Using Su Shi’s poem of the same name as lyrics and written for Peking Opera style female singer, mixed chorus and symphony orchestra, Jiang Tcheng Tse is a milestone in Qigang Chen’s composition career. In spite of his familiarity with vocal works, this is Mr. Chen’s first chorus composition. Considering the state of mind in which he wrote this, it marks a new start in his composition after he had gone through a tough passage in life and collected his thoughts and sentiments. In this sense this piece is of exceptional significance. Qigang Chen uses his signature orchestral technics in this piece. One can identify the composer by listening to it. It is not simply the traits of the sound and the colors, but also the way they merge so seamlessly into the nature of the music, leading listeners right into the realm of dreams from the very beginning.

The contrast between dream and reality, sweet memories of the past and desolation of the present, constitute the core of Su Shi’s poem, and is the reason why Jiang Tcheng Tse has two choirs: each having their own happiness, but convergence of the two producing heart-breaking sound. That’s an irrevocable sorrow, an irreconcilable conflict between Yin and Yang. A score like this is naturally demanding for the chorus, but the pitch, the rhythm, the intensity of the sound, the color and the interval all pose extra challenges to the singing. However, because it is human voice instead of instruments, the sounds would reconcile and blend even in the forceful clashes of harmonies, signifying the strong emotional bond between the living and the dead, although forever separated. We hear lingering affection that is affluent and warm, not gloomy or icy separation. This reveals the very nature and purpose of the art of chorus.