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Musikszene China the Musical Scene in China Die Beziehungen Zwischen China Und Europa Wer- 08 / 08 Den Immer Enger

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Musikszene China the Musical Scene in China Die Beziehungen Zwischen China Und Europa Wer- 08 / 08 Den Immer Enger SIKORSKI MUSIKVERLAGE WWW.SIKORSKI.DE AUSGABE 3. 2013 现 M U S I K S 代 Z E N E C 音 H I N 乐 A INHALT / CONTENT Liebe Leserinnen, 03 / 04 liebe Leser, Musikszene China The Musical Scene in China die Beziehungen zwischen China und Europa wer- 08 / 08 den immer enger. Speziell Deutschland und China Komponisten aus China wurden in den Tageszeitungen bereits als „Traum- Composers of China paar“ beim wirtschaftlichen und kulturellen Aus- 19 / 19 tausch bezeichnet. Unsere verlaglichen Beziehun- Neue Komponisten gen zu chinesischen Komponisten reichen über aus China viele Jahrzehnte zurück. Heute betreuen wir eine New Composers immer weiter wachsende Zahl chinesischer Kompo- of China nisten weltweit. 22 / 22 Fragen an unsere In unserem Magazin widmeten wir uns bereits 2007 chinesischen Komponisten der Vielfalt von Instrumenten anderer Kulturen mit und ihre Antworten einem Schwerpunkt auf asiatische Länder. In die- 30 / 30 ser Ausgabe nun stehen chinesische Autoren, ihre Katalog hochinteressanten Werke und ihre Beziehungen Catalogue zur internationalen Musikszene im Mittelpunkt. Wir haben unseren Komponisten eine Reihe von Fra- gen gestellt, um mehr über ihre kulturelle Identität und ihr Arbeiten in einem der bevölkerungsreichs- ten Länder der Welt zu erfahren. Einige von Ihnen haben China mittlerweile verlassen und berichten auch über Ihre Entwicklungen in der Begegnung mit westlichen Kulturen. Lernen Sie unsere Komponisten von ganz neuen Seiten kennen und erfahren Sie mit Hilfe dieses Hef- tes mehr über eines der interessantesten Länder der Welt, Dagmar Sikorski Dr. Axel Sikorski IMPRESSUM REDAKTION Helmut Peters Quartalsmagazin der ARTWORK Joachim J. Kühmstedt, J4 -studio.com SIKORSKI MUSIKVERLAGE erscheint mind. 4x im Jahr kostenfrei FOTONACHWEISE Seite 03 Peking-Oper, China © Foto: Gandi, pixelio Seite 06 Instruments © Fotos: wikipedia Seite 08 Emei Shan, Heiliger Berg, China © Foto: Cornerstone, pixelio Seite 11 Xiaoyong Chen © Foto: Yulong Gu Seite 14 Tan Dun © Foto: Dong Hao VERLAG Seite 15 Jia Guoping © Foto: Li Yanwen Seite 17 Lamatempel, Peking © Foto: Helga, pixelio Internationale Musikverlage Seite 22 Fabeltier, China © Foto: Kristin Scharnowski, pixelio Hans Sikorski GmbH & Co. KG Seite 30 Himmelstempel, Peking © Foto: Dieter Schütz, pixelio Johnsallee 23 Seite 35 Kaiserpalast, Detail Drachenmauer, Peking © Foto: Matthias Brinker, pixelio 20148 Hamburg Alle anderen Bilder © Archiv Sikorski T +49 40 41 41 00-0 F +49 40 41 41 00-60 HINWEIS Wo möglich haben wir die Inhaber aller Urheberrechte der Fotos/Illustrationen ausfindig gemacht. www.sikorski.de Sollte dies im Einzelfall nicht ausreichend gelungen oder es zu Fehlern gekommen sein, bitten wir die Urheber, [email protected] sich bei uns zu melden, damit wir berechtigten Forderungen umgehend nachkommen können. 