现场音乐会
Tan Hainu in 2008
在这个作品里我运用了我的三个灵感. 第一个是关于我对美国加利福尼亚州彼堡海边的, 我们夏季加州音乐节校园里的雾的感觉. 在每个早晨, 不, 事实上是每个夜晚, 当我透过我那彻夜未眠的想象的窗户去轻轻触摸那从天上落下来的第一束晨光, 我可以看到早晨的雾象一张薄薄的网把整个世界笼罩在烟雾弥漫之中. 在那一刻, 我希望我可以透过我那音乐的手去抓住雾的影子, 把月亮留下的每一颗露珠变成我的每一个音符. 这就是我第一个乐章的音乐.
我的第二个和第三个灵感是来自于中国的传统戏剧和一些印度音乐里的音阶和节奏. 您可以从作品的第二和第三乐章当中听到. 此外, 我喜欢让我的观众同时享受到听觉和视觉的感受. 所以我把这个弦乐四重奏作成了象一个小歌剧一样的形式. 这个小歌剧的故事是发生在遥远的庙里. 我想象我们现在正在一座高山顶上的一个小庙里, 远离尘世间所有的一切. 四个演奏员正在雾里面一边打鼓, 一边演奏乐器, 还一边歌唱. 这个声音就象是从宇宙的另一边轻轻飘下来的一片透明的玻璃纸. 所以我把这个作品叫做“梵音”, 因为它是我内心最深处的声音. 另外, 在亚洲许多的国家, 特别是中国和印度, 演奏员边弹边唱的方式是非常普遍的. 我在第三部分里用了这种形式. 最后, 我希望您慢慢地欣赏这片雾, 这座庙, 这个梦和这场演出. 谢谢!
第一乐章
The orchestration of the whole piece is very uniform because every line of the texture has its own beginning and ending. The audience can distinguish the different combinations of instruments because the timing of the instruments in each phrase start and end independent of each other. In the first movement, “Morning Died Away,” this has a two-note motive theme using major and minor second and diminishing fifth intervals from which everything develops. The most interesting thing about this movement is the ending of every phrase where we can hear the changes of color as instruments, in different combinations, break off their engagement with the piece. The end of movement comes with a sudden breaking off in a tutti, and the “Morning Dies Away” with a clarinet drifting off through the air.
第二乐章
In the second movement, "Echo of Pastoral," the main melody is a mimicking of variations of the first movement of Beethoven's Symphony No. 5, and every rephrasing of the melody brings out the echoes and it also dies away during the echoes. The notes of the melody are continually echoed by the accompanying instruments, which are selectively assigned to echo particular notes. The echoes furthermore come assigned with different tempo marks wherein the whole movement is written completely without time signatures and bar lines. The orchestration continues with overlapping echoes, some always fading, while others materialize. The whole movement creates the natural sound of the pastoral.
第三乐章
The third movement,"Rampant Flock," starts with the rhythmic marimba and the oboe maintaining the echoes from the second movement, only now, it develops dramatic dynamics. The clarinet brings out a new two-note motive, which relates to the first movement but this time in the major seventh interval and later the minor ninth interval. The material of the third movement includes material from the first and second movements. The rhythm and the music become rampant and stormy. Then, suddenly, traditional structure ceases with the solo clarinet emerging along a whistling rainbow, which is the players as the vocals who take us to our dreamland. The function of the illusion of this section is necessary as it materializes a surprise for the audience. Here we just dream a bit before returning. The harmony of the dreamland section is the opposite of the rampant section. The AEDA pitches are the main theme that keeps repeating and this time still in overlapping orchestration with overlapping individual notes. The coda of the third movement returns to the beginning of the movement where the piece ends with the each instrumental sound dying one by one.
第一乐章 
播放样品
The first movement, "From the Young," is in ABA form starting from a largo. A melody emerges from the cello at first, while the other instruments punctuate to build up tension. The tension eventually leads to the middle section of the movement, that is, a single pitch played on different open strings of each instrument in the quartet. The glissandos are also a key feature in this particular section. Section A is then repeated once again to wrap up the movement with natural harmonics evaporating the preceding musical tension.
第二乐章 播放样品
The second movement, "The Labor of Living," is in a rather light and cheerful mode. It is in free variation form. There is one main theme with two variations in this movement. The main theme is based on the development of two musical motives, the tremolo effect and the scattered rhythmic effect. The first variation is based on two different effects, pizzicatos and short glissandos. The second variation makes use of harmonics, and the first violin cadenza recitative is meant to imitate the natural tone of Chinese Mandarin language, and the meaning of the language also brings out the philosophy.
为长笛，单簧管，大管，打击乐，竖琴，小提琴，中提琴，大提琴和倍大提琴而作的幻想曲
The beginning of this Fantasia starts with an overtone melody on the first violin. The timber of overtone and pizzicato on the strings with harp creates a remembered Romance that has gone. The violin sets the stage for this tragically romantic ensemble refusing at first to be brought down by its struggle with the unpredictable storms of this universe, finally giving in halfway through the music. The emotional dive is driven by the double base and cello to the point where even the depths of tragedy must give in, and they do, to the woodwinds that break back through the storms to bring the melody back to its origins, now, with every instrument playing each note of the melody. Love, what’s left, dies away in the crescendo of the glockenspiel.
This cello solo, Flowing Water, reflects ancient Chinese melody from 722 BC to 481 BC, and reflects Eastern aesthetic philosophy reminiscent of Buddhist music. Eastern philosophy believes everything, whether animate or inanimate, has life. Flowing water, then, is seen as having life. A composer of Eastern aesthetic philosophy has the imaginative ability to reflect life functions within the Arts. Metaphorically, then, it is easy to imagine that water flowing through a landscape is like the blood flowing in our bodies, and the pitch vibrations are our breathing. The rhythm of the melody becomes the heart beat driving the blood, and breathing is developed with the rising and lowering of pitch.
In Flowing Water, I use the timber of the cello to imitate flowing water. To do this, I incorporated the vibrato, followed by a phase of sliding up and down on the strings to describe a small amount of flowing water; long glissandos describe fast and large amounts of water; harmonics give the sensation of flowing water heard from far away, while plucking depicts very close flowing water. The occasional plunk of stone hitting water requires the solo player to use one hand or both hands to play the arco and pizzicato at the same time. The composition structure has an A section based on the pentatonic scale, and a B section based on the whole-tone scale.
Flowing water expresses my feelings about my own life which I relate to the tender and harmonious manner of water in motion. I chose water for its pure and plentiful, free-flowing nature. This reflects my own philosophy of art which demands purity, free-flowing thought, for never-ending inspiration. I see beauty in flowing water, not only with my eyes, but in my heart and mind. Beauty is the result of the spirit.
This piece Lunar Rainbow wants to show the feeling of a flower’s life. It describes the flowers coming into blossom from the beginning and withering in the end. And it also implies the beautiful ladies’ life as short-lived, as the beautiful flowers in ancient China. The music is basic on the pentatonic scales and the structure is in “A B A” form. The whole piece described the character of ancient Chinese young women who are very emotional and prone to mood swings, and also as having been sickly and prone to illness. The B section used a Chinese folk song blue flower to be the main melody. Blue flower is the folk song of Northwest of China and it is a powerful folklore popularly sung in Northern Shan xi province. Of Mongolian origin, its sound is similar to yodeling. Moreover, I also borrowed some Chinese instrumental techniques and used them with western instruments.