Frissons
a series for strings · 2006–2021
弦乐系列作品 · 2006–2021
From bow on string to scores colliding like tectonic plates, friction makes new ground.
从弓与弦，到乐谱如板块般相撞——摩擦造就新的地貌。
| Works 作品 | Frissons I and II for solo violin (2006, rev. 2007) Frissons III for multiple strings (2014–15) Frissons IV for violin/viola and electronics (2015) Frissons V for viola and 2 keyboards (2021) cs: {i'mpulses (s:capricorn+taurus) frissons i} for viola and piano (2019) 《Frissons I、II》小提琴独奏（2006，2007 修订） 《Frissons III》多把弦乐器（2014–15） 《Frissons IV》小提琴／中提琴与电子音响（2015） 《Frissons V》中提琴与两台键盘（2021） 《cs: {i'mpulses (s:capricorn+taurus) frissons i}》中提琴与钢琴（2019） |
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| Listen 聆听 | ▶ Frissons I, beginning ▶ Frissons I, middle ▶ Frissons II, ending ▶ Frissons III, University of Birmingham, 2014 (video) ▶ Frissons III, Cardiff University, 2014 (video) ▶ Frissons IV (video) ▶ Frissons V (video) ▶ cs: {i'mpulses … frissons i} (video) ▶ 《Frissons I》开头 ▶ 《Frissons I》中段 ▶ 《Frissons II》结尾 ▶ 《Frissons III》伯明翰大学，2014（视频） ▶ 《Frissons III》卡迪夫大学，2014（视频） ▶ 《Frissons IV》（视频） ▶ 《Frissons V》（视频） ▶ 《cs: {i'mpulses … frissons i}》（视频） |
《Frissons》与《Frissons II》乐谱封面上的图形。
About the series 关于系列
Frisson comes from the Latin frictio, friction; in English it has come to mean a shiver, a shudder, a thrill. The series takes this complex of meanings literally: the bow on the string, the finger on the fingerboard, and the ‘rubbing’ between the same musical materials when different players — and different works — meet in performance.
Frisson 源自拉丁文 frictio，即“摩擦”；在英语中，它引申为一阵颤栗、战栗或激动。这个系列从字面上理解这组含义：弓与弦的摩擦，手指与指板的摩擦，以及当不同的乐手——乃至不同的作品——在演出中相遇时，相同音乐材料之间的“磨擦”。
Frissons I begins with the physics of bowed strings: discrete frictional impulses of bow hair against string, moving from granular noise towards the continuity of sustained pitch. Its focus on minimal materials — open strings and extreme natural harmonics — is inspired by Eastern meditative practice. Frissons II opens this material into grids of modules, a musical landscape for one or more players to explore, inspired by the labyrinthine courtyard gardens of Suzhou. The score provides a terrain; the path is made in performance.
《Frissons I》从弓弦的物理出发：弓毛与琴弦之间一次次离散的摩擦脉冲，由颗粒般的噪音逐渐趋向持续的乐音。它专注于极简的材料——空弦与极端的自然泛音——灵感来自东方的冥想修行。《Frissons II》则把这些材料展开为由模块组成的网格，一片供一位或多位乐手探索的音乐地貌，灵感来自苏州迷宫般的园林。乐谱提供地貌，道路则在演出中走出来。
《Frissons II》“LEFT up”：由 36 个模块组成的网格。乐手从外缘进入，向内移动；框出的中心是通往第二个网格的入口。
Later works set these terrains against one another. For Frissons III and IV, Luigi Nono’s no hay caminos, hay que caminar — there are no paths; one must walk — shaped how several performers travel through the grid. In Frissons V, recordings of Frissons IV are shredded across two keyboards and triggered by the score of another work, Reef Weave, so that one work grinds against another, and against itself.
后来的作品让这些地貌彼此碰撞。在《Frissons III》与《IV》中，诺诺的 no hay caminos, hay que caminar——“没有路，只能走”——影响了多位乐手穿行网格的方式。在《Frissons V》中，《Frissons IV》的录音被切碎、分布在两台键盘上，并由另一部作品《Reef Weave》的乐谱来触发——一部作品与另一部作品，乃至与自身，相互磨擦。
The works 作品
Frissons I and II for solo violin (2006, rev. 2007) — composed for Kia Hui Tan, with admiration for her musicianship, and dedicated to Eddy Chong, a true champion of new music in Singapore. First performed by Kia Hui Tan on 8 September 2006 in the Exxon-Mobil Explorations in the Arts Series, National Institute of Education, Singapore. Frissons I is through-composed; Frissons II has no fixed length, decided by the performer before or during performance. Also performed on viola, and recorded by Christoven Tan.