2 SIKORSKI MAGAZIN 03.2013 Peking-Oper, China Musikszene China Jahrtausende alte Geschichte und Moderne Die Musik Chinas hat ihre Wurzeln in einer der äl- Der chinesisch-amerikanische Komponist Tan Dun, testen Kulturen der Menschheit. Mythen berich- der gern mit nichtinstrumentalen Klangerzeugungs- ten davon, dass schon vor den großen Dynastien mitteln und reinen Geräuschen arbeitet, gab einem beispielsweise unter Kaiser Fu-Hi höfische Musik seiner Streichquartette den Titel „Eight Colors“. Das geschaffen und gespielt wurde. Seit dem 3. Jahr- Stück stammt aus dem Jahr 1986 und ist das erste tausend v. Chr. galt der Hof als Zentrum des Musik- Werk, das Tan Dun nach seiner Emigration in New schaffens, obwohl sich parallel dazu auch religiöse York fertig stellte. Es ist ein Beispiel für Tan Duns Tänze und rituelle Musik selbständig entwickelten. frühes Experimentieren mit atonalen Strukturen, die Tatsächlich – und eben auch ganz anders als etwa in ihm in jener Zeit erstmals unmittelbar begegnet wa- der indischen Musik – galt schon in der Frühzeit eine ren. Die acht bildhaft betitelten Sätze des Streich- zwölftönige Tonleiter, die etwa der chromatischen quartetts verstehen sich als Klangbilder mit Bezü- Tonleiter des späteren Abendlandes entsprach, als gen zu Tan Duns Heimat, zum Teil beeinflusst durch Grundlage der chinesischen Musiktheorie. Wohl die „Peking-Oper“. unterscheidet sich aber die traditionelle Notation chinesischer Musik von der europäischen, indem Und damit wären wir bei einem weiteren prägenden die Noten in senkrecht abwärts und von rechts nach Merkmal für die chinesische Kultur und die Musik links gelesenen Säulen notiert werden. des bevölkerungsreichsten Landes im Fernen Osten. Eine der populärsten Kunstformen Chinas ist die chi- Bemerkenswert ist neben der Notation aber vor nesische Oper bzw. die Peking-Oper, deren Haupt- allem das Instrumentarium der chinesischen Musik. elemente Musik, Gesang, Dialog, Pantomime und Ak- Bis zum heutigen Tag werden die originalen chine- robatik sind. Für fremde Betrachter der Peking-Oper sischen Musikinstrumente in acht Gruppen einge- erschließt sich diese komplexe Kunstform nicht in teilt, wobei das Material entscheidend ist, aus dem jeder Hinsicht, denn viele Gesten, Ausdrucksformen, sie bestehen: Metall, Stein, Seide, Bambus, Kale- Maskierungen und Handlungen unterliegen einer basse, Ton, Leder oder Holz. Diese Kategorisierung streng determinierten Symbolik. Birgit Zinzius be- spiegelt sich bis zum heutigen Tag in der Musik Chi- zeichnet die chinesische Oper in ihrem Kulturführer nas wider. So komponierte die junge chinesische „China entdecken“ (zit. nach „becksche reihe“) als Komponistin Chen Yi einmal ein Stück „Ba Yin“ Quintessenz chinesischer Kultur: „Symbolistische, (Die acht Klänge), in dem er diese acht Materialbe- ins Magische reichende Irrationalität in streng for- schaffenheiten auf nichtchinesische Instrumente maler Rationalität – der Wesenszug für alle Ausfor- übertrug. mungen chinesischer Kultur!