#johnny chang

[moviemosaics]

Keyhole

directed by Guy Maddin, 2011

[turangalila]

Eric Wong (*1981)

Duo with Johnny Chang

25.9.2017

Johnny Chang - Viola Eric Wong - Guitar

[musicmakesyousmart]

Ernesto Rodrigues, Johnny Chang, & Guilherme Rodrigues - Studio Session

Digital Creative Sources

2018

[dustedmagazine]

Catherine Lamb and Johnny Chang — Viola Torros (Another Timbre)

Viola Torres is a work of mystification. According to an interview on the Another Timbre website, it grew out of a recurring conversation between Berlin-based violists and composers Catherine Lamb and Johnny Chang about the work of a composer named Viola Torros. The musicians share an insider’s skepticism about core assumptions and practices of classical music. Both believe in giving musicians the opportunity to provide not just instrumental skill but creative input. While little is known of Torros beyond reports that she was born in the Indus valley during late Vedic age (c. 500 BC) and was sighted in different locations across India, Europe, and points in between, Lamb and Chang grew their discussion into a body of work that has been recorded for this album and performed around Europe and the United Kingdom.

The record comprises two CDs. The first features two “V.T. Augmentations,” each played by the two violists, a vocal trio, and Bryan Eubanks, who is credited with “resonances.” Each piece lasts about two-thirds of an hour, during which the violists switch off the roles of patiently unspooling melodies that stand somewhere between Indian and Western classical traditions on ground as solid as the home turf in the movie Solaris, or sympathetically adorning said melodies. Wordless vocals and outdoor sounds fade in and out behind the strings, giving one the feeling of being randomly beamed from church onto a train platform by a wonky Star Trek transporter.  

The second disc includes a half hour-long piece by Chang, which was recorded in Tokyo with the Suidobashi Chamber Ensemble, and a longer one by Lamb that is played by a quartet that includes the two violists, cellist Derek Shirley, and Andrea Neumann on “secondary rainbow synthesizer.” The simple theme of Chang’s “Citaric Melodies III” proves to be a sturdy framework for a continuously shifting array of tones that bleed into one another, and then filter prismatically before mixing it up again.  Lamb’s “Prisma Interius VI (for v.t.)” is more melodically elaborate than Chang’s piece, but likewise uses its recognizable structures as suspension points for sounds in a continuous state of blurring. As on “V.T. Augmentations,” outdoor sounds leak into the music. But this time the strings periodically yield the field to the rumbling of passing trucks, the chatter of passersby, and swelling electronic tones. It’s simultaneously lovely and quite disorienting.  

By now the alert reader has likely started searching for information about Torros and the musicians to try and understand just what they’re reading and hearing. The easy part is learning the explanation of the workings of Eubanks’ so-called synthesizer, which is actually a system of microphones and filters. Tracking down Torros is harder. They will find that despite having been born 2500 years ago, Torros has a page on the Wandelweiser website alongside otherwise still-breathing composers like Antoine Beuger and Michael Pisaro. They will further find that beyond that page, the only references to Torros on the web involve discussions of this album or live performances by Chang and Lamb. What to make of this? Are Lamb and Chang musical archaeologists, unearthing the work of a forgotten female artist of antiquity? Or are they playing out a fiction beyond prankdom, using it to turn their shared musical pursuits into an invitation to think about just why we don’t read much about excluded and suppressed sectors of the human population, even though that population must have had just as high a proportion of people capable of creative thought and action as contemporary humanity? Well, what do you make of this?

Bill Meyer

[halo-bbyk]

Johnny Change

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[motivationandquotations]

[ntgospel]

De gangues para a graça: Testemunho de transformação de Johnny Chang

Confira a novidade em https://ntgospel.com/testemunhos/de-gangues-para-a-graca-testemunho-de-transformacao-de-johnny-chang

De gangues para a graça: Testemunho de transformação de Johnny Chang

Johnny Chang, um homem que já fez parte de uma gangue e viveu uma vida de criminalidade, está agora compartilhando um testemunho inspirador de transformação e redenção após encontrar Jesus.