《Frissons I、II》小提琴独奏（2006，2007 修订）——为 Kia Hui Tan 而作，以示对她音乐造诣的敬佩，并献给新加坡新音乐的真正推手 Eddy Chong。2006年9月8日由 Kia Hui Tan 在新加坡国立教育学院 Exxon-Mobil Explorations in the Arts 系列中首演。《Frissons I》为通谱体；《Frissons II》没有固定长度，由演奏者在演出前或演出中决定。亦有中提琴版本，并由 Christoven Tan 录音。
Frissons III for multiple strings (2014–15) — adapted from I and II for my students’ study tour of the UK in 2014; also in a version for violin, tabla and computer, commissioned by the Asian Contemporary Ensemble for the NUS Arts Festival 2015 (Loh Jun Hong, violin; Govin Tan, tabla; the composer, computer) — a performance cancelled when the venue closed following the death of Lee Kuan Yew. The string version was performed by Joshua Yong, viola; Jackie Sim, Neo Wei Qing and Wilfred Cheng, violins at the Barber Institute of Fine Arts Concert Hall, University of Birmingham (18 November 2014), and at Cardiff University (25 November 2014). ▶ Birmingham ▶ Cardiff
《Frissons III》多把弦乐器（2014–15）——由 I、II 改编，为我的学生 2014 年英国游学之行而作；另有小提琴、塔布拉鼓与电脑版本，受亚洲当代乐团委约为 2015 年新加坡国立大学艺术节而作（Loh Jun Hong，小提琴；Govin Tan，塔布拉鼓；作曲家，电脑）——因李光耀先生逝世、场地关闭，该场演出未能举行。弦乐版本由 Joshua Yong（中提琴）；Jackie Sim、Neo Wei Qing、Wilfred Cheng（小提琴） 分别于伯明翰大学 Barber Institute of Fine Arts 音乐厅（2014年11月18日）与卡迪夫大学（2014年11月25日）演出。▶ 伯明翰 ▶ 卡迪夫
Frissons IV for solo violin or viola with tape or live electronics (2015) — Frissons I and II performed with tape, which together become Frissons IV. Christoven Tan, viola, with 8-channel tape diffusion by the composer; performed on 24 November and 1 December 2018 at Studio Zero, Perth Institute of Contemporary Arts (PICA), Australia, during his residency, and in Babel (2022), a programme of works by five composers in the Lunchtime Concert Series, LASALLE College of the Arts, Singapore. ▶ Watch
《Frissons IV》小提琴或中提琴独奏，配录音带或现场电子音响（2015）——《Frissons I》《II》配上录音带演出，合而成为《Frissons IV》。Christoven Tan（中提琴），八声道录音带扩声由作曲家制作；2018年11月24日与12月1日，于他在澳大利亚珀斯当代艺术学院（PICA）驻留期间在 Studio Zero 演出，并于 2022 年在新加坡拉萨尔艺术学院午间音乐会系列的《Babel》（五位作曲家作品专场）中演出。▶ 观看
Frissons V for viola and 2 keyboards (2021) — recordings of Frissons IV, shredded and distributed across both keyboards, are triggered by the score of Reef Weave for solo piano. Christoven Tan, viola; BL Duo (Bertram Wee and Lynette Yeo), keyboards; Blue Room, The Arts House, Singapore. ▶ Watch
《Frissons V》中提琴与两台键盘（2021）——《Frissons IV》的录音被切碎并分布于两台键盘，由钢琴独奏作品《Reef Weave》的乐谱触发。Christoven Tan（中提琴）；BL Duo（Bertram Wee、Lynette Yeo，键盘）；新加坡 The Arts House 蓝厅。▶ 观看
cs: {i'mpulses (s:capricorn+taurus) frissons i} for viola and piano (2019) — a composition organised from two of my works, i’mpulses for keyboard and Frissons. Bertram Wee, piano; Christoven Tan, viola; Project IDIOM concert, Esplanade Recital Studio, Singapore. ▶ Watch
《cs: {i'mpulses (s:capricorn+taurus) frissons i}》中提琴与钢琴（2019）——由我的两部作品，键盘作品《i’mpulses》与《Frissons》组织而成。Bertram Wee（钢琴）；Christoven Tan（中提琴）；Project IDIOM 音乐会，新加坡滨海艺术中心。▶ 观看
Recordings 录音
《Frissons I》开头——Kia Hui Tan（小提琴），新加坡南洋理工大学，2007年
《Frissons I》中段——Kia Hui Tan（小提琴），新加坡南洋理工大学，2007年
《Frissons II》结尾——Kia Hui Tan（小提琴），新加坡南洋理工大学，2007年
For scores, performance materials and other enquiries:
chungshih@chungshih.info
乐谱、演出资料及其他查询：
chungshih@chungshih.info