协奏曲《猫》兔年首度登场！！！！！
新年伊始，话不多说，语言的尽头便是音乐的开始。
乐队总谱和独奏小提琴分谱下载地址：
http://imslp.org/wiki/Cat-A_Symphonic_Concerto_(Xu,_Xavier_Shuang)/
合成音频试听
Performance Notes
Stage setup
The orchestra is placed at the center of the stage as usual. The percussions should be averaged around the back of the orchestra. The piano is placed at the very back of the orchestra and is played by a black cat, assisted by a man. The assistant is responsible for keeping the cat around the keyboard and letting it play at its will. Avoid forcing its legs all the time. Helpful instruments like a wood board, a collar or even cat food can be used for convenience. The sound of the piano is always amplified through a loudspeaker right there. The performance of the cat is videoed by an unattended camera fixed at the right side of the keyboard.
The solo violinist stands on the left side of the conductor’s podium as usual. The difference is that he stands on a special pedestal, which is a cubic cell made of metallic glass. The glass should be strong enough to stand the soloist and unilateral-transparent (with one face reflective). The glass is such plated that the audience can observe what is going on in the cell, while observers inside see the glass as a sort of mirror. The size is 1.3 m in length and width, and 0.8 m in height. The soloist stands on the square top of the cell when playing. Trapped inside the cell are three cats, two white and one black. The cell is mildly illuminated by four white fluorescent tubes fixed along the corner lines of the ceiling. While set at the bottom corners are four microphones serving four separate channels. Therefore, holes should be drilled for electric wires pass. Wireless equipment can be used but holes should be kept for the purpose of vent. The behavior of the cats is a part of the performance and their sounds are always transmitted through four loudspeakers on the corners of the auditorium, each position in accordance to its sound source in the cell. A soft pad on the top of the cell is suggested to attenuate the step sound of the soloist.
On the right side of the conductor’s podium, symmetrical to the position of the soloist, is a LED screen, which is put in front of the orchestra, so it should not be very large, just around 2*2 square meters. It displays the live video of the cat pianist in medium light intensity.
The stage lights should be as weak as possible (only for the musicians to see the score and the conductor). The soloist need not be highlighted. The amplifier of the soloist is controlled by a specific engineer according to the verbal notes on the score at times.
Notable Features
Like in all situations, this work is open for performers, however, I believe it would be helpful if the composer writes something as a prologue, from which the performers can gain some essential information in a direct way, thus to play the music closer to the original thoughts.
‘Cat’ is such an orchestral work that is not only a violin concerto but also a concerto for the symphonic orchestra. Though a solo violin plays a distinctive role through all the piece, the concerto elements between other instruments cannot be ignored. As many of the contemporary works, the orchestration appears as ‘localized’. Except some tutti episodes, in most time only a group of certain instruments are applied. The conversations and competition between woodwinds, brasses, percussions and strings, as well as some other combinations of instruments are often observed. Every group of instruments has its own temporal dominations, which again justifies the genre of ‘symphonic concerto’.
The tonality of the work is an interesting topic. One can easily tell that it is an atonal work but may hesitate when hearing some bars. The fact is, the tonality does not dominate the music in this piece but it does appear. It would be easy to find that all the episodes are constructed in such a way that ends with a minor triad, while in the main body, a three-pitch set [0, 1, 4] is treated as the core of development. The most amazing feature of this work is that consonance and dissonance exchange their roles. Traditionally, dissonance chords are required to be released to consonant chords. Here is the opposite: the listener feels right to hear dissonant phrases but is more likely to be upset when the consonant triads come. As the minor triads predict a new episode, this would be a good design that stimulates the listeners’ expectations.
The over-20-minute piece can be divided into minor episodes. Actually, it is not necessary, but the division may give the performers and the listeners a clearer musical image. The names of each episodes will limit people’s imagination as it is always the case, while some people may find it helpful. In all, there are 17 episodes:
The Debut – The Swing – The Chase – Cadenza I – A Doze –A Parade Fantasy – The Real Parade – Being A Thinker – Exotic Adventures – The Seesaw Trouble & Cadenza II – Self-indulgence – Tempted By Birds – Schrödinger’s Reference – The Rattling Door – The Skeleton – Appearing on TV – Where Is My Tail?
The primary musical elements are a long lyrical phrase and a group thrilling and fast notes on a distant register. Sometimes the lyrical melody is in the lower register when suddenly jumping up to high pitches, or the song in the upper register is disrupted by several fierce sounds below center C. The comparison between registers and timbres can be heard through the whole work. The contradiction between emotions is also significant, as peaceful phrases alternate with scurrying notes, and mild tones alternate with harsh sounds.
