Partitury $12.61

Originál

Isang Yun. Chinesische Bilder. Sheet Music. Alto. Treble. Recorder. Bass Recorder. Soprano. Descant. Recorder. Tenor Recorder. TREC. BREC. DESC REC. TENREC. Isang Yun.

Překlad

Isang Yun. Čínské Obrázky. Noty. Vysoký. Ztrojnásobit. Zapisovač. Bass Recorder. Soprán. Soprán. Zapisovač. Tenor Recorder. TREC. BREC. DESC REC. TENREC. Isang Yun.

Originál

The Chinese Pictures for solo flute. 1993. were composed for the premiere played by the solo flutist Walter van Hauwe, but Yun also wished for a performance by German flutes. The four pieces, which Yun composed in June 1993 in Hohegeiß. Harz, are characterised by the reduced structural capacity of his style, the memories of far eastern flute-idioms - with the exceprion of the third piece Der Affenspieler - and a Buddhist pattern. Yun consistently limits his work. all pieces come from techniques of the evolved variations and contrastive adaptions from. repsectively different. two- or three-toned themes. The first two pieces have the contemplative tenor as well as the spiral dramaturgy of the upward auched semi-circle, the archetypal symbol for heaven, in common. However the themes are conflictive. Bigger intervals abound the single tone in I. Der Besucher der Idylle, whereas the tight coupling with the "main tone" through smaller intervals in II. Der Eremit am Wasser evoke a softer sound. This clearly mirrors the impression of the single tone as a brush mark. Both pieces are - just like IV. Die Hirtenflöte - inspired by various variations of the story of the shepherd and his ox, which in east Asia is used to name the "inner child" of a human. The title if the first piece in the autograph is Der Besucher der Eremitage and refers to Buddhist hermitage. The visitor of this idyll is the farmer, who leads his ox to the water for him to drink. The continuation of this parable is expressed by the second piece, Der Eremit am Wasser. Together with the farmer, the hermit comes to the water and rinses his ears. The farmer asks him, why he would do that and the hermit responds. "I was in town, at the royal palace. I was to be empoloyed as sergeant and got offered a good payment. But when I asked what I had to do, I heard terrible things. That is why I have to rinse my ears. " The farmer however is disgusted by the contamination of the water. he leaves the fountain without letting his ox drink. The title of the third piece Der Affenspieler points out a scenic image, the demonstration of a monkey dressage and beyond that points to a n old Chinese popular form of theater. The "Affenspiel" arised from the genre of "mixed plays". chines. san-yüeh. korean. san-ak. jap. san-gaku. , which attained from Korea to Japan. Ony there the "Affenspiel" is known as saru-gaku which is the base of saru-gaku-nô, an early form of the Nô-theater, where the flute plays a key role. Saru means "monkey", however - already pointed out by Zeami, der theoretician of the Nô, at the beginning of the 15th century - is phonetically alike with "Offenbarung". Based on this phonetic relation the monkey is known as the organ of the gods. Gaku means "Musik" and nô means "Fertigkeit". Anyhow Yuns composition do not seem to be inspired by the sound of the Nô-Flute but by the humoresque adaption of the scenic idea. In contrast to the rest of the pieces different quickly changing rythms are characteristic as well as contrasts between an agile, tightly circulateing on the one hand and calm parts with big intervals on the other hand. Other than previous pieces IV. Die Hirtenflöte shows an innovative gesture which means freedom and spiritual relief, insisted by elongated tunes and with the high, heavenwards theme. The sixth chapter of the Zen-story "The ox and his shepherd" is called "Die Heimkehr auf dem Rücken des Ochsen" and means a particular state of consciousness, where the ox and shepherd are united. "Der Kampf ist schon vorüber. Auch Gewinn und Verlust sind zunichte geworden. Der Hirte singt ein bäurisches Lied der Holzfäller und spielt auf seiner Flöte die ländliche Weise der Dorfknaben. Er sitzt auf dem Rücken des Ochsen und schaut in den blauen Himmel. Ruft ihn einer an, so wendet er sich nicht um. Zupft ihn einer am Ärmel, so will er nicht halten". phrased after the translation by Kôichi Tsujimura and Hartmut Buchner, Pfullingen. Neske 31976, 33. " Walter-Wolfgang Sparrer.

