Name Length
1 Landscape of Cloud; I. Floating Cloud
Jia Daqun
2 Landscape of Cloud; II. Voice of Mountain
Jia Daqun
3 Landscape of Cloud; III. Affection on Water
Jia Daqun
4 Stream; I. Run
Martin Lodge
5 Stream; II. Hold
Martin Lodge
6 Stream; III. Drive
Martin Lodge
7 Fallingwater; I. Night Rain
Michael Daugherty
8 Fallingwater; II. On the Level
Michael Daugherty
9 Fallingwater; III. Prairie Psalm
Michael Daugherty
10 Fallingwater; IV. Ahead of the Curve
Michael Daugherty
11 The Void Between Heartbeats
Michael F. Williams
12 We Want to Live in #Peace
Param Vir

The landscape of Cloud
Cloud is an aerosol of owing gas and dust, which surrounds and protects the tiny earth in the vast cosmic sky. It is dynamic and diversified. Not only reflecting existing splendid pictures known to the human beings, but also inspiring our boundless imaginations in the future. The landscape of cloud, or the cloud with landscape is a musical work full of sounds of clouds and feelings of the landscape; moreover, the composer wants to express his own emotions over the landscape of cloud.
This work is composed of three movements – Floating Cloud, Voice of Mountain and Affection on Water. The composer uses skills as serial- music, pitch-class set, timbre texture and multi-structure to show his multidimensional awareness of dynamic status, and expresses his own feelings by abstracting the nature.

Everything flows, nothing is stationary

Inspired by the idea of flow, of fluid movement and the reality of constant change, the three parts of Stream reflect thinking about aspects of movement and human consciousness of movement. This includes movement of the human body, of natural elements like air and water, but also the ow created by machines and of digital data. We may be able to constrain time and change for a little while, using technology or with memory, or we may retain connections to past things through remembered song. ‘Run’ suggests the way rapid physical movement can spill across clock time and mechanical measurements. ‘Hold’ presents variations on a forgotten song; the simple melody gradually evolves through repetition. ‘Drive’ balances unyielding rhythmic repetition with outbursts of melody. All three are motivated by aspects of ow and movement as we humans experience it.

Fallingwater (2016) for string quartet is a musical tribute to the visionary American architect, Frank Lloyd Wright (1867-1959). The inspiration to compose my string quartet came to me when I visited Taliesin, the 600- acre estate that Wright began to build in 1911, nestled into the rolling hills of Wisconsin. For over 40 years, Taliesin was his primary residence, studio, sanctuary, farm, school of architecture, and artistic statement to the world. In the main living hall, his third wife organized soirees for family, apprentices and renowned guests. As I stood in the center of this magnificent space, I noticed a large circular music stand made of wood, designed by Wright himself, with four sides for use by string quartets.
I began to hear a composition in four movements, as an emotional, spiritual, and musical exploration of Wright’s aesthetic of “organic architecture.”

The Void Between Heartbeats, written for string quartet and digital effects, is inspired by the idea of the emptiness and stillness between one beat of the heart and the next. The moment when the arrow should be released; the trigger squeezed, and where the self is not. It is written as a single movement but with three distinct sections. The slow, spacious opening explores themes of emptiness and the abyss before transitioning into a chorale like theme, somewhat like a prayer. The third section is more rhythmic, becoming more aggressive and anxious before returning to the prayer theme. The effects that have been used in this piece are reverb, delay, harmonizer and distortion.

We Want to Live in #Peace
This work was composed at the height of the Syrian refugee crisis in 2016-17. A vast chunk of humanity was forced to flee their homes and face further perils in the quest for safety. Bearing witness to this ‘human flow’, I found it challenging to write any music at all, living in a world of such unprecedented carnage and terror.

I chose not to remain silent, but to start with something very remote, taking as my point of departure the music of the birds of New Zealand, a parallel and very distant world of beauty and innocence, a world of nature that reminded me of transcendent possibilities, removed from the refugee crisis. The players of the string quartet respond to this bird music in empathy and protest and through their music I hear the cry of our fellow human beings craving safety in war zones, craving compassion, and pleading for humanity. The hashtag #Peace refers to the efforts of #Muhammed_Najem and #raghad to draw international attention to their plight in the siege of the city of Ghouta, East Syria.

They long to live in #Peace.