In an SMU classroom of music students and professors, composer Xi Wang鈥檚 39-page score is projected onscreen. We heard it, played electronically, as Wang explained her approach to the opening of "Ens艒," her new, 15-minute work.
鈥淟ook at this contour,鈥� Wang instructed the class.
She sang: 鈥淔a la tee le la lee. Fa la tee le la lee. That鈥檚 a half circle. If I put this half to here 鈥� da la lee le la lee de le la la lee. . . Is that interesting? It鈥檚 interesting to me. I鈥檓 using music to draw a circle.鈥�
Those musical notes, as they visually appear on the page, do form a kind of circle. There鈥檚 a reason, said Wang. In part, it鈥檚 because she wrote "Ens艒" to respond to the piece that preceded it. That one was about the year 2020, with all its traumas - from the deadly pandemic and economic strife to civil unrest and riots. (The Dallas Symphony Orchestra will debut it in 2024.) She said the year exhausted her.
鈥淚 felt I needed a healing piece for myself. And then there comes "Ens艒,"鈥� Wang said.
Ens艒 is a Zen symbol about enlightenment鈥t鈥檚 a circle drawn with one stroke.
鈥滻t refers to the circle of enlightenment. Did I get enlightenment? I don't know. But I was looking for healing. I was looking for the way to let things go after 2020.鈥�
There鈥檚 another section of "Ens艒" where things do let go in a dramatically musical manner.
Back in the class, Wang jumped ahead in the score, where we hear a constant, repeating rhythm.
鈥淚 want to show this section because I wanted to show you what can I do with an 8th note. There鈥檚 no other rhythm,鈥� Wang explained.
Remember, Wang isn鈥檛 just a composer. She teaches composition. She鈥檚 illustrating how music can demonstrate a release - - again 鈥� a way to let things go. It occurs musically after that driving pulse just stops, if only for a second.
鈥淚 consider the climax of this piece the most intimidating space - is that rest when the whole orchestra - - -bam!鈥� Wang said loudly.
After a dramatic pause, the music restarts.
鈥淭hat鈥檚 the most intimidating. And I love that,鈥� said Wang.
And Wang loves composing, but that wasn鈥檛 always the case.
Xi Wang was born in China, in 1978, two years after the cultural revolution. Her parents just returned to the city after working in the fields. They bought her a toy piano, wanting to give her the education they鈥檇 been denied. An expert determined Wang had musical talent. So she started lessons on a real piano.
In China, in the 1980s, it cost $250 鈥� all her parent鈥檚 savings. It put them in debt for years.
鈥淢y mom's whole month's salary goes to my piano teacher $2 per lesson, but my mom only makes $8 per month,鈥� Wang said. 鈥淪o for me, I know how precious education is.鈥�
Wang became an outstanding pianist, but her small hands dashed plans for a concert career. By now, though, music called her. So she began composing.
鈥淲hen there are things that I cannot express through words,鈥� Wang said, 鈥淚 can express it through music. And I'm free when I speak through music. And that's how I know I should be a composer. I can feel it.鈥�
What Wang鈥檚 audiences should feel, she says, is up to them.
She鈥檚 done her part, put her passion on the page, shared it with students and colleagues and now, the Philadelphia Orchestra will share it with their audience.
Wang can鈥檛 wait.