Překlad

The Chinese Pictures for solo flute. 1993. were composed for the premiere played by the solo flutist Walter van Hauwe, but Yun also wished for a performance by German flutes. The four pieces, which Yun composed in June 1993 in Hohegeiß. Harz, are characterised by the reduced structural capacity of his style, the memories of far eastern flute-idioms - with the exceprion of the third piece Der Affenspieler - and a Buddhist pattern. Yun consistently limits his work. all pieces come from techniques of the evolved variations and contrastive adaptions from. repsectively different. two- or three-toned themes. The first two pieces have the contemplative tenor as well as the spiral dramaturgy of the upward auched semi-circle, the archetypal symbol for heaven, in common. However the themes are conflictive. Bigger intervals abound the single tone in I. Der Besucher der Idylle, whereas the tight coupling with the "main tone" through smaller intervals in II. Der Eremit am Wasser evoke a softer sound. This clearly mirrors the impression of the single tone as a brush mark. Both pieces are - just like IV. Die Hirtenflöte - inspired by various variations of the story of the shepherd and his ox, which in east Asia is used to name the "inner child" of a human. The title if the first piece in the autograph is Der Besucher der Eremitage and refers to Buddhist hermitage. The visitor of this idyll is the farmer, who leads his ox to the water for him to drink. The continuation of this parable is expressed by the second piece, Der Eremit am Wasser. Together with the farmer, the hermit comes to the water and rinses his ears. The farmer asks him, why he would do that and the hermit responds. "I was in town, at the royal palace. I was to be empoloyed as sergeant and got offered a good payment. But when I asked what I had to do, I heard terrible things. That is why I have to rinse my ears. " The farmer however is disgusted by the contamination of the water. he leaves the fountain without letting his ox drink. The title of the third piece Der Affenspieler points out a scenic image, the demonstration of a monkey dressage and beyond that points to a n old Chinese popular form of theater. The "Affenspiel" arised from the genre of "mixed plays". chines. san-yüeh. korean. san-ak. jap. san-gaku. , which attained from Korea to Japan. Ony there the "Affenspiel" is known as saru-gaku which is the base of saru-gaku-nô, an early form of the Nô-theater, where the flute plays a key role. Saru means "monkey", however - already pointed out by Zeami, der theoretician of the Nô, at the beginning of the 15th century - is phonetically alike with "Offenbarung". Based on this phonetic relation the monkey is known as the organ of the gods. Gaku means "Musik" and nô means "Fertigkeit". Anyhow Yuns composition do not seem to be inspired by the sound of the Nô-Flute but by the humoresque adaption of the scenic idea. In contrast to the rest of the pieces different quickly changing rythms are characteristic as well as contrasts between an agile, tightly circulateing on the one hand and calm parts with big intervals on the other hand. Other than previous pieces IV. Die Hirtenflöte shows an innovative gesture which means freedom and spiritual relief, insisted by elongated tunes and with the high, heavenwards theme. The sixth chapter of the Zen-story "The ox and his shepherd" is called "Die Heimkehr auf dem Rücken des Ochsen" and means a particular state of consciousness, where the ox and shepherd are united. "Der Kampf ist schon vorüber. Auch Gewinn und Verlust sind zunichte geworden. Der Hirte singt ein bäurisches Lied der Holzfäller und spielt auf seiner Flöte die ländliche Weise der Dorfknaben. Er sitzt auf dem Rücken des Ochsen und schaut in den blauen Himmel. Ruft ihn einer an, so wendet er sich nicht um. Zupft ihn einer am Ärmel, so will er nicht halten". phrased after the translation by Kôichi Tsujimura and Hartmut Buchner, Pfullingen. Neske 31976, 33. " Walter-Wolfgang Sparrer.