Right now, there are many threats to humankind, but I think we are still experimenting with various things during our infancy. As part of the inspiration for this work, the composer quotes Yoko Ono: “From the perspective of the earth and the universe, human history is still in its infancy. It's a colorful, dramatic, melodic and rhythmic work with contrasting tempo and character, ending in the gorgeous final Song of Love. 50 represents this programmatic music, with three continuous movements entitled Birth and Death, Poem of Ecstasy and Song of Love. Early competition winners often were scores that could accompany movies (including animé) and even video games, and there is a rich (if somewhat unknown) literature in these genres.Įiji Suzuki's (1965 - ) Life Variations Op. Many works were created for a specific ensemble, and not generally shared. Organized competitions spurred increasing competence of these groups and created demand for music to play. These influences led to the creation of many school bands. Army Band began to introduce the genre, and the Yamaha Corporation started manufacturing higher quality wind instruments in about 1965. The world of music for concert band and wind ensemble in Japan didn’t really begin to take shape until the 1950s and 1960s. She and composer husband Zhou Long are professors of music at the University of Missouri-Kansas City. Later she earned a DMA with distinction from Columbia University. At age 17 she became concertmaster of the Peking Opera. But under Mao’s Cultural Revolution (1966-1976), she was sent to the country and required to play approved “revolutionary songs” for local farmers. Under the guidance of parents who loved Western classical music, Chen studied piano and violin from an early age. This variety is meant to spark the image of a dragon, which is auspicious, fresh, and vivid, and results in music that is layered and multidimensional - similar to the Eastern culture.”
The instrumental textures within this piece range from transparent and delicate, to angular and strong. You will hear that the thematic material found in each movement is related and consists of the basic intervals found in Beijing opera music. Chen also supplied further description: “Dragon Rhyme for symphonic band is cast in two movements. When it meets the world, it becomes a part of the global family.”ĭr.
Taking the image of the dragon, which is auspicious, fresh, and vivid, the music is layered and multidimensional. The instrumental texture is rich in colors, from transparent and delicate to angular and strong. This was an original work for band Saint-Saëns did not re-score it for orchestra until 47 years la ter.ĭevelopment throughout the work. Light scoring, pentatonic frills, and ornaments from snare drum, cymbals, and triangles complete this somewhat derivative depiction of sounds of the “Orient.” Back in slow march tempo, a fugue begins - a fugue, in a march! Truly it is no typical march! Themes are developed an d reprised, growing in intensity to an accelerating finish. There follows a sinuous melody in 3/4 time (yes: slow waltz tempo in a march!), with tied notes demarcated by rapid turns and mordants, somewhat as bagpipe players must do because the wind cannot be interrupted. Starting as a traditional grand march, the piece soon loses momentum and arrives at a questioning pause. This was an era in which upper-class Europeans were fascinated with all things chinoise and japonaise. 25 by Camille Saint-Saëns (1835 - 1921) is no typical march! It was composed in 1869 for a gala evening of the Union Centrale des Beaux-Arts, which was concerned with the relationship of art and industry and featured an exhibition of oriental art. The Charles River Wind Ensemble doesn’t typically play marches, but Orient et Occident, Op. Chen, and two works by Western composers inspired by themes of the Orient. This program features two works by Japanese composers, one by the Chinese Dr. Th at holds true for original compos itions for wind ensemble (or, as often called outside the U.S., “wind orchestra”). Sometimes we f orget that the great European tradition isn’t the only source of won derful music. Suite Symphonique, “The Aurora” (1999) - Masamichi Amano.Variations on a Korean Folk Song (1965) - John Barnes Chance.Dragon Rhyme (2010) - Chen Yi - (Mvt.2: Energetically).We close the 2022-23 season with music “from a diffe rent direction.”
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