Tan Dun’s Musical Language

Posted by Steven Osgood on 11/21/2006

November 20

I am in the unique position, at least on this artistic team, of having worked with Tan Dun closely on his operas and concert music for the past 10 years. I assisted on the premiere and recording of his first opera Marco Polo, and conducted the premiere of his second opera Peony Pavilion. Since then Tan and I have maintained a close working relationship and have collaborated frequently. I have been able to steep in his musical language and the sound world he creates so effectively with his vocal and orchestral writing. It is a melodic and timbral feast, which still holds me riveted.

Tan Dun (center) and Zhang Yimou
Tan Dun (center) and Zhang Yimou
Photo: Ken Howard/Metropolitan Opera

What I find remarkable is how “ordinary” his musical material can be on a basic level, even as he creates such extraordinary textures and effects. There is almost nothing in the score that one does not encounter routinely in an opera of Puccini or Verdi. Accents, portamento, pedal points, ostinatos, wide ranges of dynamics, accelerandos and ritards… all common musical gestures. What is shocking about Tan’s use of these gestures though is the extremity to which he intends them to be carried out. There is a barbaric force in his extreme loud dynamics, and what looks like an ordinary accent often carries a blistering force. The triple-piano markings in the string writing have a transporting tenderness. Portamentos are very often lengthened, and call for each of the microtones being traversed to be brought out, resulting in Tan’s special fusion of Eastern and Western Opera sounds. Indeed, as I have personally experienced in the past, it can inspire disbelief to hear how far Tan wants his gestures to be exaggerated. The beauty and clarity that results though when Tan intentions are realized are breathtaking.

It is a treat to work alongside Tan as he conducts his music. The inspiration and abandon he brings to the podium is exhilarating, and I have enjoyed seing the cast and orchestra dive in with equal vigor.


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