Criado em um ambiente caótico, Johnny cresceu com raiva e desesperança em seu coração. Esses sentimentos o levaram a buscar conforto nas ruas, onde eventualmente se envolveu em atividades criminosas e juntou-se a uma gangue. O tráfico de drogas, roubos e assaltos tornaram-se parte de sua vida diária.

Após ser preso por seus crimes, Johnny experimentou um vazio em seu coração, uma pressão constante em seu peito que o deixava em busca de respostas. Na prisão, tentou encontrar orientação lendo a Bíblia, mas ainda não encontrou as respostas que procurava.

Ao ser liberado e voltar às ruas, Johnny continuou em uma espiral descendente, envolvendo-se em mais problemas, incluindo um incidente fatal que resultou na morte de um amigo. Diante de perdas e dores, Johnny se viu confrontado com a mortalidade e seus próprios medos.

Um ponto crucial em sua jornada aconteceu durante uma visita à igreja com sua mãe. Observando uma nova felicidade e paz nela, Johnny ficou intrigado e perguntou o que a havia mudado. A resposta foi simples, mas poderosa: “Jesus”. Embora inicialmente relutante em aceitar a religião, Johnny começou a questionar e explorar essa fé.

Verdadeira Mudança

A verdadeira mudança ocorreu quando Johnny, após anos de conflitos internos e crimes, encontrou-se diante de um pastor durante uma refeição. Nessa conversa, ele foi apresentado ao Evangelho de uma maneira que nunca havia entendido. O pastor compartilhou sobre o pecado, a necessidade de redenção e o perdão oferecido por Jesus.

O pastor desafiou Johnny a enfrentar as feridas do passado, incluindo seu relacionamento com seu pai. Este desafio resultou em um passo corajoso em direção à reconciliação. Johnny, que havia carregado anos de dor e ressentimento, pediu perdão ao seu pai e, surpreendentemente, recebeu perdão em troca.

Segundo a God TV e com informações do Gospel Prime, essa reconciliação emocionante tornou-se um ponto de virada na vida de Johnny. Desde então, ele dedicou sua vida a compartilhar sua história de transformação, ministrando para aqueles que enfrentam situações semelhantes, especialmente em ambientes prisionais.

[dustedmagazine]

Johnny Chang / Keir GoGwilt — Hope Lies Fallow (Another Timbre)

hope lies fallow by Johnny Chang & Keir GoGwilt

The challenges for many musicians during COVID time has been how to connect with others and continue your work when you can’t share physical space? Johnny Chang and Keir GoGwilt faced a different concern. Beginning in February 2021, they both found themselves in greater Auckland, Aotearoa New Zealand. Chang is a New Zealander who had just finished two decades living abroad; GoGwilt is an American who was spending a year in the land of the long cloud with his partner, New Zealander Celeste Oram.

At the time, the South Pacific Island nation was quarantined from the rest of the world and substantially virus-free; getting together wasn’t quite the challenge that it was in many other parts of the world. But finding fellow musicians tuned into both early and contemporary repertoire and ready to seek out the places where they meet was another matter. So, starting with an encounter in a suburban back yard, Chang and GoGwilt began playing together. Both played violin, although Chang is best known as a violist. They worked through pieces by Hildegard von Bingen and Orlando di Lasso, experimenting with and reinterpreting them until they turned into something different, and then they performed them around Auckland. With Oram joining for half the album, they recorded the music in July, 2021. 

The starting points for this repertoire are substantially different; von Bingen, who lived during the 12th century AD, was a mystic abbess who composed chants and hymns, while di Lasso, who lived during the 16th century, toggled between solemnly sacred and earthily secular fare. But by the time GoGwilt and Chang had worked through the material, they had developed a consonant sequence of long tones, arcing accents and pregnant pauses. Oram’s contributions are mainly high, held notes, which make the music seem to glow from within. Partially rooted in work meant to bring holy experience to humanity, the duo’s music has grown into something that no longer guides the listener to the divine, but retains the impulse towards transcendence. Considering the hash people seem to be making of things these days, it’s hard to imagine getting enough transcendence in one’s life, and there’s no better place to start that with this recording.

Bill Meyer