现场音乐会
Tan Hainu in 2008
为长笛和单簧管而作的二重奏表现了抽象的唯美气息和神韵。中国功夫的哲学思想是结合了儒家的中和养气，道家的守静致柔和释家的禅定参悟等文化风貌。天人合一的东方美学思想使中国功夫成为了世界上独有的 “ 武文化 ” 。中国功夫不仅仅是一种搏击术，也不是单纯的拳脚运动，更不是力气与技法的简单结合，它深蕴着先哲们对生命和宇宙的参悟，诠释着某种古老的哲学思想，和追求着那种完美与和谐的人生境界。这首作品通过抽象的音乐写作描绘表达了中国功夫的飘逸风采，飞檐走壁的挥洒气魄，超凡脱俗的恬静灵修，和如风似月的闲暇梦境。
2009 新! 现场音乐会
木管四重奏 《异语同舞》 此作品描绘了人们说着不同的语言在一起舞蹈的情景，象征着全世界文化大融合，是为世界和平而作。
风的声音 represents the mystical sights and sounds that flow in nature. Many artists have tackled these themes before but, like Picasso’s creations, I seek to express them through the abstraction of my imagination. 整个作品表面上是在描写大自然的风景，实际更深刻的是在用暗喻的手法刻画反映人生的喜怒哀乐和人性各个方面的感情。
I 清风:
孤独思乡之情。Here a light and refreshing wind creates the feeling of purity. A delicate morning fragrance emerges from the leaves and petals. A strain of loneliness is set in motion.
II 小溪:
轻松的休闲。The wind passes over a stream and gives rise to an easy smile. The spring water dances, refracting green light.
III 乌鸦:
人性的残暴。 A dark wind ruffles the black feathers of a sitting raven. Several more circle until a murder is formed. The flapping of their wings aggravates the turbid wind. A desperate struggle elicits a plaintive wail. Our raven lies bleeding.
IV 薄纱:
缠绵的爱意。Late evening wind kisses the glass causing the gossamer curtains to ripple. Naked lovers cuddle in bed, intermingling with the moonlight. Silence reveals deep love.
V 秋千:
父爱与母爱。A toddler sits on a wood swing and plays. His parents take turns pushing their joy, each thrust a bit higher. They stand back while he undulates to keep the height. His lack of experience causes him to fall. He looks at his boo-boo and says, “Uh oh!”
VI 火焰:
事业工作的激情。The enveloping of wind and passion ignites a flame of hope. The heat, our energy, emboldens us to greater heights. The sound of wind yells: life immortal.
VII 微风:
展望未来。 My steps progress along the city streets; a breeze washes over my face. I walk confident, joyous at what I have and what lies ahead.
I once traveled to Berlin seeking to reinvent my creative prowess; yet, I knew not how such inspiration should come about. Berlin itself ultimately became an extraordinary influence over my emotional and creative capacities. I wrote this work to complement the emotional diversity I felt whirling about this great city. A lot of the music is very aggressive and full of vitality as is reflected in the astonishing and looming art and architecture that always surrounded me. And then I found fear in being in a land where I don’t speak the language yielding elusive passages that use the harmonics playing skill to stress the romantic sense. However, the piece finally graduates faster and faster in rhythm, ending in a triumphant tempo. This is the way I dreamt being there.
播放样品 第一首 播放样品 第二首 播放样品 These two pieces for solo cello have two movements. I mixed two of my dreams in this piece. The lands of these dreams are all out of the earth. The first dream starts from boundless and quiet grassland, and this grassland is enveloped in the morning mist. I am the only person who lives in reverie land and I have a very lonely feeling. I hope I can touch the first stream of light from the earth through my imaginary window and I can go back to the real world without being lonely. The second dream starts in a world of darkness, and my feeling is pensive and anguished. There is only the moon with me the whole day and whole night. I couldn't see or hear anything besides the shadow and tears of the moon. The only thing I could do in that darkness is to go to catch the shadow and dewdrops of the moon and turn them into each of my notes.
These very short, very quick nine little pieces for solo Clarinet methodically describe the dramatic emotional transformations a person may experience in the length of a single day. The first five pieces climb, 1st from the Romantic expression, 2nd through Happiness, 3rd through Sadness, 4th through Anger, and 5th into the Silent stage. Then, the sixth through ninth pieces fall into retrograde, where the 6th returns to Anger, the 7th to Sadness, the 8th to Happiness, and the 9th ultimately completing the return to the Romantic.
The compositional structure of these nine little pieces also parallels the emotional scheme. In accomplishing this, the fourth and sixth pieces of "Angry" emotion use exactly the same notes and dynamics, with the sixth becoming the retrograde version of the fourth. The notes and dynamics of the seventh piece are inversions of the third piece, the seventh being in a different key in the lower register. The eighth piece is in the higher register, with notes and dynamics being retrograded inversions of the second piece. The ninth piece finally returns, now in the dominant key respective to the first piece. The whole piece creates a circular symmetry of emotional dramatics.
《四重赋格》－为单簧管，钟琴，木琴，颤音琴, 马林巴, 钢琴和小提琴而作
简介 播放样品 演奏 播放样品 The form of this E minor four-voice Fugue incorporates an Eastern theme where Western fugue form brings counterpoint to Eastern tradition. There are 18 small sections and each section has its own orchestration design. Some parts of this piece are orchestrated in a similar fashion to Anton von Webern's orchestration of Bach's "Ricercare a 6" from the "Music Offering." In that orchestration, the main lines of the contrapuntal are orchestrated in such a way that the beginning of a line would start in one instrument and the remainder of the line would finish in another, complimentary instrument. This piece begins with all instruments playing parts of different parts of the theme and ultimately ends as it builds up by adding instruments with all playing the same design.