Tag Archives: free jazz improvisation (Medeski Martin & Wood)

Garden of Fire details

Garden of Fire
for mezzo-soprano, percussion (crotales, vibraphone, kulintang, hi-hat cymbals, 2 Peking Opera gongs [middle, high]), & piano (2017)
duration: 17′ 46″
publisher: Australian Music Centre

Linda Yim (piano), Claire Edwardes (percussion), & Anna Fraser (soprano) – organic motion of thirty-foot Jackson Pollack-like slipping fish motion in Killalea’s merged with undulating soprano lines of sensual ‘birds in flight’

showreel version (ca. 5mins.)

film version (ca.17 mins.)

score available from AMC

program note
Garden of Fire takes its point of departure from the sensuality of Tang Xianzu’s Peony Pavillion poetry through lucid translations from Lindy Li Mark and Mandarin as well as the structured sense of revelatory space from the Chinese Gardens in Sydney. The music explores the poetry’s static sense of understated erotic tensions that suddenly strike the senses through nature allusions through inside-the-note vocalizations and operatic vibrato through the mezzo-soprano line, and accentuates the colours through drawing on both traditional Chinese and extended European instrumental techniques in the percussion and piano. The living colour aesthetic from Chinese Confucian thought that underpins the vocal line, is extended through the Chinese opera percussion sensitivity to sliding gong timbres and resonances as well as prepared string vibrations on piano. The structure of the work is composed of flanking distilled sections of colour transformations at the beginning and end of the piece around static colours which gain propelling motion to a form multi-sonority climax, with elements of Peking Opera modal pitches, percussive freedom, free-jazz intrusions and pulsations. The timelessness of a free section presents the “shyness” after the climactic and dissolves back into an emergent colour labyrinth where distilled colour wrestles with jazzy ruptures. The macrocosmic idea is flow between differing sections of a Chinese Garden around the dream-like states of the Peony poetry through dreams of distilled, climactic, free and wrestling emotions as the sensuality dream portion of the larger sequence of Shakespearean and Tang Xianzu dream tableaus.

Linda Yim (piano), Claire Edwardes (percussion), & Anna Fraser (soprano) – slipping fish motion in Killalea’s back projections


Poetic libretto: from scene 3, ‘The Interrupted Dream,’ The Peony Pavilion, A Ming Dynasty Musical Drama by Tang Xianzu. English title translations by Lindy Li Mark are used in the musical score.

dedication note:

Garden of Fire is dedicated to Colleen, my beautiful wife of over thirty years. It was written for Anna Fraser (mezzo-soprano), Claire Edwardes (percussion) and Linda Yim (piano).

Bruce Crossman, Garden of Fire (bars 80-84)

first performance:

Anna Fraser (mezzo-soprano), Claire Edwardes (percussion) and Linda Yim (piano) premiered the work with video artist Simon Killalea and sound diffusionist Ian Stevenson as part of the Shy Like Blushing Flowers Create NSW Development at Q Theatre, The Joan Sutherland Performing Arts Centre, on the 11th October 2017. The event was filmed by: Simon Killalea – film/director; and Ian Stevenson – sound recording/mastering engineer.

Linda Yim (piano), Claire Edwardes (percussion), & Anna Fraser (soprano) – sensuous depth-plunging fish of Tang Xianzu & Kowloon Tong to Shatian in polyrhythmic statements; Simon Killalea (film stills)


The development of “Garden of Fire” within the Shy Like Blushing Flowers Project was supported by the NSW Government through Create NSW, The Joan Sutherland Performing Arts Centre and Western Sydney University.

Anna Fraser (soprano) – trans-sensory motions with differing rail-motion tracks

available on writings page (see Brutal-Shy Resonances)

Blooms Late When Spring Is Gone details

Blooms late when spring is gone…
for erhu, calligrapher-reciter & visual projections (2016)
duration: 10′ 23″
publisher: Australian Music Centre

Liu Ying (erhu) & Shen Wednesday (painter/calligrapher/reciter) – shimmering emerald greens with qiyun actions

film sample

score available from AMC

program note
Blooms late when spring is gone… takes its departure point from Lindy Li Mark English translation of the Young Lovers’ Edition Peony Pavilion in its discussion of the metaphor of the peony as late a blooming of the possibilities within the beauty of dreams. The ghost of the Chinese opera Kunqu tune “Zao Luopao” from the Peony Pavilion hovers about as sonority possibilities within a slow melodic unfolding to ghostly harmonic moments and energy, that reveals the bones of the tune and its sonority relationship to Japanese Gagaku harmony. Structurally, the first section has fragments of the tune appear with stretched still moments that gradually focuses to the second section’s faster, energetic permeations of the material within horse-bowing sounds, vibrato and expressive slides as well as frenetically free high passages. Again, in the third section, ghostly versions of the Kunqu tune appear in sketchy harmonics which are propelled to a climactic fourth section of bends, vibrato and frenetic activity; these suddenly collapse to a returning dream-like breathy and still harmonics to close the work in a lingering way.


1st Poem (Mandarin):  from scene 3, ‘The Interrupted Dream,’ The Peony Pavilion, A Ming Dynasty Musical Drama by Tang Xianzu. English title translations by Lindy Li Mark are used in the musical score.

2nd Poem (Mandarin): Shen Wednesday (calligrapher).

dedication note: Ying Liu (erhu)

Bruce Crossman, Blooms late when spring has gone… (bars 1-10)

first performance:

It was first performed by Liu Ying (erhu), Shen Wednesday (painter/calligrapher/ reciter) & Ian Stevenson (visual sequencer) at Poetic Energies Across Sonic Space sponsored by Professor Jocelyn Chey and the Australia-China Institute for Arts and Culture, Western Sydney University in the Night Concert on Thursday, 20th July 2017, at Penrith Campus, Kingswood. The event was filmed by: Addy Fong – film/director; David Rapicano – sound recording engineer; and Ian Stevenson – sound mastering engineer.

Liu Ying (erhu) & Shen Wednesday (painter/calligrapher/reciter); Addy Fong (film still), Petar Jovanov (photo)


The work was commissioned by Professor Peter Hutchings for Ying Liu (erhu) in celebration of the birth of the new research centre at Western Sydney University—Australia-China Institute for Arts and Culture.

Liu Ying (erhu) & Shen Wednesday (painter/calligrapher/reciter) – swirling blues & red sounds