Commissioned Composition of 2021 Competition
Piano Talks – Ep. 7 “Triumph of Goodness”
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It is our great honor to be permitted to select and rearrange one of the vocal pieces composed by world-renowned composer and Artistic Director of Shen Yun Performing Arts – D. F. – to be this competition’s Commissioned Composition. Pianists who make it to the semi-finals will have the opportunity to perform this specially commissioned composition. A “Best Rendition Award of the Commissioned Composition” is established for the competition.
Inheriting the characteristics of the Music of Shen Yun, the Commissioned Composition features the perfect harmony of Eastern and Western classical music. The Western piano serves as a foundation, accentuating the distinct sound of Chinese classical music. The bedrock of soul-stirring melodies from the ancient Middle Kingdom is fully brought to life by a Western instrument, the piano. The perfect harmony of Eastern and Western classical music is what makes the Commissioned Composition unique.
The Organization Committee will send the sheet music of the Commissioned Composition to all qualified contestants 45 days prior to the live competition.
Commissioned Composition of the 2019 Competition: The Triumph of Goodness
The Triumph of Goodness by Shih-Yeh Lu (Best Rendition Award Winner of 2019)
The Triumph of Goodness by Vladimir Petrov (Gold Award Winner of 2019)
Commissioned Composition of the 2016 Competition: Glorious Realm
Glorious Realm by Jiaqi Long (Best Rendition Award Winner of 2016)
Glorious Realm by Dmitri Levkovich (Gold Award Winner of 2016)
Excerpts from an interview with the arranger of the 2016 Commissioned Composition, Ms. Susan Liu
“I arranged “Glorious Realm” (a vocal piece written by Shen Yun Artistic Director D.F.) for piano. With this melody, I deeply recognized the beauty he wrote and the different levels of meaning within the melody—of the divinity achieved. With arranging, the objective is to bring those meanings out.
I divided this into three sections. In the first, I used a pentatonic scale to bring out this gorgeous, divine melody—a Chinese melody—in its native language. Then in the second portion, I used Western harmonies to create a church chorale atmosphere—serious, solemn, humble, and reverent. In the third section, I wanted to bring out the grandiose nature of the melody and used large arpeggios, so as to let the listener hear these different levels contained within this seemingly simple melody.”