Mao-yün Cheng Videos
chinesischer Komponist
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2024-05-02
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Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
Bach Streicher Martin Helmchen Lars Vogt Kang Christian Tetzlaff Antje Weithaas Kufferath Marie Elisabeth Hecker Tanja Tetzlaff
Klavier Martin Helmchen Lars Vogt Violine Byol Kang Christian Tetzlaff Antje Weithaas Florian Donderer Viola Elisabeth Kufferath Jan Larsen Violoncello Bryan Cheng Marie-Elisabeth Hecker Tanja Tetzlaff Video: Georg Witteler
Zhang Huoding Kang Severe 1940
Re-uploaded with some slight revisions My amateur translation, thanks to operabeijing for the original video: (http•••) Please feel free to leave any translation corrections/suggestions in the comments. "The Unicorn Purse" (锁麟囊/Suo Lin Nang) was written in 1940 by Weng Ouhong (翁偶虹) at the request of Cheng Yanqiu (程砚秋), one of the "Four Great Dan" of the twentieth century and the teacher of the teacher of Zhang Huoding. This video presents a version of that play with a few cuts and a new ending. "Suo Lin Nang" literally means "locked 'lin' purse", a "lin" being the female variant of a mythical Chinese animal that is often translated as a "unicorn," even though it really isn't one. See: (http•••) Random notes: -"I want the ducks in... five colors": Traditionally, blue, yellow, red, white and black. -"The jewel that is the fulfillment... (如意珠)": This could be a reference to the "Cintamani" of Buddhism, though I doubt it. 如意, meaning, roughly, "as you will", is a fairly common term and I think it would be odd for Xiangling to have this sudden diversion into theology. -"Plain white handkerchief": In Chinese culture, white is the color mourning and therefore inappropriate for a wedding. -"It's neither a pig nor a dog!": I'm not sure what this means... In general, the servants in this play use a lot of Chinese humor that I don't know how to translate. -"when the stars align": Jixiang literally just says that the 18th is a "good day". But in Chinese, "good day" is understood to mean a day that is auspicious or fortuitous for numerological or astrological reasons. -"magpie bridge": (http•••) -"mermaid-pearls": A poetic term for tears, though Chinese mermaids are actually frightening monsters. -"different key": as in a musical key. Sort of like "she marches to the beat of a different drum" -"dried-out, tough, crabby, and rude": This play has a lot of touches of northern Chinese culture; "dried-out, tough, crabby, and rude" is used to refer to a certain type of personality among natives of Beijing. I think. -"a mat for her kang": A kang is a heated platform that you can sit on, eat on, sleep on, etc. that was commonly used in the old days before central heating. This is another instance of Chinese humor that I don't know how to translate. -Luan bird: A mythical bird. -"if you mimic other people...": The first line of a nonsensical children's chant. -"flower of my youth": This line could also mean something like "we are both unfulfilled", but several internet sources say that it refers specifically to "unfulfilled years". -"the laundress fed Hanxin": It's said that, before becoming one of the founders of the Han Dynasty, Han Xin was a poor man who depended on what he could catch with his fishing rod to survive. He was not a very good fisherman but, fortunately, whenever one of the laundresses who used the same river he did saw that he had not caught anything, she would share her meals with him. Later, when Han Xin became a powerful general, he sought out that laundress and tried to reward her. She refused to accept anything and said something to the effect that she had fed him for his sake, not hers. -"look at this person's style": Another joke I don't understand. -"Scoundrel!": Luhan actually calls the gong player a "thing". In Chinese, this is something like saying "You are less than human", though not quite that severe. -"The first bow is to heaven and earth": These are all lines spoken during a traditional Chinese wedding ceremony. -"Day to return to her parental home": After marriage, a woman would move in with her husband's family; on certain days, she would be expected to go back home to visit her parents as an act of filial piety. -"three generations his junior": This is a joke I actually get! Jixiang is essentially saying to Tingxun, "The death of your wife is equivalent to the death of my grandmother, and the death of your son is equivalent to the death of my father." In other words, "The death of someone who is of the same generation as you is equivalent to the death of someone who is two generations older than I am, and the death of someone one generation younger than you is equivalent to the death of someone one generation older than I am." Deference to one's elders is central to traditional Chinese culture; Jixiang is is flattering Tingxun by saying his wealth demands a two generation-gap's worth of respect.
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- Zeitleiste: Komponisten (Asien).
- Indizes (in alphabetischer Reihenfolge): C...