“ 2 3 SIKORSKI MAGAZIN 03.2013 SIKORSKI MAGAZIN 03.2013 MUSIKSZENE CHINA Diese Ausformungen chinesischer Kultur, von denen Komponisten später zum „Yellow River Piano Con- hier die Rede ist, erfuhren tiefe Einschnitte in der certo“ umgestaltet wurde. Es ist eine Kantate, die Geschichte des 20. Jahrhunderts. von den Kommunisten einst für politische Zwecke vereinnahmt wurde, in der Bevölkerung aber ganz Seit 1919 verlangte die sogenannte „Bewegung des unabhängig davon große Beliebtheit erlangte. Die 4. Mai“, die man durchaus als eine Vorgängerin zur „Yellow River“-Kantate ist an Popularität in China 1921 gegründeten Kommunistischen Partei interpre- kaum zu überbieten, schafft sie doch auf eigenwilli- tieren kann, dass die „Peking-Oper“ als populärste ge Art eine Möglichkeit der symbolischen Identifika- Form der chinesischen Kultur die sozialistische Be- tion der chinesischen Menschen mit ihrem beweg- wegung zu ihrem zentralen Thema machen sollte. ten und bewegenden Fluss. Traditionelle Figuren der „Peking-Oper“ wie der Ge- neral, der Kanzler oder die Kaiserinmutter wurden nun gegen Soldaten, Bauern und Arbeiter als Ver- treter des Proletariats ausgetauscht. „Eine Kunst“, so sagte Mao Tse-tung einmal, „eine Kunst um der Kunst willen, eine über den Klassen stehende Kunst, eine Kunst, die neben der Politik einherginge oder unabhängig von ihr wäre, gibt es in Wirklichkeit nicht.“ Mit Hilfe seiner alles unterdrückenden Kul- turrevolution wollte Mao die Literatur, Kunst und die Musik allein in den Dienst der Parteiraison und der geleiteten Volksmassen stellen. Für Mao Tse-tung konnte die chinesische Gesell- schaft kulturpolitisch nur als Masse erreicht und be- herrscht werden, nicht aber über die intellektuelle Avantgarde. Erst in den 1980er Jahren, lange nach Maos Tod, begann sich die von der Kulturrevolu- tion und ihren Dogmen bestimmte Atmosphäre zu lockern und liberaleren Strömungen Raum zu ge- währen. Unter dem Motto „Neue Aufklärung“ setzte in China, ausgehend von einer breiten Kulturdebat- te, im Jahr 1983 eine intensive Auseinandersetzung mit der chinesischen Kultur der Vergangenheit, aber auch der Gegenwart und der Zukunft ein. Waren es vorab vor allem Melodien aus populären revolutio- nären Opern und Balletten, die zu echten Schlagern der chinesischen Musikszene wurden, erbrachte die „Neue Aufklärung“ eine Öffnung in viele Rich- The Musical tungen, eine Auseinandersetzung mit der Kunst der Gegenwart und vor allem eine Öffnung zum Westen. „Die radikale Veränderung der Inhalte“, schreiben Scene in China Werner Pfennig und Gerhard Lechenauer in ihrem Buch „Leben in China“ (Bertelsmann Lexikon Ver- Millennia of History lag), „brachte auf dem Gebiet der Musik auch die and Modernism Einführung neuer, westlicher Instrumente, zum Bei- spiel des Klaviers. Die klassischen chinesischen The music of China is rooted in one of humanity‘s Musikinstrumente, die man in Musikgeschäften und most ancient cultures. Myths report that mu- in den entsprechenden Abteilungen der Warenhäu- sic was created and played before the time of ser überall kaufen kann, blieben aber ebenfalls. Das the great dynasties, for example under Emperor Klavier, oder in vielen Kindergärten das Harmonium, Fu-Hi. Since the third millennium B.C., the court bietet den Vorteil, dass man alle populären Melo- was considered the centre of musical creation, dien spielen kann, ohne auf ein komplettes Orchester although religious dances and ritual music de- angewiesen zu sein.“ veloped independently at the same time. In fact – and completely differently from Indian music, Volkstümliche Vorlagen spielten dabei eine zentrale for example – a twelve-tone scale corresponding Rolle. Als Beispiel hierfür mag die berühmte „Yellow approximately to the chromatic scale of
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