JADES – Javier, Annabel, Daniella, Elizabeth and Steve – is an ensemble of musicians of diverse cultural heritage, a reflection of the multicultural identity of Australia. Stories in Sound is a 14-minute electro-acoustic work that comprises original composition from each member of the group. We each researched and interpreted a folk tale belonging to our respective cultural backgrounds as we composed for our mixed quartet of instruments – flute, violin, viola and cello – and assembled a soundscape incorporating additional elements to enhance the storytelling of our individual compositions.
Program
- The Bird of Truth (composed by Javier Mobellan)
- Monsopiad (composed by Daniella Lee)
- The Cowherd and the Weaver (composed by Annabel Lee)
- The Waterbull (composed by Steve Koroknay)
- The Legend of the Nian (composed by Elizabeth Fong)
Javier Mobellan, cello and composition
Annabel Lee, soundscape composition, recording and mixing
Daniella Lee, violin and composition
Elizabeth Fong, flute and composition
Steve Koroknay, viola and composition
Cover art illustrated by Elizabeth Fong
Recorded at Sydney Conservatorium of Music
Program notes
1. The Bird of Truth, Javier Mobellan
My composition draws inspiration from the premise of the Spanish folk tale El Pájaro de la Verdad (The Bird of Truth) – in which two neglected children find relief by the riverbank with the birds, who begin to teach them how to sing and speak in their language. I was drawn to this aspect of the story in particular and how I could characterise the dialogue of the children and the birds in our ensemble's strings and flute. In the story, the two children are found on a cradle drifting down the riverbank – in the strings' slowly-evolving opening chords I wanted to express the precarity and grief in the children's story and reflect the depth and expanse of the riverbank. The introduction of the flute asserts a new voice of the bird, which later 'sings' alongside the strings, beginning their dialogue.
I have always been interested in Spain's incredibly rich musical traditions and have enjoyed every opportunity I have had to lean into my heritage by performing works by Spanish composers on the cello. While I did not intend to compose in an authentically Spanish style, in my compositional process I drew inspiration from compositions by Manuel de Falla and Pablo de Sarasate to instil stylistic aspects of Spanish folk music in the work, and I sought out to utilise instrumental techniques in gracenotes, pizzicato and tremolo to further the characterisation of the instrumental parts.
2. Monsopiad, Daniella Lee
My composition is derived from the well-loved Malaysian folk song, Rasa Sayang, and follows the legend of the war-hero-turned-villain, Monsopiad. Although it has a darker theme, I was drawn to this folk tale as I was instantly able to envision the extended techniques and effects I could use to retell the story through music. Taking a more programmatic approach, my composition has nine sections for the key events in the folk tale. The central characters, Monsopiad and the sacred Bugang bird, are voiced by the viola and flute, respectively, while short fragments of Rasa Sayang are used as motifs to represent different elements of the story.
Malaysian folk songs and folk tales are often allegorical, retelling pivotal moments in the country’s history and geographical formation. Hence, it is an important part of Malaysian culture to sing folk songs and recite folk tales to better understand and connect with our heritage. It has been a fulfilling experience to create a product of my own interpretation of Rasa Sayang and the legend of Monsopiad, both of which are deeply meaningful to the Malaysian people.
3. The Cowherd and the Weaver, Annabel Lee
This section of the project incorporates a tragic tale of two star crossed lovers, destined to only meet once a year after the King of the Heavens separated them to either side of the milky way. With no method of crossing the milky way, the crows and magpies of the universe came together to form a bridge. After a short time of spending time together, they would cry, upset they would have to wait a year to meet each other again, explaining the monsoon season. This story is coupled with Korea’s most well-known folk song, Arirang – a lamentation of separation and lost love.
As much as music is an emotional journey, it is important to understand these different pieces of culture that try to poetically reflect and explain the happenings of this world. The focus of this section is to bring forward a soundscape that immerses the listener into the folk tale. The music underneath, by the string trio displays cluster chords of the folk song to mould in the story-telling rather than becoming a separate entity.
4. The Waterbull, Steve Koroknay
My composition is heavily influenced by the folk tune Auld Lang Syne, beginning and ending with its melody. It is quite a melodious and patriotic tune that sets the scene of a girl at her farm that is near a loch. She stumbles across a man injured in the lake and helps him. While the girl tends to the man, a bird frantically warns her of danger as it knows the man is not what he seems – he is in fact a Kelpie. Noticing that his long hair turns into seaweed, she quickly tries to escape, but the Kelpie has her trapped. The Kelpie reveals its true form to be a horse-like figure. The girl is freed when the waterbull the girl had been taking care of since it was a calf smashes through the barn and attacks the Kelpie. The Kelpie and Bull fight, sounded in the active, intense middle section with clashing harmonies, dissonance and thicker texture. It ends as the Kelpie is defeated, sinking back into the loch. The piece ends with a new folk tune, Scotland The Brave, featured as the flute interplays with Auld Lang Syne and finishes in unison with the violin and viola.
