Much of Chinese composer Tan Dun’s success can be traced to his eclectic, East-meets-West style that makes for some strikingly original musical and sonic effects. On Taoism begins with an arresting solo vocalise (performed by one of the players) that’s almost animal-like in its rawness of expression. The orchestra then proceeds to explore a range of traditional and stylized Chinese music, employing Chinese percussion instruments and making extensive use of microtonal scales to create a theatrical atmosphere. Not surprisingly, Orchestral Theatre 1 continues this technique, although it’s a louder, longer, and more violent work that calls for a significantly larger ensemble and for even more vocalization (including “breathing” through instruments) from the orchestra members.
Death and Fire–Dialogue with Paul Klee seems to turn its back on the Orientalism of the previous works, and instead fully embraces Western avant-garde techniques. You’ll hear much that was learned from Varèse, but it’s clear that Tan Dun also borrowed quite a few of John Corigliano’s trademark orchestral effects (like those “warbling” unison strings). The work’s 10 sections are based on some of Klee’s individual paintings (i.e. Animals at full moon), as well as on more general aspects of his work, as in the central Self Portrait, a seven-minute phantasmagoria depicting the painter’s complex artistic personality.
Hearing Tan Dun conduct these highly complex and far-flung pieces is to marvel both at the mind that conceived them and the musician that masterfully interprets them. The BBC Scottish Symphony responds with brilliant, razor’s edge playing from all sections. Koch’s recording captures the enormous dynamic range (from human whispers to full orchestral blasts) with stunning fidelity, making this disc a sure-fire demonstration item.
