"Mulan Fantasie" for Symphonic Band, the finalist of 2017 World Association for Symphonic Bands and Ensembles' (WASBE) 1st International Composition Contest
"By exploring the performing techniques of the western symphonic band and the blending of its sounds with Chinese culture and musical playing traditions, Mulan Fantasie presents the fusing of the East and West to depict the legendary female hero and also the reflection of the awakening in the human spirit."
"When I was writing this piece, I saw lively images, curves, and the lingering spirit."
Hung-Ping Chang
HONOR
Hung-Ping Chang's "Mulan Fantasie" for Symphonic Band was the finalist of 2017 World Association for Symphonic Bands and Ensembles' (WASBE) 1st International Composition Contest. The final concert was conducted by Bjorn Bus and performed by The Orchestra of the Dutch Customs at The Great Hall(Grote Zaal) of TivoliVredenburg, Utrecht, Netherland.
The original version of Mulan Fantasie is an Orchestra and the symphonic band version was completed later which was rearranged to 26 minutes long version(2014) and 14 minutes long version(2017), written in the same structure.
MULAN FANTASIE
HONOR
Finalist of 2017 "World Association for Symphonic Bands and Ensemble 1st International Composition Contest
INSTRUMENTATION
Orchestra/ Symphonic Band
DURATION
Orechestra| 23 Minutes and 33 Seconds
Symphonic Band
Long version| 26 Minutes
Short version| 14 Minutes
COMPOSER'S NOTES
“The Poem of Mulan” was a Yuefu folk song in the Southern and Northern dynasties (420-589) in Chinese history and was considered a classic in Chinese literature. It told the story of Mulan, who joined the army instead of his father and fought fearlessly on the battlegrounds. Even though this was a fictional story, this story that depicts a woman hero ensues moving power as well as strong irony, unveiling the cruelty and ravages of war and the cries and suffering of the people.
The lyrics of the folk songs are sort, but to me each word means complicated emotions, echoing and swirling. Thus, this piece came to be.
When I was writing this piece, I saw many images, curves, and the lingering spirit. The body, either following or leading the melody in heart danced along. Tai Chi, calligraphy, Chinese painting, all require the use of spirit. This spirit shaped the formless flow into a tangible beauty. When composing “Mulan Fantasie”, I fell into every single moment of pure emotions, the spirit following all so naturally, and the flow of calligraphy and Chinese paintings also walked along with the piece. Power is a downward force but also an eternal repulsion, ending in thousands of endless intertwines.
I am deeply attracted to the space and actuality of Chinese calligraphy. It makes space retractable, makes every experience and existence full of life. Combining the space and actuality in this piece, aside from space, there are suspension, stability, compression, struggle, collection, and release. In addition, I added a lot of elements of the human voice into this work. Emotions lead the human voice and into the instruments.
A brief introduction, to leave the possibility of understanding and imagination.
PERFORMANCE
Concert| Finalist of the first WASBE International Composition Contest(2017)
Location|The Great Hall(Grote Zaal) of TivoliVredenburg, Utrecht, Netherland
Time| July 19th, 2017
Conductor| Bjorn Bus
Symphonic Band| The Orchestra of the Dutch Customs
Concert| East Meets West
Location| Taipei Zhongshan Hall, Taipei Taiwan
Time| August 31, 2014
Conductor| Sean Kim
Symphonic Band| Cheng Kong Alumni Concert Band
Concert| “Taiwanilainen Ilta
Location| Sigynsali(Sigyn Hall), Turku, Finland.
Time| September 13, 2018
Symphonic Band| Laivaston soittokunta(Finland Navy Band)
Concert: Certamen Internacional de Bandes de Música “Ciutat de València” 2019 (The 2019 International Music Band Contest City of Valencia)/Opening Gala Concert
Location| Palau de les Arts Reina Sofía, Valencia, Spain
Time| July 14, 2019
Symphonic Band| Macau Youth Symphonic Band
Concert| “Banda Filarmónica de Macau”
Location| Quartel da Artes, Dr. Alípio Sol(performing arts center), Porto, República Portuguesa
Time| July 20, 2019
Symphonic Band| Macau Youth Symphonic Band
Concert| Concert de l'avent
Location| THÉÂTRE DE VALÈRE, Switzerland
Time| November 30, 2019
Conductor| Stéphane Delley
Symphonic Band| Harmonie Municipale de Sion
![](https://static.wixstatic.com/media/b9ef09_af336a4af4cc447bab3f6ccb09797d2d~mv2.jpg/v1/fill/w_654,h_436,al_c,q_80,usm_0.66_1.00_0.01,enc_avif,quality_auto/IMG_0585_JPG.jpg)
PROGRAM NOTES
“The Poem of Mulan” was a Yuefu folk song in the Southern and Northern dynasties (420-589) in Chinese history and was considered a classic in Chinese literature. It told the story of Mulan, who took her injured father’s place to go to the battlefield and eventually saved the country and brought honor to her family. Mulan Fantasie depicts the legend of Mulan. The piece is in the symphonic poem format of six sections: 1. Introduction and Main Theme; 2. The Village; 3. The Arrival of the Recruitment and Decision; 4. The War; 5. Victory and Honor; 6. Return and Peace.
