Pasja według św. Mateusza (Water Passion after st. Matthew) Tana Duna i realizacja idei „muzyki organicznej”

dc.contributor.authorSubel, Joanna
dc.date.accessioned2025-02-27T13:12:01Z
dc.date.available2025-02-27T13:12:01Z
dc.date.issued2015
dc.description.abstractThe anniversary of the death of Johann Sebastian Bach in the year 2000 was not only an opportunity to honour the artist with concerts, but also to present Bach-inspired pieces from the late 20th century. Helmut Rilling, Head of Internationale Bachakademie in Stuttgart, approached four composers from various cultures around the world with the idea to create a passion. One of them was Tan Dun from China. Raised by his grandmother, who was living in the country, cut off from civilization, he gained his music experience from having contact with folk, shaman practices and playing primitive instruments. The music of nature, the rustling of leaves, the singing of birds, and above all water and the various sounds it can produce became the fabric of his music. A prolonged lack of access to European musical culture led to his using in the composition creating process not only traditional instruments, but also organic material such as water, stone or paper as sources of sound. This is why Tan Dun describes his music as ‘organic music’. In his Water-Passion, to the text of the Gospel of St. Matthew, the composer used, apart from traditional instruments, also the ‘play’ of water and stones. As it is common in Chinese folk practice, the singers not only sing, making use of aliquots, but also play ceramic wind instruments, and the choir generates sound by striking stones. The scene of the renouncement of Jesus by Peter, whose name etymologically means ‘rock’, was called by the composer the ‘Stone Song’ Transparent, water-filled bowls placed on the stage in the form of a cross are used not only to generate various acoustic phenomena, but are also part of the stage scenery, which is pointed out in the score. The composition of the performing ensemble is quite unique, as it includes: a soprano, a solo bass, a choir, a violin, a solo cello, three percussionists, who play multiple water instruments, and an electronic sound producer. The piece starts and ends with the sound of moving water.
dc.identifier.citationLiturgia Sacra, 2015, R. 21, nr 1 (45), s. 177-199.
dc.identifier.issn1234-4214
dc.identifier.issn2391-9353
dc.identifier.urihttps://theo-logos.pl/handle/123456789/28574
dc.language.isopl
dc.publisherRedakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego
dc.rightsCC-BY-NC-SA - Uznanie autorstwa - Użycie niekomercyjne - Na tych samych warunkach
dc.subjectmuzyka
dc.subjectmuzykologia
dc.subjectmusic
dc.subjectmusicology
dc.subjectPasja
dc.subjectPasja według św. Mateusza
dc.subjectTan Dun
dc.subjectmuzyka organiczna
dc.subjectmuzyka chińska
dc.subjectHelmut Rilling
dc.subjectProjekt „Pasja 2000”
dc.subjectchorał
dc.subjectPassion
dc.subjectPassion after St. Matthew
dc.subjectorganic music
dc.subjectChinese music
dc.subjectProject „Passion 2000”
dc.subjectchorale
dc.titlePasja według św. Mateusza (Water Passion after st. Matthew) Tana Duna i realizacja idei „muzyki organicznej”
dc.title.alternativeThe ‘organic music’ concept in Water-Passion by Tan Dun
dc.typeArticle

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