Classical Music

Paper becomes a solo instrument in this ingenious fusing of of orchestral music and organic sounds to create accessible, even melodious, music. Tan Dun conducts the Stockholm Philharmonic Orchestra with soloist Haruka Fuji.

Charles Workman, Sarah Castle, Stephen Richardson, and Nancy Allen Lundy star in this production of the Tan Dun opera with the composer conducting the Netherlands Chamber Orchestra and Cappella Amsterdam.

Using water as a musical instrument, this extraordinary piece uses innovative techniques to explore the musicality of the sounds of water. Soloist David Cossin displays remarkable genius as he deftly creates unique, sensuous, organic, and sometimes distinctive accompaniment of the Royal Stockholm Philharmonic Orchestra, conducted by the composer, reflecting his personal combination of Chinese and Western musical tradition.

A well thought-out concept album was to be their first recorded release, the musicians of Percussion Under Construction had already decided before Corona. The forced break in the first lockdown in March 2020 strengthened them in this decision: Newly created works in this exceptional situation were to enter into correspondence with previously known ones. Thus, Prelude I, composed by ensemble member Martin Hennicke during this time, reflects the situation of the soloist left entirely to his own devices, while he revised his work L.A., begun earlier, to represent the particular consternation of the mega-metropolis: The composition, consisting partly of field recordings of industrial plants, takes on a life of it's own and continues to exist even without the temporarily invisible people. Works of the last decades partly sound in new versions, new ones were created especially for the situation of the only virtually connected actors - an impressive demonstration of different worlds of experience.

The first encounter between Chinese composer Tan Dun and Norwegian violinist Eldbjørg Hemsing took place in 2010 during the Shanghai World Expo, when Hemsing premièred Tan’s Love Concerto. Both have strong roots in the traditional music of their native countries, and out of this meeting between traditions a fruitful collaboration has developed which also involves an investigation of the music that happens here and now. In Hemsing's words, the encounter ‘opened up my musical horizons’ and she has since performed a number of the composer's works involving the violin. Fire Ritual, the concerto that lends its name to the present album, was composed with Hemsing in mind. It exists in a version for violin and Chinese traditional orchestra, as well as the one recorded here, which Hemsing and the Oslo Philharmonic premièred in September 2018, conducted by the composer. For Eldbjørg Hemsing, Tan Dun has also created the concerto that opens the disc, Rhapsody and Fantasia, based on earlier works. Both works reflect the composer’s memories of growing up barefoot in the countryside, and his later experiences of bringing together the shamanistic and spiritual world of his childhood with the discipline and philosophy of Peking Opera. Or in the composers own words: ‘a reflection of those early memories of my youth, but through the lens of my current musical soundscape’.

REGIONS: All Regions
PICTURE FORMAT: 16:9
LENGTH: Approx 156 Mins
SOUND: 5.0 DTS SURROUND / PCM STEREO
SUBTITLES: ENGLISH/FRENCH/GERMAN/SPANISH/ITALIAN/DUTCH
NO OF DISCS: 1

In ‘Marco Polo, an opera within an opera’, composer Tan Dun portrays the Venetian explorer’s travels to the Far East as a journey of both inner and physical discovery, a voyage depicting spiritual experiences as well as a geographical expedition. At the same time the work, on a libretto by Paul Griffiths, can be seen as a compositional adventure of the composer himself, unifying the various cultural worlds he occupies: a blend of Western avant garde and Oriental traditions. Pierre Audi’s mythical staging and Jean Kalman’s fabulous set design complement the composer’s own musical direction, forging the dazzlingly versatile soloists, the Netherlands Chamber Orchestra and Capella Amsterdam to a stunning symbiosis of elements across time and space, a true testimony to cultures intertwined in globalisation.

Polo: Charles Workman
Marco: Sarah Castle
Kublai Khan: Stephen Richardson
Water: Nancy Allen Lundy
Shadow 1/Rustichello/Li Po: Zhang Jun
Shadow 2/Sheherazada/Mahler/Queen: Tania Kross
Shadow3/Dante/Shakespeare: Stephen Bryant
Chinese/Arabian dancer: Mu Na

Netherlands Chamber Orchestra
Cappella Amsterdam
Musical Director: Tan Dun
Stage Director: Pierre Audi

Recorded live at Het Muziektheater, Amsterdam, on 13th and 18th November 2008.

Plus
Illustrated synopsis.
Cast gallery.
Documentary: The Music of Tomorrow – including interviews with the creative team and principle cast members.

Reviews
‘Tan Dun’s Marco Polo was, for me, a multi-dimensional experience which went beyond my expectations and indeed overwhelmed my senses… Here was an opera of our generation: a fusion of elements across time and space, a true testimony to the way our worlds have become intertwined in the globalisation process.’ Anne Ku, Bonjournal.com

The multifaceted and multi-award winner Tan Dun has made an indelible mark on the world music scene with a creative repertoire that spans the boundaries of classical music. The Symphonic Poem on Three Notes describes an evolutionary arc from nature through industry and back to nature, the traditional orchestra augmented with a range of unorthodox sound sources such as wind, stones and car brake drums. The drama of Orchestral Theatre centres on memories of ritual from the composer’s childhood, linking folk music styles to Western atonality, while the Concerto for Orchestra describes the exoticism of Marco Polo’s geographical, musical and spiritual journeys.

Tan Dun’s originality has been reflected in worldwide recognition of his music, which draws on both Chinese and Western musical languages. The Eight Memories in Watercolor are deft painterly reflections, while in Trace she balances sound with silence in this evocation of nature. The vibrant drama of Blue Orchid incorporates the opening motif of Beethoven’s Diabelli Variations. In Film Music Sonata, which here receives its first recording on general release, Tan Dun draws on his score for the film The Banquet. The kaleidoscopic C-A-G-E-, strikingly Chinese in sound, is a tribute to his teacher and spiritual compass, John Cage. The Fire, written for Ralph van Raat, contains some of Tan Dun’s most virtuosic and dramatic piano writing.