Mulan Fantasie is strongly based on one of the essences of Chinese aesthetics, “flowing air”, which depicts deep emotion and the vivid atmosphere during the entire piece. In crafting the instrumental gestures of both western symphonic band and percussion writing, Mulan Fantasie reflects the collision of Eastern and Western elements – more specifically the velvety expressive sound and the abilities of “breath” of the symphonic band with those of the traditional Chinese music technique and orchestration. In addition to the traditional instruments, the organic element of the symbol of Chinese culture and Peking Opera is also arranged in the piece: sobbing tune, Gong and Drums as well as the color of martial arts are employed in the symphonic band writing and rhythmic gestures throughout Mulan Fantasie. For example, the third section opens with the ninth powerful strike of the Chinese Bass Drum, which stands for the recruitment from the emperor that is adapted from the symbol of ancient Chinese culture because the number nine stands for the emperor. The movement of flipping the paper reflects the Chinese character “kill.” Imbued with the history of this ancient Chinese legend, the aesthetics of calligraphy, air, and blank, are also grandly arranged in the wind orchestra writing.
The six sections are full of dynamic colors and rhythmic drive based on the strikingly lyrical line. By exploring the performing techniques of the western symphonic band and the blending of its sounds with Chinese culture and musical playing traditions, Mulan Fantasie presents the fusing of the East and West to depict the legendary female hero and also the reflection of the awakening in the human spirit.
1. Introduction and Main theme
The clarinet unveils the overture for the bard, telling the story of a world ravaged by war, the lives of suffering, and the regretful sigh of Mulan joining the army instead of her father. The bass clarinet continues on, the juxtaposition of the sound of remorse and the glee that should have ensued among the common streets contradicts each other. But remorse is all that it remains, with the entrance of the theme section of “Mulan Fantasie” comes the venting for the replacement of her father and the unforgiving world.
2. The Village
Remorse and contradictions carry on, but now the clouds have drifted, and the story has rewound, taking us back to the time where Mulan’s village was still one of happiness and peace. The villagers were gleeful and excited, while Mulan stared out of her window, bothered by the fact that all her attempts of marriage failed and that she couldn’t bring honor to the Hua family name. This section also integrated Peking Opera and Gong and Drum into the beating of the drums.
3. The Arrival of the Recruitment and the Decision
The order of recruitment arrived, and the village is engulfed in tragedy and sorrow. In Chinese culture, the number nine is the symbol of the emperor. With nine loud beatings of the Chinese drum, it symbolized the order issued by the emperor. The world cried, setting a bright contrast with the gleeful melody that used to describe the villagers. And the piccolo and flute imitated the sobbing tunes of Peking Opera, crying for each and every one of them. Does journey means return? Does separation dignify a due date? The cries of remorse reemerged, once again bringing back the theme section. Mulan made up her mind to join the army in place of her father, looked back twice, tied up what means farewell, and joined in the march of the soldiers on their way to war.
4. The War
Mulan fought alongside her brothers bravely, facing off the Huns. Endless danger and suspense lingered, both equally determined of victory, carrying it all the way to the final battle where they finally triumphed. The start of this section made use of the techniques of Chinese military play, presented by Chinese Drums, flower drums, floor toms, and bass drums. The space and actuality of calligraphy are clear here, writing about the spacious yet empty lands, the ambush surrounding, the mirage that takes the form of the enemy, and the howl of the wind and shadows. Among these are six phrases that indicate the ambush coming in from the top, bottom, east, west, south, and north separately.
5. Victory and Honor
With the glorious return of Mulan, dragons dance and twirl above. The emperor expressed deep gratitude and pity for her bravery, offering to her a noble title. Mulan refused, hoping only to return home as soon as possible. The emperor granted her an honor badge instead, and the people cheered for her.
6. Return and Peace
The recapitulation of the main theme is played again. The tonality is changed. Mulan was back to her village and brought honor to her family. Finally, it's the end of the war, the people in the village welcomed the peace of the world. The wartime was like a dream and people were celebrating how brave Mulan was that she took her injured father's place to go the battlefield and save the country. Sunrise, sunset; The sky and the grand land are watching over time. Tracing back to the past, the war was cruel. Although there was separation, reunion, sacrifice, and honor it’s all passed, now the world is in peace. At the end of the piece, the low-pitched woodwind and euphonium played the melody which is originated from the main motif of the Introduction section and here is transformed into different tone colors. Instead of the voice of sigh, the warm melody now is like the celebration of the world which is in peace and calm.