Hemispheres

Commissioned by Dr. Dennis Rogers and the Missouri Western State University Percussion Ensemble in 2008, this piece explores music styles from cultures around the world. While some are more recognisable than others, Hemispheres draws its influence from the music of Indonesia, India, Cuba, Spain, Japan and parts of West Africa.

《半球》为Dr. Dennis Rogers和密苏里西部大学鼓乐团于2008年委约。此曲运用了世界各地不同的音乐风格，所反映的当地音乐文化有一部分会较显著，主要吸收了印尼、印度、古巴、西班牙、日本和西非的音乐特色。

Bull Fighting Tiger《牛斗虎》

Bull Fighting Tiger originated from a popular folk dance in Yu County, China, that imitates a bull's fight against a tiger. It is based on a local legend which describes the fighting scene between the animals, vividly depicting the tiger’s ferocity while praising the faithful and brave bull for protecting its young master. The piece is rich with folk characteristics and local flavour, and is one of the most popular pieces performed during Lantern Festival (last day of Chinese New Year). 

《牛斗虎》是一种模拟动物形体、习性的民间舞蹈，流传于盂县一带。相传这种民间舞蹈是根据当地流传的一则民间传说而起源。《牛斗虎》以牛虎争斗为内容，形象地刻画了老虎的凶猛威武，又颂扬了老牛忠厚倔犟，不畏强暴，英勇保护小主人的献身精神。具有浓郁的民间特色和乡土气息，成为元宵节之夜最受欢迎的节目。

Deep in the Night《夜深沉》

Deep in the Night is a well-known Peking opera tune performed in the scenes: Scolding Cao by Beating the Drum, where the drummer Mi Heng beats the drum to air his grievances against Cao Cao; and Farewell My Concubine, in accompaniment to the sword dance of Yu Ji. The music is arranged in the sequence of a prelude, an adagio, a moderato and an allegro, progressing from simple to complex. There is a section in the piece featuring a large drum solo competing with a jinghu which enhances the original composition with its bold and vigorous yet elegant style.

《夜深沉》是著名的京剧曲牌。在京剧《击鼓骂曹》和《霸王别姬》两部折戏中，用它来配合彌衡击鼓和虞姬舞剑等场面。改编者将乐曲编排由前奏曲、慢板、中板、快板组成的结构。曲调由简至繁，其中有大鼓的独奏和鼓与京胡的競奏，使原曲刚劲而柔美的音乐气質得到更为充分的体现。

Broken Silence 《打破沉寂》

This piece is one of three movements in Vibraphone Suite No. 1. Its opening and ending allow the performer to improvise whilst the main body of the work has a swing feel.

《打破沉寂》是《电颤琴组曲第一号》三个乐章中的其中一个乐章。此曲的开场和结束能让演奏者自由地演绎、发挥。主旋律有一种令人摇摆的感觉。

Prestigious Drum《鼓威》

This piece showcases the power and charm of Chinese drums through a combination of traditional rhythms and performing techniques as well as elements from western music. It was brought to a new level with the composer’s brilliant arrangement, which fully demonstrates the Chinese drum’s mighty power and rhythms.    
此曲目表现了中国鼓的神威与神韵。全曲素材既有传统的节奏与演奏技法，也吸收了西方音乐节奏的元素，经过作曲家巧妙加工整理与组合贯穿，使之达到一种新的境界，把中国鼓所特有的威力与韵律表现得淋漓尽致。

Theatre《戏》

Commissioned by the Percussion Group Cincinnati and composed in 1995, this chamber work features three sets of cymbals and the voice of the percussionist. It is the result of the composer’s determination to create 100 sound effects from a single percussion instrument rather than employing a conventional instrumental configuration that requires a stage full of percussions, one which he had grown tired of. Here, he selected cymbals of different timbres and designed 35 performance styles to go with six vocal variations. Contrasts were created with focus on sound quality and rhythm which propelled the music forward, rendering the piece a very traditional percussion work that bears almost no similarities in style or technique from its western counterparts. All movements were written in different tempos: allegro-allegro-adagio-allegro-adagio-allegro.

此曲作于1995年, 由辛辛那提打击乐团委约，是为三对钹和演奏者的嗓音而作的室内乐。作曲的初衷是作曲家开始厌倦满台堆满打击乐器的作品，而决心用一种乐器做出一百种效果来。因此，选择了三队不同音高的钹，设计了35种演奏法和6种人声发声法，主要通过音色与节奏上的细微处理获得对比和前进的动力，是一首几乎找不到西方作曲技法和曲式并极富传统色彩的打击乐作品。每个乐章各有不同速度的编排：快-快-慢-快-慢-快。

Fantaisie de Bali II 《峇里岛幻想曲 II》

The complex and amazing rhythm of Balinese dance and music drama, kechak, gained popularity in Japan towards the end of 1970s. Deeply attracted to it, Ito Yasuhide adopted the rhythm in this percussion ensemble piece.

“Kechak”复杂和让人惊叹的旋律在1970年代晚期的日本开始流行。作曲家深深被此旋律吸引，因此运用了此旋律在这首打击乐作品里。

Camel Bells in Tibet《西域驼铃》
A group of people are crossing the dusty desert with a couple of camels. The lonely desert awakes to the sound of the camels’ bells. Mirages start to appear showing scenes of celebration and fun, of merchants shouting for business, an audience applauding a street performance, and children playing and running around. Everything comes to an end when the group passes the desert and the sound of the camels’ bells fades out. This is nothing but a dream… 

宛如远远的沙尘中，慢慢地走来了一群人，跟着的是几头骆驼背着那沉重的包裹。一面走着一面摇着的驼铃声竟把寂寞的沙漠唤醒了。一幕一幕的蜃景突然出现，沙漠似乎记起了沙子吞没那繁华城市之前的欢腾与热闹。商人们的喊价声，街上的表演和观众的掌声，孩子们玩闹的叫喊声把整个沙漠的寂寞和沉静远远的赶到千里外！一切却在驼铃慢慢远去时逐渐逐渐消失。人已去，沙子也已淹没了那废弃的街道。这也不仅是一场梦而已…

Drum Rhythm《鼓韵》

With the momentum and rhythm of the Chinese drum as the main focus, the composer weaves in the melody of a Kun opera piece played on the qudi to achieve a clear contrast and a pleasant mood.
此曲目以各种中国鼓的气势和韵律为主线，穿插曲笛演奏的昆曲旋律，形成鲜明对比，使之达到赏心悦目的意境。