freeOK概要：Cast: Tan Dun Shanghai Symphony Orchestra Introduction: Dialogue with Tan Dun Portrait drawing: Tan Dun Interview on Map Creation In the winter of 1981, when I was still a student at the Central Conservatory of Music in Beijing, I returned to my hometown of Hunan to collect folk songs. When I arrived at a village of the Tujia ethnic group, I met a famous "stone man" who played his stone music, a very ancient stone drum, to welcome me. At eight positions, according to the pronunciation of the Book of Changes and shamanism, he conversed with the wind, clouds, and leaves; He talked about the afterlife and past life. At that moment, I felt like he was like a map. Then I asked him, "One day soon, can I come back to record your performance and learn music with you?" For many years, I haven't found a chance to return until 20 years later, when I created this piece for Yo Ma and the Boston Symphony Orchestra. In the winter of 1999, I went back; The villagers of the Tujia ethnic group warmly welcomed me with the tea ceremony and told me, "When people leave, tea cools down." - "The Stone Man" followed an unknown old song. "I left the village with emptiness. I really want to find a way to find him, follow him, and bring him back. Can we find a way to track everything that is disappearing? Prevent things from disappearing? "Map" is a multimedia concerto. I want to discover comparisons between different media, time and space, and cultures. The structure and musical texture aim to create counterpoint music through cello solo and video, orchestra and video, solo and ensemble, text and sound, as well as multi-channel video and live stone playing. Metaphorically speaking, orchestras have become natural, soloists symbolize people, and videos represent tradition. The map can be divided into four parts: actions 1, 2, and 3 form the first part and play continuously. The acoustic counterpoint method has different designs in each of these three movements. The following two actions are a comparative study. The fifth movement not only creates a dialogue that transcends space (a flying song is always sung by a woman and a man in the mountains and valleys), but also creates a dialogue that transcends time (the same woman in the video will always sing against the cellist on stage, thus transcending history). The 6th movement is an interlude where the video image is replaced by counterpoint text and sound, entering the 7th movement, which is a live stone solo video quartet. The final part consists of actions 8 and 9, where the cello solo, orchestra, and video are integrated to recreate the music in its original mono state: simple, like a heartbeat. This is an endless ending, Tan Dun, July 10, 2004
Cast: Tan Dun Shanghai Symphony Orchestra Introduction: Dialogue with Tan Dun Portrait drawing: Tan Dun Interview on Map Creation In the winter of 1981, when I was still a student at the Central Conservatory of Music in Beijing, I returned to my hometown of Hunan to collect folk songs. When I arrived at a village of the Tujia ethnic group, I met a famous "stone man" who played his stone music, a very ancient stone drum, to welcome me. At eight positions, according to the pronunciation of the Book of Changes and shamanism, he conversed with the wind, clouds, and leaves; He talked about the afterlife and past life. At that moment, I felt like he was like a map. Then I asked him, "One day soon, can I come back to record your performance and learn music with you?" For many years, I haven't found a chance to return until 20 years later, when I created this piece for Yo Ma and the Boston Symphony Orchestra. In the winter of 1999, I went back; The villagers of the Tujia ethnic group warmly welcomed me with the tea ceremony and told me, "When people leave, tea cools down." - "The Stone Man" followed an unknown old song. "I left the village with emptiness. I really want to find a way to find him, follow him, and bring him back. Can we find a way to track everything that is disappearing? Prevent things from disappearing? "Map" is a multimedia concerto. I want to discover comparisons between different media, time and space, and cultures. The structure and musical texture aim to create counterpoint music through cello solo and video, orchestra and video, solo and ensemble, text and sound, as well as multi-channel video and live stone playing. Metaphorically speaking, orchestras have become natural, soloists symbolize people, and videos represent tradition. The map can be divided into four parts: actions 1, 2, and 3 form the first part and play continuously. The acoustic counterpoint method has different designs in each of these three movements. The following two actions are a comparative study. The fifth movement not only creates a dialogue that transcends space (a flying song is always sung by a woman and a man in the mountains and valleys), but also creates a dialogue that transcends time (the same woman in the video will always sing against the cellist on stage, thus transcending history). The 6th movement is an interlude where the video image is replaced by counterpoint text and sound, entering the 7th movement, which is a live stone solo video quartet. The final part consists of actions 8 and 9, where the cello solo, orchestra, and video are integrated to recreate the music in its original mono state: simple, like a heartbeat. This is an endless ending, Tan Dun, July 10, 2004展開
