the composer uses a single melody to present the rigid outline in ink. Second, “Without Outlines”: To directly paint an object with colors and without any outlines. In music, the composer uses rich and full sounding chords to cover the main stream so as to present the massive colors. Third is “Finger Paintings”: Fingers dip ink or colors to paint on paper or silk. The painter must be very confident and paint in one fluent flow. In music, the major tune is embedded in scattered components. As if painting with fingers, the performer plays an “ink finger game” on the piano with a flow of dynamic beats. Fourth is “Imitations”: This is often used to present the textures of stones and barks. The music comes to a lucid and light state. Delicate and fluent treble part is used to present those textures and the bass symbolizes the old tree. At the same time, they reflect the first part “line drawing” and emphasize the meaning of “imitation”. Finally is “Sprinkle Ink”: Legend has it that Wang Qia of Tang density used to sprinkle ink on the paper whenever he got drunk. Now “sprinkle ink” refers to the technique with a bold and unrestrained style as if the painters sprinkle ink on the paper when they paint. In music, the composer first makes ink, prepares it and then sprinkles it. There is only a simple form at first and then complex emotions are embedded into it. The composition ends in a climax repeating the major tune and the performer also finishes his painting. Fay Wang