Fractured Reflections: Resonant Currents of Memory, Gesture, and Transformation —through latticed refractions of embodied echoes (2025) For violin, cello, phin pia/salo, bass clarinet, and live electronics with generative visuals This performance unfolds as an interactive audiovisual tableau, where violin, cello, bass clarinet, and traditional phin pia/salo converge with a multimedia visual–sound artist. Acoustic gestures—bowed arcs, plucked strings, and breath-driven contours—act as live triggers, generating dynamically refracted projections across latticed surfaces. Sound and image co-articulate the core themes of fragility, transformation, and celebration, as conceived in Ephemeral Echoes. Real-time projection mapping and responsive installations accentuate the timbral qualities of each instrument, evoking the grid-like intricacies of reflective windows. Ripples of light, layered textures, and shifting chromatic fields visually echo the fractures of cultural memory, embodying the “latticed refractions” signified in the title. These visual phenomena are not supplementary but function as integral compositional material, sculpted directly through performers’ gestures. Guided improvisation sequences embed phin pia motifs and breath articulations (drawn from Northern Thailand’s traditional practice) within an open score framework. Repetitive structures accumulate as a living archive, generating a “somatic echo” in which each gesture resonates with ancestral and embodied memory. This compositional approach affirms the work’s intercultural grounding, foregrounding embodied practice as both aesthetic expression and archival method. Interactive dialogues emerge between the multimedia artist, musicians, and conductor through a triangulation of visual, sonic, and physical exchange. This concept is informed by the phin pia’s resonator rebound—illustrating how physical engagement with the instrument’s body modulates its sonic behaviour, creating a dynamic feedback loop between gesture and resonance. The performance invites audiences to perceive sound as a visible, mutable terrain—an immersive, time-based landscape shaped by memory, movement, and transformation. The full work is structured in five sections: 1. Emergence through Breath and Sonic Presence 2. Threading Ancestral Resonance: Weaving Between Memory and Tone 3. Activation and Disruption: Sonic-Visual Gesture as Catalyst 4. Echo Patterns and Pulse: Fragmented Accumulation as Memory Loop 5. Dissolution and Gaze: Embodied Silence as Final Gesture
Orangutans and hornbills play a pivotal role in ecosystem preservation, acting as ‘farmers’ by dispersing a significant quantity of seeds throughout their forest habitats. The wind quintet piece, ‘Long Calling from the Gardeners of the Forests,’ delves into the wildlife acoustics of Borneo and Sabah, particularly focusing on the sonorous long calls of these species. The orangutan is known for its loud, far-reaching vocalizations, which include a ‘kiss squeak’ when distressed, a raspberry-like sound during nest construction, and subdued hooting calls from the young. Additionally, orangutans emit deep, rolling, guttural sounds as a challenge to others. In contrast, hornbills are characterized by their series of loud honks and a distinctive barking call when taking flight. The helmeted hornbill, for instance, produces profound, resonant calls comprising a sequence of uniform, loud, hollow notes, ending in a cacophony akin to manic laughter.
The piece was inspired by a poem called The Guesthouse is written by Rūmī, in which I am interested in exploring tensions, form(s), and its variations per se between stability and instability; determinacy and indeterminacy. One could embrace contingency while capturing a moment ‘before’ conceiving of a musical sentence or line(s) in relation to elementary components, yet open, unbounded, and contingent through fragment(s). For Proust, a fragment is a morsel of time in its pure state; it hovers between a present that is immediate and a past that once had been present.
Musicians:
Daniel Roi Calingasan, Banduria
Htet Arkar, Pat Waing
War War San, Suang-Guak
My Nguyen, Dan Trahn
Prannathorn Teerarodjanakul, Oboe
Julia Berg, Bass Clarinet
Käthe Luise Schmidt, Harp
Moritz Koch, Percussion
Alejandro Sarriegui, Percussion
Peter Veale, Conductor
The piece was inspired by a poem called THE GUESTHOUSE is written by Rūmī, in which I am interested in exploring tensions, form(s), and its variations per se between stability and instability; determinacy and indeterminacy. One could embrace contingency while capturing a moment ‘before’ conceiving of a musical sentence or line(s) in relation to elementary components, yet open, unbounded, and contingent through fragment(s). For Proust, a fragment is a morsel of time in its pure state; it hovers between a present that is immediate and a past that once had been present.
Musicians:
Daniel Roi Calingasan, Banduria
Htet Arkar, Pat Waing
War War San, Suang-Guak
My Nguyen, Dan Trahn
Prannathorn Teerarodjanakul, Oboe
Julia Berg, Bass Clarinet
Käthe Luise Schmidt, Harp
Moritz Koch, Percussion
Alejandro Sarriegui, Percussion
Peter Veale, Conductor
Concert III – Malaysian Voices V 10 works written by Malaysian composers, performed by Malaysian musicians! Date: 7th October 2017 (Saturday), 8.00pm Venue: Black Box, Damansara Performing Arts Centre (DPAC)
5 editions Atlas Academy workshop 2014 at Amsterdam Conservatory Haitink Hall-
Atlas Ensemble conducted by Christopher Trapani
Musicians:
Gevorg Dabaghyan (Duduk in A, G, D)
Harrie Starreveld (Shakuhachi)
Naomi Sato (Shō)
Yifei Hua (Traditional Soprano Sheng)
Ding Xue Er (Gu Zheng)
Xing Lu (Erhu)
Antonis Pratsinakis (Cello)
https://soundcloud.com/lee-chie-tsang/beadsby-beads2015
For string quartet and piano
First performance: 11 February 2016, St. Paul, Huddersfield, UK premiered by Quartet Bozzini (Clemens Merkel, Alissa Cheung, Stéphanie Bozzini, Isabelle Bozzini) and Philip Thomas
Dedicated to the Bozzini Quartet, Philip Thomas, and Eleanor Goroh
This piece is special written for the Ensemble Discord Workshop:
Horn: Corey Klein
Piano: Tomoko Honda
Violin: Takao Hyakutome
Double bass: Pieter Lenaert
First performance: 24th of March 2014 at The University of Huddersfield, St. Paul’s Hall.
Second performance: 17th of April 2014 at Ghent, Belgium.
