Crouching Composer, Hidden Dragon
Walking Tan Dun's fine line between film and classical
Monday, August 22, 2011
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Last week on The New Canon, we took a cool dip into the music of Finland. This week, we go into the hot hot hot world of Tan Dun's Martial Arts Trilogy, speaking with violinist Ryu Goto, cellist Dane Johansen and the Metropolis Ensemble's Andrew Cyr about their recent work with the composer. Join the conversation in the window below or via Twitter with the hashtag #q2new. Want to get a head start? Leave your questions in the comments below and we'll address them at the top of the chat.
Tan Dun! Remember the first time you saw—or even just heard—Crouching Tiger, Hidden Dragon? Or the excitement surrounding the Metropolitan Opera's production of The First Emperor? Or the YouTube Symphony Orchestra coming together for "Eroica"? The violin and cello solos! The melodies! The percussion! I turn into a grinning fool whenever I hear a Tan Dun score—such as the works that were played recently at Lincoln Center Out of Doors or the same pieces that can be heard on a recent Sony recording of The Martial Arts Trilogy.
That is why we're catching the Metropolis Ensemble's Andrew Cyr, cellist Dane Johansen and violinist Ryu Goto, shortly after their tour with Tan to talk about the composer's insanely beautiful work for both the silver screen and concert hall. He's not the first to do both (Korngold, anyone?), but as the two genres have progressed over the last century and continue to cross pollinate, we'll ask: Where does the line between film score end and classical work begin? And, naturally, we'll have a program of more Tan Dun music than anyone should be allowed to hear in a span of 60 minutes.