the combination of conventional classical concert piece and contemporary identity for solo, duet, chamber and orchestra
an exploration of the sound in the 21st century style music which based on the technology and innovation
the multi-functional music with any context & possibilities; art, film, dance, media and more; in the form of collaborative work
for flute, oboe, bass clarinet, percussion, piano, violin and cello
Galerna is a natural phenomenon of sudden violent storms and strong wind in the Bay of Biscay coastal area region. According to my first impression, I could feel the powerful wind pushing my body and see objects moving around me. So, my interpretation is based on the first impression of phenomena using the sudden storm movement, wind and water, and gesture of sound intensity. In the aspect of sound, I mainly focus on the techniques that represent the sound of Galerna by playing around the instrument to imitate the natural sonic experience.
for violin, cello and piano
The piece is inspired by a unique, physical motion, “Thrust” which musically focuses on the driven direction of sounds. I interpret “push” motion by using the sonic intensity and rapidity of musical textures with exaggerated sound production of the instruments such as distortion (hard bow’s pressure and inside piano playing), sound and motif repetitions (fast tremoli, glissandi, trills), and contrasts of timbral qualities (different timbres of string’s positions, piano’s harmonic sound). As a result, the piece creates a variety of physical movements and tone colors of the instruments.
for violin solo
This piece is commissioned by Tacet(i) Ensemble as a part of British Council Grant 2021: UK-Southeast Asia Connections Through Culture. I interpreted the theme, ‘Resilience’, as the use of elastic gestures and quick contrasts in motion throughout the piece. The piece creates a dialogue which contains sound movements such as back-and-forth, sustained and short sounds, and glissandi up and down. Extended violin techniques are explored in this piece such as scordatura, wild free improvisation, approximate pitch glissandi, and a variety of bowing positions.
Under Pressure (2020)
for flute, bass clarinet, violin, cello and piano
The idea of this piece is to engage audiences in feeling the state of being under-pressure that the music attempts to embody. The piece represents the idea of being stressed through ‘pushing’ gestures, compressing aspects of the music, and distorted sounds created by the instruments. For strings this includes increased bow pressure to create creaking or interrupted sounds. For the woodwinds, I use overblown notes (high-wind pressure) on flute, and “slap tongue” on clarinet to produce a ‘pop’ sound from tonguing and wind pressure.
The musical material selected, mainly use dissonance to suggest a stressful state. The repetition of rhythmic patterns depicts the force of doing something repeatedly, pushing until a condition of stress is reached. The fast tempo of the piece similarly pushes the musical direction forward.
The Solo I (2020)
for tuba solo
String Quartet No.1 'til the end of the day' (2019)
String Quartet No. 1 is a portrayal of the scenic atmosphere of my city, Bangkok. It evokes a curiosity of a life in a day and the sounds in Bangkok. I pieced together this music based on my own feelings and turning them into music (composer) and expressions in this short piece. Herein, you will find that I have included some elements from Thai musical culture and the sound of Thai society as it is today.
The extended techniques within this piece are intended to create a new sound combination. The piece will take you through a day and night in Bangkok in which you can find pollution, high density living, and traffic jams, one of the biggest problems, through the day. On the other hand, you will also find peace in the temple, birds chirping, and people smiling and living simple lives.
Lost in the Jungle (2018)
for percussion ensemble
“Lost in the Jungle” is about a journey into unknown jungle, where mysterious sound of the jungle is heard throughout. It’s not known if it’s possible to make it out of the jungle; yet the mysterious sound is always calling.
This piece has been selected as a part of AYE (Asean Youth Esemble) call for score 2018 and PGVIM International Symposium which organized by Princess Galyani Vadhana Institute of Music.
for violin, cello (with or without electronic)
“Tête-à-tête” means a face-to-face conversation in French. This piece is for strings, and live electronic which consists of a cue list of preprepared sounds. The string parts make extensive of extended techniques for bowing throughout the piece. The piece is in two parts with contrasting characters: A fast part that focuses on a heavy and harsh tone, and a slow part that is focused on sonority and gentler sounds.
The idea of this piece is to make a conversation between the performers and the electronics, which play the part of another player. The sound selections for live electronics mainly use digital and futuristic sound elements to represent a digital music instrument played by a robot. It is thus like a conversation between people and a machine.
This piece can be flexibly played with or without the electronic part. The set up for electronic may use a single speaker for mono or 2 speakers as stereo, but it must be placed in the middle between string players on the stage. It should look and sound like a trio.
for clarinet and fixed electronic tape
The title ‘Clarirage’ is a portmanteau of “Clarinet” and “Rage”. This piece tells a story of being out of control and frustrated. The interaction between performer and tape is very important in this work, as are the clarinet’s techniques and electronic sounds.
The dialogue between tape and performer acts like an interaction of people with environmental sound and feeling in the urban environment of Thailand’s capital, Bangkok. In terms of sound characteristics, I was mainly focused on blending the acoustic clarinet sound with EDM and Dubstep sounds in the electronics. Moreover, the techniques and rhythm imitate each other throughout the piece. With a movement of the whole structure, it’s pushing the performer forward from the calm start to the fastest point as the resolution. This could mean the rage of the clarinet performer. By the way, she or he may be ‘hot-headed’ during a performance. You have been warned!