Su Yuichen

About the implementation of the program in Zhao Jiping`s concerto ”Zhuang Zhou’s Dream” for cello and Chinese traditional orchestra

The concerto «Zhuang Zhou’s Dream» for cello with orchestra (2006) is a bright example of the Chinese interpretative tradition of the concerto genre. This tradition was formed in the second half of the XXth century. The features of the majority of modern Chinese concerts for a soloist with orchestra are: a support of traditional (national) orchestra, the using of structure in a large single-movement form and the existence of the program, which becomes the foundation of the author’s conception. The programs of concerts, as a rule, are based on the historical, mythological or socially important subjects and plots, which are well-known for Chinese listeners. The analysis of the individual implementation conformably to programness in the Concerto «Zhuang Zhou’s Dream», as well as interactions between the program and the composition and dramaturgic features of this work is represented in the article. The program of the Concerto is considered to be a combination of Taoism doctrine world-view principles (its founder is the philosopher Zhuang Zhou) and the plot of the well-known Chinese parable «Zhuang Zhou’s Dream About Butterfly». It is shown that the distinctive features of this composition are: the interaction of the two plans of pro-gramming (generalized philosophical and narrative ones), as well as the interaction of two types of programming – pictorial and plot. The implementation of these features led to the usage of complicated three-part form with the elements of concentricity, which prevailing value is gained by the main subject.

Key words

National tradition of Chinese instrumental concerto, musical programness, composition, dramaturgy.

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