Raw Elegance includes 3 primordial contemporary percussion works based on Skin, Wood, and Metal: Rebonds (1989) by Iannis Xenakis, Mani.Matta (2008) by Pierluigi Billone, and Maskine (‘machine’, 2012) by Toke Odin, commissioned by me. These 3 are all “architectural” pieces which, in my opinion, speak very directly to people of all ages and interests because of their primordial qualities.
The name “Raw Elegance” came from my many years of fascination with and exploration of different combinations of polarities. “Raw Elegance” sums up the general polarities in my personal style and taste on the stage: I am a woman percussionist with a slim physique, yet by nature I perform with lots of primitive power, intuition, and speed.
"I have found out from my previous experiences that the most outstanding concerts I have given during these years took place in locations where the architecture of the venue sustained and connected to the repertoire as well as my style of performing music, aiming at the deepest “reptile brain”. In such concerts, it literally felt as if my whole being was supported and lifted almost in a magical way, and contemporary music became effortlessly accessible for the audiences. Some audiences who normally would not go to contemporary music concerts would express that they were surprised that performance moved some primordial area in them. Some parents would express that there young kids became very attentive during the performances. I knew I reached somewhere deep in them. These experiences were the seed of the next project: Raw Elegance: Percussion vs. Architecture, and its forthcoming release tour." (Ying-Hsueh Chen)
Ying-Hsueh Chen, percussion
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