Stravinsky's "Fireworks" is played, and the music is aptly named, lively and colorful. After the song was played, the conductor and composer Tan Dun and the China Philharmonic Orchestra stood up and greeted the audience. "Did you see the 'fireworks'?" Stravinsky was a student at the time of writing this work. Tan Dun turned to face the audience and began a soulful guided tour. Stravinsky, who brought modern music into the public eye and pushed the creation of folk themes to the extreme, is a "hero" admired by Tan Dun when he was a student. Today, reverence is a collision across time and space. Last night, the "New Works and Remembrance" symphony concert was held at the Poly Theater, and Tan Dun took his own works and launched a musical "dialogue" with Stravinsky.
The closing performance of the 24th Beijing International Music Festival. Photo by Fang Fei, a reporter of this newspaper
After "Fireworks", the Erhu Concerto "Fire Sacrifice" composed by Tan Dun, commissioned by the Beijing International Music Festival, ushered in the premiere, which was born during the epidemic period, integrating traditional Chinese sacrificial music and court music, constructing a stage sacrifice of contemporary music with 5 emotions, imagining the dialogue between man and nature, expressing reflection on war, and praying for peace for mankind.
In particular, Lu Yiwen, who plays the solo part of the music, plays both the Erhu and Erhu's predecessor, the "Xiqin", an instrument that Tan Dun copied according to the Dunhuang mural design. The most obvious difference between Xiqin and Erhu is that Xiqin has three strings, and Tan Dun first asked the old artists in Quanzhou to make the prototype of the instrument, and then carried out the "industrialization and scientific" attempt at the Shanghai National Musical Instrument Factory. "XiQin can make a very old and rustic sound." Lu Yiwen said. To play, she needs to pluck one of the strings with her thumb. This kind of playing method was obtained by Tan Dun from an old man, and one day, he walked out of the Dengshikou subway station and happened to meet a blind man pulling erhu. An emotional opportunity occurred, Tan Dun took a closer look, and the erhu in the old man's hand happened to be three strings.
"Musical instruments are the history of mankind. When the instrument is broken, so is history. Xi Qin and Erhu bear witness to the development and inheritance of Chinese music, and Tan Dun hopes that through their juxtaposition with the symphony orchestra and dialogue with Stravinsky, "China will see the world, and the world will also see China." The Fire Sacrifice unfolds with a monophonic Re, "as a thread, like a stroke of calligraphy, that derives an infinite variety of motifs, harmonic polyphony, and sound layers." Tan Dun said. Including this conception of continuous development from minimalism, "Fire Festival" is full of excavation and inheritance of Chinese culture and aesthetics. When playing, Tan Dun arranged the entire orchestra on the second floor of the auditorium and on the stage, the former standing, the latter sitting, just like the standing and sitting parts in the Tang Dynasty music trick. As the song progresses, all sorts of wonderful sounds unexpectedly echo around various locations in the theater. Tan Dun and the musicians sometimes have to "vocalize" and sing, and the long chant adds to the long and empty situation of the work.
In the second half, Tan Dun's "Double Concerto of Guzheng and Pipa" continued to be staged. Young pipa player Han Yan and guzheng player Su Chang cooperate with the orchestra to vividly display the mysterious and warm characteristics of China's original music. The concert comes to an end in Stravinsky's dramatic masterpiece Firebird. The melody created by the modernist music giant who celebrated his death this year once again responds to the theme of "Masters and Remembrance" of this year's music festival.
The 24th Beijing International Music Festival also officially concluded in this concert. Since October 9, 21 sets and 24 wonderful concerts have been staged. On the occasion of the centenary of the founding of the Party, 100 party members and performers from more than 20 orchestras and institutions across the country jointly opened the curtain of this year's music festival; under the main line of "Masters and Remembrance", Western music masters such as Saint-Sang, Mahler, and Stravinsky were staged together with the works of Chinese composers such as Ding Shande, Guo Wenjing, Chen Qigang, Tan Dun, etc., highlighting the connotation of contemporary Chinese culture in the "dialogue" between the East and the West; the Chinese premiere of the opera "The Journey of the Prodigal Son", the Baroque Music Theater "Ode to Nature", and the commissioned work "Fire Sacrifice" Highlighting the tonality and vision of the music festival in line with the international frontier under the "inner loop" of classical music, the young people represented by the "post-00s" conductor Jinyu mine and the neo-classical chamber orchestra let more audiences see the vitality and future of Chinese classical music.
(Original title: Tan Dun played the new work "Dialogue" Stravinsky The 24th Beijing International Music Festival closed last night)
Source: Beijing Daily | Reporter Gao Qian
Process Edit: U016
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