BY TIANYI WANG
Born in China, TIANYI WANG is both an award-winning composer, conductor, and pianist, whose music vocabulary is diverse and much inspired by subjects beyond music. Tianyi’s repertoire spans over solo, chamber, choral, orchestral, electronic, as well as film scoring, his works have been performed internationally, including MISE-EN New Music Festival, Audiograft Festival (Oxford, UK), Ashmolean Museum (Univ. of Oxford, UK), 2017 SCI Region VII conference, and Region IV Student Conference. Mr. Wang is the recipient of 2017 China National Arts Fund, his recent commissions include Atlantic Music Festival and Northeast Normal University (Changchun, China). Tianyi’s most recent orchestral work, Under the Dome, is the winner of 2017 Longy Orchestral Composition Competition, which will receive its premiere by Longy Conservatory Orchestra in December, 2017 in Cambridge, MA, he has also won Gold Award at 2016 Sanya International Choral Festival (Sanya, China). Tianyi Wang’s music will be released by ABLAZE Records in 2018.
Besides being a composer, Tianyi’s outstanding piano skill won him the 2012 William Jewell Artist Competition and led to his concerto debut with Liberty Symphony Orchestra. In 2016, Tianyi Wang collaborated with London Symphony Orchestra in a recording production at Abbey Road Studio, London. In 2015, he founded and directed Qinyin Chamber Ensemble, and led public performances throughout the city of Changchun, China. Tianyi’s research paper on Xibo music was featured at the 31st International Society for Music Education (ISME) World Conference in Porto Alegre, Brazil.
Tianyi has studied at Moscow Conservatory, William Jewell College (B.S. Composition, Mathematics; Summa Cum Laude; Honor Graduate), Longy School of Music of Bard College (M.M. Composition; Merit Scholarship Recipient), and currently resides in Boston, Massachusetts. Beginning Fall 2017, Tianyi will continue his music journey as a Graduate Diploma candidate at New England Conservatory.
Initial inspiration for “The Letter” occurred during the time he was scoring a short film about signatures in people’s everyday life. The idea of constructing an electro-acousmatic piece using sampled sound of various daily writing stationery, including ball pens, mechanical pencils, markers, and highlighters interacting with the surface of paper intrigued him. A few imperative controlled parameters of these recorded samples are speed, pressure, and orientation, which are expressed by making slow circles, random doodles, fast scratches back and forth, and etc. Later, recorded sound extended to rolling stationery at various speeds, dropping them from various heights, and even the spinning of a pencil sharpener. It is fascinating to him how these samples are transformed and reborn as distinctively new materials so oddly different from their origins, which in turn shape the textural and gestural approach of the piece.