World-renowned composer and conductor Tan Dun is set to embark on an exciting concert tour with the China National Symphony Orchestra in France, beginning Tuesday. This tour isn’t just a series of performances; it’s a celebration of musical diversity that transcends cultural boundaries. Our reporter had the chance to sit down with Tan, diving deep into his unique musical style and his long-standing mission to promote Chinese music on the global stage.
The recent Beijing Music Festival opened with a breathtaking fusion of Eastern and Western musical traditions. Held at the National Centre for the Performing Arts in Beijing, the concert featured stunning performances that beautifully melded classical pieces from both cultures. The evening began with Tan leading the orchestra through the Golden Bell Chimes from the Qing Dynasty, inviting audiences to experience the rich history and sounds of traditional Chinese music.
One of the highlights was Tan’s original composition, Ancient Bells of Peking’s Central Axis, performed by pipa virtuoso Zhao Cong. This piece draws inspiration from Beijing’s UNESCO-listed Central Axis, evoking images of the city’s historical landmarks while seamlessly blending with contemporary orchestral arrangements.
Tan reflects on the significance of the festival, stating, “Music is like a flowing river; a continuous, ever-evolving force that transcends time.” This sentiment resonates deeply throughout the festival, which has served as a bridge connecting generations of musicians and cultures since its inception in 1998.
During the concert, audiences were treated to Tan’s piece Passacaglia: Secret of Wind and Birds, where orchestra members incorporated recordings of birds chirping alongside traditional Chinese instruments. The inclusion of Liu Wenwen, a talented young suona player, highlighted the importance of nurturing new talent in Chinese music.
The festival’s second half featured Wang Jian on cello and Lu Wei on violin performing Mozart’s Symphonie Concertante in E-flat Major, K 364. Tan’s direction brought out the intricate interplay between the instruments, showcasing the technical and musical challenges involved, especially for a cellist stepping into a viola’s role.
As Tan and the orchestra prepare for their upcoming performances in France, which will include pieces by Ravel and Stravinsky, he emphasizes the importance of celebrating cultural fusion through music. “It is a powerful reminder of music’s ability to transcend boundaries,” he notes, setting an optimistic tone for the tour ahead.
Tan Dun’s concert series not only highlights the artistic brilliance of musicians from both East and West but also reinforces the belief that music, in its purest form, is a universal language. This journey promises to inspire audiences in France just as it has in Beijing, affirming the notion that the world of music is one vast, interconnected river flowing through time and culture.
