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2012中国成都 “阳光杯”第八届学生新音乐作品比赛评委会主席戴维先生简评六部获奖作品

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2012年10月18日，2012中国成都 “阳光杯”第八届学生新音乐作品比赛顺利结束。来自美国、意大利、中国的六部不同院校学生作品分获一、二、三等奖。在本届赛事获奖作品揭晓仪式上，ISCM国际现代音乐协会主席、澳大利大音乐中心主席、本届赛事评委会主席戴维先生对六部获奖作品分别给予了肯定及评价。 一等奖 《潜水》阿密特-基鲁兹 这是一首神秘的、充满魔法的作品，但他又没有走得太远。他给听者带来了丰富且令人满意的感受，作曲家运用了非常独特的观念，并且通过一种集中的方式表达出了通过对有限素材的运用而达到最大化的效果，所有观念的发展方式显然是有限的，但却极为聪明。 作品展示出对器乐色彩的杰出运用，以及对器乐的有效开发。显然色彩是通过极为简单的方式延展，但作者通过一种个性化的方式融合在一起，由此产生的丰富效果，这使得听众沉浸在作曲家的声音世界中。 二等奖 《终点》尼古拉斯-欧米契里 这首作品以一种非常熟悉的方式开始，每件乐器的结合交替出现，接下来他发展出一种意想不到的方式，音乐的元素碎片化地进入一种很容易被辨认的偶然织体，它有效的构建出一种力量，用一种极为动感的激情方式推动着音乐前进，作品的最大特点就是对《对位法》的有效利用。 这是一部具有特色的弦乐四重奏，展示出作曲家对重奏写作的杰出理解能力，作曲家对不同乐器音区巧妙的运用，很好的开发了器乐的色彩。 二等奖 《行草 II》张志亮 这首作品的特色是其内在的能量和张力，并有效的驱动了音乐的推进。但这一切不可预见，记谱很实用，但又不会使作品失去特色，作曲家用简单的方式创造出非常独特的音乐经验，以展示出对肌理与音色的有效利用。 三等奖 《冰-风-谷》周姝 这首作品将一种强烈的暗涌和方向性通过一种极为自然的方式展现出来，优雅以及极富魅力的纯真，这首作品最大的特点就是它充满一种温柔的天真，并展现出作曲家高超的技巧。也展示出作曲家对她自己观念的强烈自信。就如同画家精密的笔触一般，这首作品并不是要企图展示任何意想不到的事情，它只是将听众温柔地牵引入她自己的音乐图景中。 三等奖 《红影》刘畅 这首作品具有一种经典的新音乐开场方式，扣人心弦。通过对这些形式的有效利用，他为这个作品提供了一个结构形态，因此使音乐具有一种原生态的特点。这些形式提供了一些特别的事件，使其具有一种独特的个性，在混杂和高度控制的时刻中产生的对比会催生下一个新的形式，作曲家展示出了他对戏剧化形式的敏锐性，这是这个作品形成结构的重要特征。 三等奖 《腔体》洛伦佐-特罗亚尼 这首作品高度展示了一个独特而敏感的声音世界，作品具有一种疏散的肌理。这些肌理牢牢地被作曲家掌握，使其在作品中自然流动，器乐写作十分精致而严谨，哪怕是最细微的东西也可能是作品中重大的事件，这需要作曲家必须具有高超的技巧才能完成。 作曲系 8th Sun River Prize – Students New Composition Competition Chengdu, PR China, 2012From the Review Committee Chairman of the award-winning comment October 18, 2012, 8th Sun River Prize – Students New Composition Competition was successful conclusion. Six different entries from the United States, Italy and China were received the awards and bonus. The chairman of the International Society for Contemporary Music, the Chairman of the Australia Music Centre, the review committee chairman of 8th Sun River Prize Mr Davis were given the recognition and evaluation for the six award pieces. FIRST PRIZE Composer: Amit Gilutz Title: Tslila（Diving） For ensemble (clarinet, harp, piano, violin, cello) This is a mystical and magical work, which does not travel far musically from the beginning to the end, but it provides a rich and satisfying musical experience for the listener. The composer uses very focussed and specific ideas, expressed in a detailed and concentrated way, achieving maximum outcomes from the use of very limited materials. The ideas develop in a limited, but very intelligent way. The piece shows excellent use of instrumental colours, and very effective use of instruments. The colours expand in a minimalist way, but provide a rich result, with the composer “bending” the colours in a unique and personal way, and integrating the colours of each instrument. The listener is drawn into the composer’s sound world in a very effective way. SECOND PRIZES Composer: Nicholas Omiccioli Title: Reach For string quartet This piece opens in a very familiar way, with each instrument joining in turn, but from this point it develops in a much unexpected way. The musical elements “disintegrate” into fragments which then move into allotropic textures, very effectively realised. It effectively builds up energy, pushing the music forward in an active and expressive way. A particular characteristic is the powerful and effective use of counterpoint. The piece is idiomatically very well written for the string quartet, demonstrating the composer’s excellent understanding of the ensemble. Cleaver use of instrumental registers, often very close registers between the instruments, exploiting instrumental colours very well. Composer: Zhang Zhi-liang Title: Cursive Hand II For ensemble (clarinet, trombone, piano, violin, viola, cello, percussion) This piece is characterised by energy and a pulse which drives the music very effectively, without becoming predictable. The notation on the page is very practical, and on the surface does not immediately give away the special character of the work. The composer uses simple means to create a very interesting musical experience, and show effective use of texture and instrumental timbre. THIRD PRIZES Composer: Zhou Shu Title: Glacier-Wind-Valley For ensemble (flute, clarinet, violin, piano, percussion) This piece has a strong flow and direction, unfolding in a very natural way. Graceful, and charmingly naive, it is music that is characterised by a gentle innocence. This piece demonstrates a high level of craft, and shows great confidence in how the ideas are rendered – like a painter with a very secure brush. It is not a piece that shocks, or presents anything unexpected, but it takes the listener gently through its own musical landscape. Composer: Liu Chang Title: The red shadow for string quartet This piece has a classic new music opening gesture, grabbing the listeners’ attention. There is a raw quality to the music, with very effective use of big gestures that provide a structural shape to the work. These gestures provide marked events in the piece that give it a particular character, and very good contrast is made between moments of chaos, and highly controlled more simple, detailed moments, that build up to the next gesture. The composer shows a very good sense of drama in the work, which contributes to shaping the structure of the piece. Composer: Lorenzo Troiani Title: Gastricum For ensemble (flute, clarinet, bassoon, violin, viola, cello, double bass, and percussion) This piece presents a very sensitive and special sound world. It has sparse textures, ebbing and flowing through the piece, which are managed very well by the composer. The instrumental writing is very delicate, very precise; the smallest thing can be seen to be an enormous event in this piece. It takes very effective application of compositional craft to achieve this effect.

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