Tan Dun and Water Passion after St. Matthew

Tan Dun created ​Water Passion after St. Matthew, written to commemorate the 250th anniversary of the death of J. S. Bach. Not only Tan follows the western tradition to use the texts from the Gospel of Matthew, but he also wrote some texts by himself in this piece, for example, the opening words, “A sound is heard in water, in darkness, the tears are crying for rebirth.” This innovation reflects his respect for tradition and oriental philosophy which is there is no beginning and end of life.

TAN DUN'S VIOLIN CONCERTO "THE LOVE" AS A REFLECTION OF STYLISTIC DIVERSITY OF MODERN COMPOSITION

The article analyzes "The Love" Violin Concerto (2009) by the famous Chinese and American composer Tan Dun in contextual, composing and linguistic aspects. Based on the statements of his contemporaries, the author considers the composer's musical and aesthetic views that determine the originality of his style, organically combining avant-garde techniques with elements of traditional Chinese music. Tan Dun's Violin Concerto exists in three versions with different titles ("Out of Peking Opera" 1987, "The Love" 2009, "Rhapsody and Fantasy" 2018), representing different artistic concepts with a new viewpoint on the same intonational material. Three movements of the Concerto "The Love" reflect the evolution of feelings at different stages of human life. The composer manages to combine the idea of "national" (a tendency going back to the version of the Concerto "Out of Peking Opera" 1987) with a philosophical understanding of the category of love. The paper discusses the originality of the dramaturgy of "The Love" Violin Concerto, which assumes the third part as the main center (based on the development of thematic material of the first and second movements), the consolidation of parts of the attacca cycle and the rondality of the musical form. The most important peculiarity of the composition is the mixture of elements belonging to different cultural and temporal layers of music. The stylistic diversity of Tan Dun's Concerto is reflected in the following details: the composer's introduction of a stylized tune from the Beijing Opera erhuang, speech intonations resembling recitatives of Chinese dramas, borrowings from his own film music (the second movement), the use of methods typical for traditional Chinese music, yaoban and sanban, the timbre of oriental percussion instruments in a classical symphony orchestra, as well as dodecaphone techniques, aleatorics and Hip-hop rhythms. Special attention in the article is paid to interpretation of expressive possibilities of solo violin: methods of classical-romantic technique are synthesized with traditions of performance on Chinese stringed instruments.

A experiência de Ócio e sua dimensão criativa: um estudo de caso sobre a performance de Water Music (2004) de Tan Dun (1957)

Este artigo tem como objetivo analisar a relação entre o conceito de experiência ócio e o investimento criativo na performance da obra Water Music de Tan Dun. Trata-se de uma investigação qualitativa, do tipo exploratória, feita a partir de um estudo de caso sobre a performance do percussionista Luís Bittencourt nesta obra. Seu processo de estudo foi observado, descrito e analisado, através do conceito de experiência de ócio autotélico, e sua dimensão criativa, e o conceito de experiência estética. Conclusões sugerem relações entre seis categorias da experiência de ócio e características da obra musical e exemplos do investimento criativo do músico. Palavras-chave: Experiência de ócio; Dimensão criativa; Performance musical; Water Music; Tan Dun.