Published in May 2026 at AvA Musical Editions
Will be Premiered by Carolina Oliveira, on June 26th, 2026, 20:30 at Fundação Cupertino de Miranda in Vila Nova de Famalicão
Composing Shénzhōu presented a unique challenge. While I have significant experience writing idiomatically for the horn and have conducted research in this field, I was unfamiliar with traditional Chinese music. However, listening to pieces composed for the guqin revealed musical elements that could translate idiomatically to the horn.
The piece opens with wind-like sounds that evoke the atmosphere of China’s mountainous landscapes. These unconventional sounds are produced by playing the horn without the mouthpiece and main tuning slide. During a cadenza, the performer gradually reassembles the instrument, incorporating whistling or singing to mimic the sound of traditional Chinese flutes.
By bar 3, the music shifts into a section inspired by the pentatonic melodies characteristic of traditional Chinese music. Here, idiomatic effects such as grace notes, glissandi, bent tones, half-valve effects, and trills (including minor third trills derived from the pentatonic scale) come into play. A second cadenza invites the performer either to improvise using multiphonics or to continue along a more traditional path, depending on their skill level and artistic preference.
From bar 6, the piece draws inspiration from the Dance of the Lion, a cultural tradition with many regional variations across Asia. I was particularly drawn to the Dance of the White Lion, a traditional dance from Tibet—historically part of China—which has become a powerful cultural symbol in Tibetan heritage, representing courage, strength, and protection.
At bar 38, trills depict the ceremonial entrance of the lions, gradually increasing in tempo and energy as they build toward bar 45. The fast passages throughout the piece are designed for efficiency, often requiring only one finger movement when performed on the B♭ side of the horn.
The title Shénzhōu (神州), meaning “Divine Land” or “Divine Realm,” is one of the oldest poetic names for China. Rich in cultural and historical resonance, the term evokes a sense of ancestral legacy, spirituality, and geographical vastness. It reflects the work’s intent to explore a sonic landscape inspired by Chinese heritage, filtered through the expressive possibilities of the horn.
Shénzhōu offers flexibility throughout, with options such as multiphonics, vocalisation, or ossia lines, making it accessible to both intermediate and advanced performers. The cadenzas serve as opportunities for true improvisation or personal adaptation, allowing each performer to tailor the music to their technical capabilities, vocal range, and artistic voice.
This flexibility lies at the heart of the work’s intent: to celebrate creativity while paying homage to tradition.