My composition is heavily influenced by the folk tune Auld Lang Syne, beginning and ending with its melody. It is quite a melodious and patriotic tune that sets the scene of a girl at her farm that is near a loch. She stumbles across a man injured in the lake and helps him. While the girl tends to the man, a bird frantically warns her of danger as it knows the man is not what he seems – he is in fact a Kelpie. Noticing that his long hair turns into seaweed, she quickly tries to escape, but the Kelpie has her trapped. The Kelpie reveals its true form to be a horse-like figure. The girl is freed when the waterbull the girl had been taking care of since it was a calf smashes through the barn and attacks the Kelpie. The Kelpie and Bull fight, sounded in the active, intense middle section with clashing harmonies, dissonance and thicker texture. It ends as the Kelpie is defeated, sinking back into the loch. The piece ends with a new folk tune, Scotland The Brave, featured as the flute interplays with Auld Lang Syne and finishes in unison with the violin and viola.
My Scottish heritage is very important to me and comes from my maternal Grandfather. I fell in love with the sound of the bagpipes at a young age and the tunes that came along with that. The two folk tunes I have used are standards in the repertoire, recognisable to most even those unfamiliar with Scottish tunes.
5. The Legend of the Nian, Elizabeth Fong
My composition is based on the Chinese folk tale of the Nian and the Lunar New Year, and the folk song ‘Mo Li Hua’ (Jasmine Flower). The story is about a monster called a Nian (also means ‘year’ in Chinese) that comes down the mountain once a year to attack and terrorise the villagers. Only when an elderly man suggests they fight back using loud sounds such as firecrackers and drums does the Nian fearfully flee back into the mountains. The composition then ends with New Year celebrations which continue to this very day. In the composition, I have used the folk song to represent the villagers and the peaceful harmony before the Nian attacks. I have also referenced the lion dance music that is played during the New Year celebrations by having the violin mimic the drum rhythm by knocking the wood of the instrument. Harsh tonguing in the flute and bartok pizzicato in the strings also create a percussive effect to highlight the dangerous and otherworldly nature of the Nian.
I have always enjoyed reading up about ancient Chinese history and studying its art and music. In my composition I have tried to imitate the stylistic techniques of traditional Chinese music through the use of ornamentation, slides, and pentatonic harmonies. Much of my ideas and inspiration came from listening to dizi (bamboo flute) and erhu (two-stringed fiddle) music. Chinese art often depicts either the beauty of nature or of fantastical beings such as dragons and phoenixes. These are elements that I have tried to highlight in my composition with the opposing forces of the natural and the supernatural.
About JADES
jadesquintet@gmail.com
Annabel Lee
I am an electro-acoustic composer and pianist, completing my Bachelor of Music (Digital Music and Media), recently studying under Professor Daniel Blinkhorn and Elizabeth Green. My musical passion is avant-garde, experimental music, and would love to create multi-sensory or multimedia projects in the future.
Daniella Lee
I am a student at the Sydney Conservatorium of Music, completing my BMus (Performance) on violin under the guidance of Associate Professor Goetz Richter AM. During the 17 years that I have played the violin, I have performed as a soloist and in chamber groups for many notable events at embassies and the Government House, and have taken part in orchestras such as the Australian Youth Orchestra.
Elizabeth Fong
I am a flautist currently doing a Bachelor of Music Performance in flute, studying under Emma Sholl and James Kortum. I have experience in playing piano, piccolo and can also play the chinese bamboo flute (dizi). I enjoy being part of chamber ensembles and orchestra, as well as doing traditional and digital art on the side.
Javier Mobellan
I am a cellist of fifteen years, completing my Bachelor of Music in Performance with Julian Smiles. Before composing for and performing in Stories in Sound I have performed in recordings of new compositions and soundtracks in classical and contemporary styles. I have experience performing in orchestras and in solo and chamber music contexts.
Steve Koroknay
I am a violist doing my Bachelor of Music in Performance, studying under Stuart Johnson. I have played the viola for 11 years, playing with groups such as Ku-ring-gai Youth Orchestra, Sydney Youth Orchestra, and Australian Youth Orchestra. Throughout high school I played in the school Pipe Band on the snare drum, competing in a number of competitions and highland gatherings. I have experience playing in chamber quartets throughout high school and university. In my spare time I enjoy experimenting with different technologies like Cubase.