This is the CAT.
XavierSX
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乐队总谱和独奏小提琴分谱下载地址：
http://imslp.org/wiki/Cat-A_Symphonic_Concerto_(Xu,_Xavier_Shuang)/
合成音频试听
Performance Notes
Stage setup
The orchestra is placed at the center of the stage as usual. The percussions should be averaged around the back of the orchestra. The piano is placed at the very back of the orchestra and is played by a black cat, assisted by a man. The assistant is responsible for keeping the cat around the keyboard and letting it play at its will. Avoid forcing its legs all the time. Helpful instruments like a wood board, a collar or even cat food can be used for convenience. The sound of the piano is always amplified through a loudspeaker right there. The performance of the cat is videoed by an unattended camera fixed at the right side of the keyboard.
The solo violinist stands on the left side of the conductor’s podium as usual. The difference is that he stands on a special pedestal, which is a cubic cell made of metallic glass. The glass should be strong enough to stand the soloist and unilateral-transparent (with one face reflective). The glass is such plated that the audience can observe what is going on in the cell, while observers inside see the glass as a sort of mirror. The size is 1.3 m in length and width, and 0.8 m in height. The soloist stands on the square top of the cell when playing. Trapped inside the cell are three cats, two white and one black. The cell is mildly illuminated by four white fluorescent tubes fixed along the corner lines of the ceiling. While set at the bottom corners are four microphones serving four separate channels. Therefore, holes should be drilled for electric wires pass. Wireless equipment can be used but holes should be kept for the purpose of vent. The behavior of the cats is a part of the performance and their sounds are always transmitted through four loudspeakers on the corners of the auditorium, each position in accordance to its sound source in the cell. A soft pad on the top of the cell is suggested to attenuate the step sound of the soloist.
On the right side of the conductor’s podium, symmetrical to the position of the soloist, is a LED screen, which is put in front of the orchestra, so it should not be very large, just around 2*2 square meters. It displays the live video of the cat pianist in medium light intensity.
The stage lights should be as weak as possible (only for the musicians to see the score and the conductor). The soloist need not be highlighted. The amplifier of the soloist is controlled by a specific engineer according to the verbal notes on the score at times.
Notable Features
Like in all situations, this work is open for performers, however, I believe it would be helpful if the composer writes something as a prologue, from which the performers can gain some essential information in a direct way, thus to play the music closer to the original thoughts.
‘Cat’ is such an orchestral work that is not only a violin concerto but also a concerto for the symphonic orchestra. Though a solo violin plays a distinctive role through all the piece, the concerto elements between other instruments cannot be ignored. As many of the contemporary works, the orchestration appears as ‘localized’. Except some tutti episodes, in most time only a group of certain instruments are applied. The conversations and competition between woodwinds, brasses, percussions and strings, as well as some other combinations of instruments are often observed. Every group of instruments has its own temporal dominations, which again justifies the genre of ‘symphonic concerto’.
The tonality of the work is an interesting topic. One can easily tell that it is an atonal work but may hesitate when hearing some bars. The fact is, the tonality does not dominate the music in this piece but it does appear. It would be easy to find that all the episodes are constructed in such a way that ends with a minor triad, while in the main body, a three-pitch set [0, 1, 4] is treated as the core of development. The most amazing feature of this work is that consonance and dissonance exchange their roles. Traditionally, dissonance chords are required to be released to consonant chords. Here is the opposite: the listener feels right to hear dissonant phrases but is more likely to be upset when the consonant triads come. As the minor triads predict a new episode, this would be a good design that stimulates the listeners’ expectations.
The over-20-minute piece can be divided into minor episodes. Actually, it is not necessary, but the division may give the performers and the listeners a clearer musical image. The names of each episodes will limit people’s imagination as it is always the case, while some people may find it helpful. In all, there are 17 episodes:
The Debut – The Swing – The Chase – Cadenza I – A Doze –A Parade Fantasy – The Real Parade – Being A Thinker – Exotic Adventures – The Seesaw Trouble & Cadenza II – Self-indulgence – Tempted By Birds – Schrödinger’s Reference – The Rattling Door – The Skeleton – Appearing on TV – Where Is My Tail?
The primary musical elements are a long lyrical phrase and a group thrilling and fast notes on a distant register. Sometimes the lyrical melody is in the lower register when suddenly jumping up to high pitches, or the song in the upper register is disrupted by several fierce sounds below center C. The comparison between registers and timbres can be heard through the whole work. The contradiction between emotions is also significant, as peaceful phrases alternate with scurrying notes, and mild tones alternate with harsh sounds.
This is the CAT.
XavierSX
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