I immediately turned into a full time piano teacher after I graduate from SIM RMIT upon discovering my love in teaching music. I’m a Business graduate major in Marketing and started teaching part-time piano in my final year. Share with us a little about yourself, and your music background Hence, in her very busy schedule, we are glad she took out some time to share with us her music journey here!ġ. While working with her, we realized that she’s not only just a piano teacher, but she also performs in live events, public venues in Europe, and even written a National Day song for SG50! We have worked with Ms Audris for sometime by recommending her quite a number of piano students. In this series, we have interviewed Ms Audris Ho. I loved this complicated and brilliantly played piece.Hi! Welcome to our forth series of our “Interviews with Teachers”. His confidence returned he is who he is – no longer angry but aware of his fierceness and free. The Gryphon seems to be saying, “I am here, hear me roar”. War Dance, the final movement, is dramatic with strong accented 1/8 notes. But this does not last as he realizes he is now free – a series of choral bars signifying hope. But he is sad, lamenting his time in captivity. The second movement, Gryphonsong, had me seeing the freed Gryphon wandering in a meadow listening to birdsong. At one point you can imagine a Gryphon who is imprisoned in a dungeon scratching his talons on the wall to get out. The first movement, Serpentile, features a frenetic energy going from the low to high register. One could say that each movement is a character piece of three mystical gryphons inspired by each of these players. Each movement is loosely based on the personalities of each player of the Gryphon Trio: I – Jamie Parker (pianist), II – Annalee Patipatanakoon, III – Roman Borys. Much of the work is based on musical materials from my solo piano work Eccentric Gestures. It is in three movements and takes the listener through the mystical world of gryphons. The work explores the colouristic, virtuosic, and expressive possibilities of the piano trio while highlighting my more personal musical language. This needed to be taken into consideration – having them express themselves as one entity, not three separate players. Being that they have been performing together for so many years, they have established a sound that defines their group. As well, it was important to have the work specifically tailored to the Gryphon Trio. We decided that this would be the direction to go. To my surprise, of their twenty-one years of commissioning new works, the “gryphon” mythology had not yet been explored as a theme. After brainstorming with them, we came up with enough ideas to formulate the thesis of the piece. In addition, this was an opportunity for me to explore new ideas with a group that has devoted themselves to performing new music as well as standard repertoire. Up until that point, I had held off writing for this medium mainly because I wanted ensure my technique was firmly established before taking on such a project, most especially when high-caliber players are involved. When I was asked to write a work for the Gryphon Trio, I was absolutely thrilled with the opportunity.
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