This recital comes from my ongoing reflections on how the “circle” manifests in music.
A circle has many layers — it is more than a shape we can see. Sometimes it moves like the cycle of breathing, sometimes it radiates outward as sound, and sometimes it undulates within beatings. Through these unfolding circles, sound finds a space to emerge, interact, fade, and return to itself. This is why I named the recital CONTINUUM — “a continuous body.”
From the flowing rhythms of An Ancient Dance and Fading Tides Beyond the Ocean, to Non-Lieu I, where the performance space itself becomes an instrument, and to Vento — Canto, which dissolves and reconfigures spatial perception, all three composers share a certain engagement with the sense of space in music.
Stage and lighting design go beyond decoration. They extend the performance space visually and follow the paths of sound. In the second half, the Halo Choir forms a semi-circle behind me, while the audience sits opposite. Sound moves between performers, choir, and listeners, creating a circular sonic field.
In this space, wrapped in vibration, I am more than a performer. At the center of the circle, I share the Conti-nuum with the composers, the choir, and every listener, breathing and resonating together.
這場專場，來自我對「圓」如何在音樂中出現的持續思考。 圓有許多層次，並不只以肉眼可見的形狀存在。
有時它像呼吸般循環往返，有時以聲響向外擴散的狀態呈現，也可能是在共振之中的大小波動。透過這些不斷延續的圓，聲響彷彿獲得一個場域，能在其中生成、 彼此牽引、消散，又返回自身。這也是我將這場演出 命名為《CONTINUUM》 — 「連續體」的原因。
從《遠古之舞》與《消褪之潮》中對節奏於空間裡 流動的感知，到《非地方 I》將場域本身視為一件 樂器，再到《風聲－歌聲》中聽覺定位的瓦解與重組，這些作品來自三位作曲家，卻都不約而同地將 ｢空間性」納入音樂思考之中。
舞台與燈光設計不再只是背景，而是透過視覺鋪展 演出的場域，與聲音行進的路徑緊密呼應。下半場中，微光合唱團於我身後以半圓形展開，觀眾則位於圓的 另一側；聲響在演奏者、合唱團與聽者之間往返流動，一個被啟動的「圓形場域」於是成形。
在這個被「振動」包覆的環境中，我的位置不再只是演奏者，而是站在圓心，與作曲家、合唱團，以及每一位聆聽者，一同在這條連續體中呼吸，並彼此回應。
