Sound Works presents a series of Pian’s compositions.

These pieces are shaped by observation, memory, and imagined perspective.
Atmosphere and emotional presence unfurls carefully, evading a linear narrative.

Back To San Marco

Memory unfolding through time.

Back to San Marco traces a love story that moves across different eras, beginning with a chance encounter between a contemporary person and a woman depicted in a Victorian-era painting. Time becomes fluid as past and present intertwine, allowing love to emerge, fracture, and reappear.

The work lingers in moments of longing, hesitation, and return, leaving its ending open, suspended between memory and possibility.

Animal In Prison

Seen through the eyes of captivity.

Inspired by an encounter in a zoo, Animal in Prison reflects on confinement, displacement, and the possibility of human empathy. Observing a tiger behind bars, the piece emerges from an imagined perspective shaped by loss of freedom and instinct.

The music moves through restraint and sorrow while holding space for fragile hope, inviting listeners into a moment of quiet witnessing.

Finding Arcadia

A passage found, and lost.

Based on a dream-like journey through mountains and an unseen village, Finding Arcadia explores discovery, belonging, and disappearance. The work reveal an encounter with an ideal place that cannot be revisited.

In the place of offering a resolution, the piece lingers in the sensation of return, carrying the ache of something briefly found and irretrievably gone.

Nodding Pigeon

A study of small movements and shared space.

Nodding Pigeon draws from an ordinary scene in a city park, where pigeons interact and compete around scattered food. Through close observation, individual gestures gradually reveal patterns of group behaviour and hierarchy.

The work transforms everyday movement into a quiet portrait of coexistence and instinct.

Colourful Clouds Chasing The Moon

A moment of peace drifting through uncertainty.

Originally composed during the turbulence of the 1940s, Colourful Clouds Chasing the Moon turns away from conflict toward an inner landscape of calm and longing. Flowing melodies evoke clouds moving gently beneath a restless sky.

This rearranged piece becomes a temporary refuge, a space where beauty and quiet resilience persist despite surrounding chaos.

Why Are The Flowers So Red

Longing carried through silence.

Originating from a traditional Tajik melody and later adapted in 1960s China, Why Are the Flowers So Red? became deeply embedded in collective emotional memory. During a period marked by restraint and upheaval, the song offered a quiet space for tenderness and unspoken feeling.

This arrangement endures as a vessel of cultural remembrance, where simplicity and emotional resilience coexist.

These works invite listening as an act of attention — toward what remains, what disappears, and what lingers.

Credits

Composition, re-arrangements and photography
Pian Vane

Pian Vane – Piano, Toy Piano
Gregor Oehlmann – Alto Saxophone, Soprano Saxophone
Wolf van Gemert – Double Bass
Joey Schins – Drums