现场音乐会
Tan Hainu in 2008
为单簧管，小提琴，和钢琴而作的三重奏《威尼斯的回忆》创作并完成于2010年7月至9月期间。此作品表达了我2010年6月云游威尼斯那两天时的缠绵悱恻之情。也许是因为我的名字里有一个“海”字的原因，我从小就对“水”有一种无尽的依恋。也正因为如此，小时候我就有一个梦：要到水城威尼斯一游。现在依然朦胧地记得小时候看到电视节目里威尼斯水上的船，当时就幻想着如果有一天能到那里就好了。二十多年前，对于一个生长在中国的小女孩来说，威尼斯水上的船是漂流在地球遥远的另一端，不可望且更不可及。二十多年后，终于在2010年的6月，我以旅美华人青年作曲家的身份出席了在意大利举办的科尔托纳现代音乐研讨会和国际音乐节。借着这次我的长笛四重奏《海底世界》被首演和学术交流的机会，我小时候的威尼斯之梦终于成了真！从威尼斯的路西亚火车站一漫步出来，我的整个思绪就被笼罩在了这水中的仙境：忧郁而虚幻，浪漫而迷离。水波上的磷光映照出金丝般的五线乐谱；岸上的每一个游客都是我乐曲里的音符；那连接着海与天的五彩楼房和缓慢游滑的船编织出了光彩陆离的和声语言。船上的风已经让我听见了钢琴的琶音，贡多拉（威尼斯的水上交通工具）的摇摆附和着岸上各式各样的小拱桥荡漾出了悠柔的韵律，水里那飘摇的曲调是小提琴的凄美哀诉和单簧管的啜泣叹息。我的心早已激动不已：我爱这梦幻水城威尼斯！
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。
《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:
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:
The wind passes over a stream and gives rise to an easy smile. The spring water dances, refracting green light.
III 乌鸦:
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:
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 微风:
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.
VI 秋千:
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!”
VII 火焰:
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.
木管四重奏 《异语同舞》 现场音乐会
我出生于中国，母亲说的是四川话，父亲说的是广东话。四川话和广东话听上去完全不一样，而我父母又完全不会说对方各自的语言。从幼儿园开始，学校就要求我们学习中国的官方语言普通话。所以，我从小就要练习同时听说三种完全不同音调的中国语言。来到美国之后，我熟练地掌握了英语。英语的音调比较平声和流畅，不像中国的语言那样抑扬顿挫。2008年至2009年我在德国上作曲大师班的时候，又有机会学习了德语。这更使我深刻地体会到截然不同的语言可以带给我在听觉艺术上绚丽的音高色彩。我的耳朵听辨出四川话的音调低沉，比较接近大管的音色。说广东话的时候声音是被咬在牙齿里面和闷在口腔里的。所以我觉得广东话比较接近单簧管的音色。说四川话和普通话的时候，声音是发在齿尖处被传送向外的。普通话的音调又比四川话和广东话要高音一些。所以我觉得普通话比较接近双簧管的音色。而英语和德语的流畅柔滑音调则比较接近长笛的音色。为长笛，双簧管，单簧管，和大管而作的木管四重奏《异语同舞》是我想象我在同时听说四川话，广东话，普通话，英语，和德语时的感觉。这五种语言的音调使我的脑子里产生了创作这首曲子的动机和灵感，也让我听到了我所需要的旋律以及和声。在创作这首曲子的时候，我仿佛听见了爸爸，妈妈，中国的老师，美国的老师，和我在德国遇到的朋友们同时与我说五种语言时的场景。此作品描写了来自世界各国的人们同时说着不同的语言在一起欢歌挥舞的场面，象征着全世界文化大融合，是为世界和平而作。
我曾经前往柏林寻求重塑我的创作实力。然而，我不知道这样的灵感应该如何从天而降。柏林这个城市最终激发了我的创作灵感，启动了我的创造力，并给我带来了的非凡的影响。为了描述这个伟大的城市带给我的各种各样的婆娑情绪，我完成了这个作品。弦乐三重奏 《柏林之梦》 的音乐是非常积极和充满活力的。它体现在惊人的，若隐若现的，和始终围绕着我的欧洲文化和建筑艺术中。我用高难度的，和使人难以捉摸的演奏技巧来表现了柏林带给我的浪漫感，和我对一个陌生城市的恐惧感。我当时正生活在一个我完全听不懂当地语言的城市里。最后，随着整首曲子以越来越快的胜利节奏导向结尾，我从柏林的梦中苏醒了。
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.