Distancing Etude
for piano and 9 instruments (2021) · for orchestra (2024)
为钢琴与九件乐器而作（2021） · 管弦乐版本（2024）
Pandemic distance made audible: apart in register and time, players reach for impossible melodies.
把疫情中的距离化为声音：在音区与时间上相隔，乐手们追寻“不可能的旋律”。
| Versions 版本 | For piano and 9 instruments: piano, flute, clarinet, bassoon, trumpet, horn, trombone, violin, viola, cello (2021) For orchestra (2024) 钢琴与九件乐器：钢琴、长笛、单簧管、大管、小号、圆号、长号、小提琴、中提琴、大提琴（2021） 管弦乐版本（2024） |
|---|---|
| Commission 委约 | Three-nation concert of the Asian Composers League Korea, Composers Society of Singapore and Malaysian Composers Collective, with the Malaysian Philharmonic Orchestra 亚洲作曲家联盟韩国分会、新加坡作曲家协会与马来西亚作曲家联盟三国音乐会，与马来西亚爱乐乐团合作 |
| Listen 聆听 | ▶ Ensemble version, Malaysian Philharmonic Orchestra Chamber Ensemble, Kuala Lumpur, 2022 (video) ▶ Orchestral version, Tokyo Symphony Orchestra, Kawasaki, 2025 (video) ▶ 合奏版本，马来西亚爱乐乐团室内乐组，吉隆坡，2022（视频） ▶ 管弦乐版本，东京交响乐团，川崎，2025（视频） |
钢琴与合奏版本的开头一页。
Programme note 节目介绍
Distancing Etude began as a small concertante work for piano and mixed ensemble of nine. It expresses the social conditions of separation and distancing during the COVID-19 pandemic through music-making itself: the tension and effort of bridging instrumental distances of register and time, trying to make meaning in challenging performance situations, both as an ensemble and as individuals.
《Distancing Etude》最初是一首为钢琴与九人混合室内乐团而作的小型协奏曲式作品。它透过音乐演奏本身，表达新冠疫情期间人与人分隔、保持距离的社会处境：在乐器之间跨越音区与时间的距离所需的张力与努力，以及在艰难的演出条件下，作为合奏整体与作为个人，努力寻找意义。
Each part tries to form melodies from sounds fragmented in time and register, while relating to the others and building a collective resonance. The piano is at once the foreground, with prominent, relentless material, and the background, providing sustained resonances through which the other instruments reach out to one another.
每个声部都试图用在时间与音区中被切碎的声音组成旋律，同时与其他声部相互关联，建立共同的共鸣。钢琴既是前景，演奏突出而执拗的材料；也是背景，提供持续的共鸣，让其他乐器借此彼此伸手相连。
In the orchestral version, the concertante piano part is recomposed and absorbed into the orchestra; the piano becomes part of the keyboard percussion section rather than a soloist. As before, each instrumental part tries again and again to form melodies from its own sounds, fragmented in time, register and colour, building a collective resonance that moves the music forward.
在管弦乐版本中，原本的协奏钢琴声部被重新创作，融入乐团各声部之中；钢琴不再担任独奏，而成为乐团键盘打击乐组的一员。一如原作，每个乐器声部都一次又一次地试图用自己在时间、音区与音色中碎裂的声音组成旋律，建立推动音乐前进的共同共鸣。
Performances 演出
管弦乐版本的一页：钢琴已融入键盘打击乐组。
Piano and 9 instruments — 22 July 2022: Malaysian Philharmonic Orchestra Chamber Ensemble, 3-Nation Chamber Concert, Dewan Filharmonik Petronas, Kuala Lumpur, Malaysia. Yukako Yamamoto, flute; Emily Tiow Yu Xian, clarinet; Alexandar Lenkov, bassoon; Eric Tiow Xian Liang, horn; Matthew Dempsey, trumpet; Marques Young, trombone; Sze Ming Goh, violin; Ong Lin Kern, viola; Goh Wen Chih, cello; Akiko Daniš, piano. ▶ Watch
钢琴与九件乐器——2022年7月22日：马来西亚爱乐乐团室内乐组，三国室内乐音乐会，马来西亚吉隆坡国油爱乐厅。Yukako Yamamoto（长笛）；Emily Tiow Yu Xian（单簧管）；Alexandar Lenkov（大管）；Eric Tiow Xian Liang（圆号）；Matthew Dempsey（小号）；Marques Young（长号）；Sze Ming Goh（小提琴）；Ong Lin Kern（中提琴）；Goh Wen Chih（大提琴）；Akiko Daniš（钢琴）。▶ 观看
Orchestra — 7 February 2025: Tokyo Symphony Orchestra, conducted by Kazufumi Yamashita, closing concert of the 37th Asian Composers League Festival and Conference, MUZA Kawasaki Symphony Hall, Kawasaki, Japan. ▶ Watch
管弦乐——2025年2月7日：东京交响乐团，山下一史指挥，第 37 届亚洲作曲家联盟音乐节暨大会闭幕音乐会，日本川崎 MUZA 交响音乐厅。▶ 观看
For scores, performance materials and other enquiries:
chungshih@chungshih.info
乐谱、演出资料及其他查询：
chungshih@chungshih.info