1. How would you describe your music to someone who is not familiar with it?
My music is characterized by its "cross-cultural" nature, seeking personalized expression with Asian elements. Sometimes this expression is explicit, evoking a strong cultural impact on the audience, while at other times it is implicit, merely a subconscious behavior hidden in the heart. In today's tide of globalization, cross-culturality is an inevitable phenomenon. Although many composers doubt whether musical materials from different cultures can be integrated, my music doesn't concern itself with this answer but rather focuses on the process. I have created an open space for people of different cultures, inviting them to listen to the music of WEN Ziyang.
2. What is your educational background and training in music composition?
I was born into a musical family and was exposed to a variety of music from a young age. Initially, I aspired to become a pianist, so I received formal piano training at the Sichuan Conservatory of Music in my hometown of Chengdu, laying the groundwork for my composition. Later, I completed my secondary composition studies at the Attached Middle School of Sichuan Conservatory of Music. Eventually, I moved to Beijing to pursue both undergraduate and graduate education at the Central Conservatory of Music. Currently, I plan to continue my doctoral studies at the Central Conservatory of Music under the supervision of Professor Qin Wenchin.
Furthermore, I have participated in composition courses at various masterclasses such as the Darmstadt International Summer Course for New Music, the Masterclass of St. Petersburg Contemporary Music Festival in Russia, the Composition Masterclass of Beijing Modern Music Festival, the International Student Composition Masterclass of Shanghai Contemporary Music Week, and the International Composition Masterclass of Beijing, among many others.
3. Why did you decide to become a composer?
Initial Reason: To avoid practicing the piano.
Later Reason: Composition has allowed me to explore the diverse landscapes of the world, and I thoroughly enjoy the process of collaborating with musicians from different countries.
4. Can you walk us through your process of composing a piece?
Personally, I have a habit of first contemplating the title and expression of a piece, which is crucial to me. I believe each composition should have its unique expression and characteristics, and the title plays a pivotal role in defining this. Subsequently, I outline a comprehensive plan for the piece, including pitch, structure, and materials, which almost portrays the entirety of the composition. Once the plan is complete, I proceed to the "manual labor" stage, meticulously transcribing each note onto the score, although this feels more like mechanical work as the music has already taken shape in my mind during the planning phase. Finally, after the premiere performance, I often take the opportunity of rehearsals and feedback to make some adjustments to the piece, striving for perfection.
5. What are your main sources of inspiration for composing music?
Cuisines from around the world, the landscapes of my hometown, traditional culture, and contemporary Chinese art.
6. In what ways has UE scodo facilitated or simplified your compositional process?
I believe UE | scodo grants composers significant autonomy and allows them to begin enjoying the process of creating music scores. I am passionate about producing scores at a professional level. A good score, like a painting, is memorable at first sight. The clear standards and efficient feedback provided by scodo enable me to make accurate revisions to the score, eliminating the cumbersome process of communicating with editors and allowing me to make modifications to the score at any time.
7. Who is your favorite composer or what is your favorite piece, and why?
I currently have none. I believe composers should not have their favorite composers; they should learn from both preferences and dislikes.
8. What advice do you have for aspiring composers who are just starting their careers?
Haha, I'm also a composer who are on the processing of starting my own career, and I constantly seek guidance and learning from my teachers. Currently, I cherish every commission opportunity, striving to make the most of rehearsals and performances to accumulate experience. I am continuously learning various musical materials and indulging in the beauty of the world. I hope all of these experiences can converge in the future, enabling me to create even better works.
9. In your opinion, what is the biggest challenge facing composers today?
The explosion of information and changes in audience listening habits pose significant challenges in today's music landscape. On one hand, we have easy access to a vast array of music literature and can listen to works by countless composers whom we may never meet in person. This broadens our horizons but also risks losing our own identity as we navigate the sea of information in the digital age. On the other hand, audiences are becoming accustomed to high-frequency, fast-paced listening habits, raising the bar for musical standards and favoring shorter pieces (perhaps influenced by the popularity of pop music). Faced with these challenges, composers struggle to find their artistic direction, which is a major dilemma I encounter in my creative process.
10. What do you think one should know before becoming a composer?
Composers are very tired and hardworking.
11. What do you think each audience member should...?
Open your ears and fully embrace each piece of music. Whether you like it or not, as long as you listen and feel the atmosphere of the music and are touched by an emotion, it is a successful appreciation experience.
12. The greatest pop song of all time?
I can't think of the best one, but personally, I often have BLACKPINK's "Pink Venom" on repeat.
13. Dream venue and performers for a world premiere?
On a certain street corner, the performer is none other than myself. I once heard a street artist perform tango in Europe, an experience that remains unforgettable to this day.
14. Piano compositions or orchestral compositions?
Orchestral music. There are too many great piano works, I can't come up with any.
15. Composing on paper or digitally?
I prefer to write by hand first, then transcribe it into sheet music on digitally. I enjoy the tactile sensation of handwriting.
16. Coffee or tea?
Latte from Starbucks, essential for composing.
Did you know?
Universal Edition and the Central Conservatory of Music (CCOM) in Beijing have been cooperating since 2023 to jointly promote the exchange and dissemination of contemporary Chinese music worldwide!