Deqing Wen is a Swiss Composer of Chinese origin. He studied at Fujian Normal University Conservatory of Music, China Conservatory of Music, Geneva Conservatory of Music in Switzerland, Conservatoire Nationale de Lyon in France, and Columbia University in New York with Tristan Murail. Studied under Guo Zhurong, Shi Wanchun, Luo Zhongrong, Jean Balissat, Gilbert Amy. His biography was included in the Cambridge Dictionary of International music celebrities. At present, Wen deqing is professor and doctoral supervisor of composition Department of Shanghai Conservatory of Music, member of Swiss Music Copyright Association and vice chairman of China-Asean Musicians Union. Wen deqing is the winner of the "Government Prize" of Geneva (1993), the "Culture Prize" of the International KIWANIS Foundation (1999), the "Composer Prize" of the Leenaards Foundation of Switzerland (2001), the Chinese Literary Prize and the Shanghai Spring Award for Excellent Works.

Guided tour of the works

Shepherd Boy Flute is a flute solo composed by the composer in 1999. The author fully explores the expressive possibilities of Musical Instruments, and places music between melodious and flexible, so as to outline his new interpretation of traditional images. It is worth mentioning that the composer created and used many new techniques in the music, which are novel and interesting. The whole song "Shepherd Boy Flute" lasts less than seven minutes, but the whole song is full of ups and downs and rich colors. It depicts the scene of children herding cattle: In the morning, before the fog disperses, the shepherd boy rides the cow leisurely walking in the fields, the lively and playful shepherd boy, the hazy and quiet of the fog can not help but come to our mind.

Composition: Wen Deqing

Conductor: CAI Yang

                                              Performance: Guangxi Symphony Orchestra of China

The orchestral version of love Song and Boatman's Song was composed in 2010, adapted from the solo piano version he created in 2006 in New York. It inherits the author's personalized musical language, and also contains strong folk music elements, skillfully combining love song and boatman's song with two traditional musical elements. It highlights the unique charm of modern music and at the same time powerfully shows the spirit of young men and girls breaking through feudal bondage and pursuing free love. In the performance of the song, the players play while imitating the Shouting of the song, which is refreshing. At the end of the song, it perfectly expresses the true feelings of the song trackers to show the difficult situation of pulling the string.

Composition: Wen Deqing

           Conductor: Liu Shun (China)

        Suona: Guo Zhiya

                   Performance:Guangxi College of Arts

                                 National orchestra

                                              Guangxi Song and Dance 

                                               Theate National orchestra

Suona Concerto Trace four , composed in 2004, is the fourth piece in the composer's "Trace" series of five works. Trace four combines calligraphy art and develops his own music with the inspiration of calligraphy creation process. "When I write, I think of a large orchestra as an endless piece of rice paper, and the suona as a brush that is free and unrestrained." The author compares the suona to a writing brush and the band to ink and rice paper. Under the interaction of the suona and the band, we seem to see a series of elegant calligraphy works. The work, which combines Traditional Chinese Musical Instruments with traditional culture, was well received by the international music circle and loved by Chinese audiences.

Composition: Wen Deqing

      Conductor: Zhang Liang

Guzheng: Liu Le

              Chief: Gold Maya

                                  Performance: Guangxi Symphony Orchestra

Gayageum sanqu was written in 2021 for guzheng and symphony orchestra. The composer took the famous Korean folk song Arirang as the theme of the song. Through extension, expansion and variation, the music organically combines the intersection of sadness and joy, the superposition of music and noise, and the mixture of tradition and modernity. In order to reflect the eternal beauty of life and broad and infinite modern international traditional music. It is a cross-cultural challenge to play gayageum music with guzheng. The performance of traditional "Sanjo" from the perspective of modern music fills the work with sparks and presents the integration and collision of world music and folk music for the audience.

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