Tan Dun | Orchestral Theatre I: O
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Synopsis

“How, or if, a classical orchestra could sound not classical? Could it convey the sense of another culture, a ritual of instruments and vocalization? Could this, which is common in Chinese theater and folk celebration, be done with a western orchestra? What would primitive sounds be like with western harmony? Why must harp be only harp, and koto only koto, forever separate?”

These are the questions Tan Dun addressed as he began writing Orchestral Theatre “O” (pronounced “oh”), the first piece in what would become his multimedia Orchestral Theatre tetralogy (1990-1999). According to the composer, the “O” in the work’s title stands for “origin” or “original”: it is an ur piece, that which was before all else, as well as one which keeps returning. By adding music for xun soloists, Tan later developed the work into his Orchestral Theatre I: Xun (1990), later revised in 2002.

Various dramatic sounds color the ritual-like Orchestral Theatre “O” — yelling, chanting, murmuring, striking, and singing, produced both instrumentally and with the orchestra members’ voices; vocalized syllables belong to no specific language and have no real meaning, but are intended as pure sound. It follows the structure of Chinese theater, in which opening free beats become a rhythmic sequence, suddenly interrupted by an orchestral murmuring; this cycle plays back and forth between instruments and voice. The orchestration treats instruments in atypical ways, often borrowing from Chinese music. (For example, strings are sometimes played as percussion, the harp is played like the “zheng,” an ancestor of the koto, and the piccolo like a bamboo flute.) The piece has no story-line or theme, but unlike a totally abstract musical work, expresses strong dramatic and emotional images. Tan Dun recalls: “As I wrote this piece in New York, a lot of things were running through my mind: the faces of Peking opera actresses, sacrifice, human noise in Tien An Men Square – all these images appeared to me as hallucination, jumbled together on a huge stage.”

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Dialogues with Tan Dun

‘Orchestral Theatre’ is the form that I was trying to create for a modern symphony, having a sort of ancient ritualistic performance format, combined with the symphonic traditions. And so in “Orchestral Theatre”, so far I wrote four of them; No.1 focuses on the ancient rituals, the orchestra players not just playing but they are shouting, hunting, humming, singing, and it’s like Balinese, it’s like Aboriginal, it’s like a kind of ensemble in the village. So “Orchestral Theatre”, the concept of it is enlarged, as the music develops from earlier themes. So I think to continue to save the life of orchestra, we had to continue the tradition of all kinds of not just 200 or 300 years of a Western or Chinese sort of condition, but we have to go much wider.

–Tan Dun

“Orchestral Theatre I: “O” unites the primitive sounds of Chinese drama with Western harmony to create a memorable work.”

–Stephen Ellis, Fanfare

Year

1990
Duration

19 Minutes
Instrumentations

2+pic.2.2+bcl.2+cbn/4331/4per c/hp/str; orchestra members’ voices
World Premiere

August 15, 1990
Edinburgh, Scotland (1992)
Edinburgh International Festival
BBC Scottish Symphony
Jerzy Maksymiuk, conductor (1992)

October 6, 2002
Brisbane, Australia (rev. 2002)
Other Major Performances

June 4, 2011
Germany
Mitteldutscher Rundfunk (MDR)
Sinfonicorchester
Lan Shui, conductor

July 1, 6, 12, 13, 2004
San Francisco, California
San Francisco Symphony
Davies Symphony Hall
Edwin Outwatee, conductor

July 7, 2002
Eugene, Oregon
Oregon Bach Festival
Tan Dun, conductor

May 17, 2002
Aguascalientes, Mexico
Instituto Cultural

March 24, 2002
New York, New York
Cosmopolitan Symphony Orchestra
Town Hall
Jin Dong Cai, conductor

March 7 & 8, 2002
Montreal, Canada
Montreal Symphony Orchestra

June 24, 2000
College Park, Maryland
University of Maryland
Tan Dun, conductor

July 18, 1999
Lenox, Massachusetts
Tanglewood Music Festival
Boston Symphony Orchestra

April 30 & May 1, 1999
Hong Kong, China
Hong Kong Philharmonic
Lan Shui, conductor

March 1, 2, 3, 1998
Seoul, Korea
Asia Philharmonic
Myung-Whun Chung, conductor

February 25, 26, 28, 1998
Toronto, Canada
Toronto Symphony
Victoria Memorial Hall
Jukka-Pekka Saraste, conductor

May 16 & 17, 1997
Singapore
Singapore Symphony Orchestra
Lan Shui, conductor

January 18, 1997
Duluth, Minnesota
Duluth-Superior Symphony Orchestra
Youn Yan Hu, conductor
More Info
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