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Kee Yong Chong
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Sheet music for Kee Yong Chong
Flute, Oboe, English Horn, Bassoon & Horn — Sheet Music — Chamber Music
Composed by Yong Jin Kim. Chamber Music. Sheet Music. Published by Seesaw Music Corp (SS.50017760).
— listening CD —
By Yong Kyu Lee. By Franz Schubert (1797-1828). Listening CD. Published by Thorofon Schallplatten (NX.CTH2505).
Solo Organ — solo part — Classical
Orgel Manualiter. Composed by Cor Kee (1900-1997). This edition: Edition Ars Nova Goes (Holland). Muziek Voor De Eredienst. Classical. Solo part. With Standard notation. 8 pages. Theodore Presser Company #163-00036. Published by Theodore Presser Company (PR.163000360).
— listening CD —
By Piet Kee. By Paul Hindemith (1895-1963) and Max Reger (1873-1916). Listening CD. Chandos #CHAN 9097. Published by Chandos (NX.CHAN-9097).
Solo Organ — full score (study) —
Composed by Cor Kee (1900-1997). Full score (study). With Standard notation. Composed 1966. Donemus #513-00309. Published by Donemus (PR.513003090).
organ — Score —
Composed by Piet Kee (1927-). Organ (Solo). Score. 16 pages. Duration 0:00:00. Hinrichsen Edition #H810B. Published by Hinrichsen Edition (PE.H810B).
concert band — full set —
Avondhymne. Composed by Cor Kee (1900-1997). Slow Movements and Solemn Works/Original Compositions. Molenaar Original Compositions. Full set. Published by Molenaar Edition (ML.010560040).
concert band — score only —
Avondhymne. Composed by Cor Kee (1900-1997). Slow Movements and Solemn Works/Original Compositions. Molenaar Original Compositions. Score only. Published by Molenaar Edition (ML.010560040-S).
fanfare band — full set —
Avondhymne. Composed by Cor Kee (1900-1997). Slow Movements and Solemn Works/Original Compositions. Molenaar Original Compositions. Full set. Published by Molenaar Edition (ML.020560040).
fanfare band — score only —
Avondhymne. Composed by Cor Kee (1900-1997). Slow Movements and Solemn Works/Original Compositions. Molenaar Original Compositions. Score only. Published by Molenaar Edition (ML.020560040-S).
- Shui.Mo concerto for 4 Chinese instruments and orchestra (2007)
- Tearless Moon (2006)
- Timeless Metamorphosis (2005)
- Ravage of time for violin solo and orchestra (2005)
- The Starry Night’s Ripples (2003)
- Splattered Landscape III for five instrumental groups (2007)
- Splattered landscape II — Cloud’s echoing (2007)
- Ocean’s Pulse for 4 Chinese drummers, Dizi & chamber orchestra (2007)
- Hidden Eternity (In memorial of Gyorgy Ligeti) for 4-hands piano and chamber orch (2006)
- I Hear The Wind Calling (2003)
- Monodrama for Oboe, ensemble & live electronics (2004)
Chamber Group with Chinese Instruments
- Phoenix Calling for Sheng and ensemble (2008)
- Horizon’s chants for Sheng, Koto & Gayageum (2007)
- Metamorphosis VIII for Sheng, Flute, Oboe, Clarinet and Double bass (2008)
- Endless Whispering for Sheng, Flute, Clarinet and Tuba (2006)
- Metamorphosis VI Wind prayer (2004)
- Metamorphosis VII — Voiceless Echo for Clarinet quartet (2006)
- Mourning the murder of an old Banyan tree for ensemble (2004)
- Epitaphe sans mots for Piano Trio (2003)
- Kong Shan (Hollow mountain) (2003)
- Di jie (Abuttal) for Flute, Oboe, Violin and Cello (2003)
- Ye Huo II for Flute solo & 11 strings (2002)
- Four short laments for “X” for ensemble (2001)
- 3rd String Quartet — Inner Mirror (2007)
- Silent Cosmos (2005)
- String Quartet No. 1 “Huang tu” (Yellowish dust) (2004)
- The Lost Psalm Of The Abyss for Flute (2003)
- Metamorphosis III for piano solo (2002)
- For Another Better World for violin solo (2002)
- The Thousand Ripples Of A Lonely Bell for solo viola
- Temple Bell Still Ringing In My Heart for solo viola
Chong Kee Yong, one of Malaysia’s leading contemporary music composer, is one of the most exciting voices in new music today. Few composers can manage to fashion a truly individual sound from the experimental techniques of today, and Chong belongs to this special class of talents who can turn a melange of exquisite timbres into a compelling piece of music with his own fingerprints. Composer Peter Eötvös calls his music “imaginative and poetic” while Belgian pianists Jan Michiels and Inge Spinette describe his music as “very personal voice, very deep and convincing.”
His musical language embraces not only a rich palette of constantly expanding instrumental colours — and Chong never stops looking for new ones — but is also unafraid to dig into the past traditions with its lyricism, rhythmic vitality and tonality and work it into his austere contemporary language, which is enriched by his own Chinese as well as the multicultural Malaysian heritage.
For example you can find traces of Beijing Opera and Gamelan in his Monodrama for Oboe, Ensemble and Electronics (2004), hints of kabuki and Asian funeral rituals in his devastatingly moving symphonic work Tearless Moon (2006), and elements of calligraphy in his poetic I Hear The Wind Calling (2003).
Reaching deeper into his Chinese roots, Chong also explores the sonic possibilities of traditional Chinese instruments in his Metamorphosis VI — Wind Prayer for Sheng, Gu Zheng, Pipa and Ensemble. It is a growing artistic path for Chong that has led to numerous commissions in this vein, leading up to his most recent masterpiece Shui.Mo, a concerto for 4 Chinese instruments and orchestra premiered in venues around Belgium in January 2008.
Chong began music studies at the Malaysian Institute of Arts, subsequently doing his Bachelor of Arts in China with Prof Rao Yuyan and Prof Zhang Dalong at the Xian Conservatory. In 2001 Chong received his Master of Composition with the Highest Honours from the Royal Flemish Conservatory under the guidance of Prof Jan Van Landeghem and Prof Daniel Capelletti.
Chong’s distinctive style has won him an unending series of awards and commissions, from his first success in Belgium with the “Prix Marcel Hastir” awarded by Belgium Royal Academy of Sciences, Letters & Fine-arts (1999, and then in 2003) to his triumphant debut in his home country at the Malaysian Philharmonic Orchestra International Composers’ Award (MPOICA) 2004.
Chong most recently won the BMW Prize at the inaugural Isang Yun Competition in Seoul 2007 and 2nd Prize at the Intersonanzen Brandenburgisches Fest der Neuen Musik 2008 in Berlin.