238:(1, 2, 3, 5, 8...), sequences in which each term is the sum of the previous two. Variants are created by simple multiplication, e.g., Lucas x 3, which produces the new series 3, 9, 12, 21... All these are used to generate the precise duration of each variation (so that each lasts the added lengths of the previous two), most of the vertical and horizontal patterns (since the numbers may be made to correspond to pitches, ascending or descending, played successively or as chords), and also many of the rhythmic motifs.
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The Lucas series determines that, in general, each fugato or fugue is in length the sum of the preceding two. In the last two fugues, the keys and octave registers of the principal subject entries follow the Lucas series, while the accretion of parts in Fugue II (from one to fifty-four) follows the
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The work's orchestration and fugal counterpoint show technical maturity, its tone-colours are rich, the tranquil and nostalgic beginning gradually and very naturally rising to a climax of great emotional turbulence... This impetuous and opportunely contrived "chaos" exactly reflects the sufferings
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under Dmitri
Jurowski. It is scored for a large orchestra consisting of 2 piccolos, 3 flutes, 3 oboes, English horn, E flat clarinet, 3 clarinets, bass clarinet, 3 bassoons, double bassoon, 4 horns, 4 trumpets, 3 trombones, bass trombone, tuba, timpani, 6 percussionists, 2 harps, celesta, and 60
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Variation VI. A 12-tone variation launched by a cadenza for the 2 harps. The row is constructed out of distinctive patterns of the Theme, its 4 forms played in 4 permutations of 4-part counterpoint in oboes, English horns, clarinets, and bass clarinets, and also used to generate durations and
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only insofar as fractals are said to be natural, organic, non-Euclidean characteristics of
Chinese art and philosophy. On the other hand, the symphony’s gradual, unmistakable progression from Modernist to Baroque—an atypical experiment in stylistic retrogression within a single movement—is a
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dynamics. The harmonic accompaniment on the 2 harps, also serial in derivation, is especially elaborate, involving arpeggios, broken octaves, and full chords in Harp 1, and a complete G minor statement of the Theme in stark octaves in Harp 2, the original intervals somewhat distorted.
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tempo. Over it, various counterpoints are heard singly, and then in increasingly dense combinations and scoring. After the quiet, central 'Trio' for flutes, clarinets, glockenspiel, harps, and violins over a timpani roll on low E, the entire sarabande is repeated al rovescio
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of modern man. When the not very long-lived climax of this chaos recedes, it brings in its wake tones that are peaceful and hazy, an elevated state of mind. This coda, then, is the real climax of the whole work and its point of repose.
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Variation V. Without letup from the ongoing string and woodwind triplets, brass chords restate the Theme in E, accompanied by a repeatedly broadening rhythm in the percussion. The brass eventually join the ever-thickening triplets in
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In an age when we must confront the culture of the global village, in the case of
Jeffrey Ching...the culture of China is not merely the artefacts of her literature and art, but a metaphysical spirit and the germ of artistic creation.
245:, demarcates the end of the passacaglia and the beginning of the fugue. (The Golden Section is the point at which the ratio of the remaining area to the larger one preceding, is the same as the ratio of the larger area to the whole.)
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after the 10th permutation, over which the Theme is superimposed by two trumpets and trombone playing from an auditorium balcony, while within the orchestra proper each player is directed to play earlier fugal material in any order at
277:(itself a fractal number series), with a woodcut illustration of a tuning instrument he had had built on its principles. He is, therefore, a patron saint of sorts to European classical music from at least
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Variation II. The imitative texture thins down for flutter-tongued flutes, oboes, and 'cellos, under a shimmer of tremolando string chords, to which clarinets and bassoons add rapid, light arpeggios.
34:'s Fourth Symphony, which was composed in London between 14 January and 29 June 2002, and is in a single large movement lasting about thirty-five minutes. There is a further parenthetical title,
301:—first, all the way down all twelve steps midway through Fugue II, and then all the way up towards the final aleatory stretto, in a juggernaut of cumulative four-bar phrases.
98:(1998). The fragments link up as the complete Theme in G minor, eight phrases of four notes each, variously orchestrated. Then follow the eight variations of the
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strives for its apotheosis through the 'Ming music' par excellence of the Bach fugue. Twice it parades its
Baroque antecedents via the time-honoured
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in eight parts begins in C minor on solo double bassoon, and continues through D minor, E minor, F minor, B minor, F minor, E minor, and B minor.
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Variation III. Two-bar phrases for lower brass and lower strings alternate with single-bar phrases for high pizzicati and winds.
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The eight subjects of the fugue derive from the eight individual phrases of the Theme, and are expounded—in a kind of miniature
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Variation I. Against the 60-part imitative figures in the strings, the Theme is heard twice, first forwards then backwards.
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Three excerpts from the world premiere by the
Shanghai Philharmonic under Dmitri Jurowski may now be accessed on YouTube:
273:朱載堉, Prince of Zheng (1536–1611), whose 390th death anniversary it was in 2001. In 1584 Zhu published his mathematics of
94:(1368–1644) or Ming-style melodic fragments, such as may be found in the temple hymns transcribed in Joseph S. C. Lam's
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Programme brochure for
Shanghai Philharmonic Orchestra concert, Shanghai International Arts Festival, 17 November 2006.
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Programme brochure for
Shanghai Philharmonic Orchestra concert, Shanghai International Arts Festival, 17 November 2006.
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Fugue II on
Subject VIII, and then also I-VII (54 parts)—tutti, starting with solo violins and glockenspiel
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that we have come to date the practical interchangeability of the twelve tonalities. For this reason,
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Variation VII. Four times the Theme is given in E minor by the timpani in stately,
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In form, the symphony is a passacaglia with eight variations and 105-part fugue on
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https://www.youtube.com/watch?v=8qtQzQeUNks&feature=BFa&list=ULk3j0Kfg7fAo
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https://www.youtube.com/watch?v=k3j0Kfg7fAo&feature=channel&list=UL
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The composition is dominated by fractal number series, preponderantly the
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https://www.youtube.com/watch?v=yPudLkQ-K8Y&feature=context-chv
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Zhou, Fanfu (周凡夫). "Zhu Zaiyu yu Bahe di duihua " (朱載堉與巴赫的對話),
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Variation IV. The Theme, elaborated into fleet 12/32 triplets
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Fugato III on
Subject III (4 parts)—piccolos and flutes
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Fugue III on
Subjects I-VIII (105 parts)—tutti, with
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I on Subject I (5 parts)—oboes, English horn, bassoon
310:The Hong Kong music critic Zhou Fanfu wrote in the
234:(1, 3, 4, 7, 11...1364), but occasionally also the
349:Orosa, Rosalinda L. "Jeffrey Ching: An Update",
269:conscious homage to the great Ming musicologist
192:Fugato IV on Subject IV (4 parts)—horns and tuba
336:New York: State University of New York Press.
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207:I on Subject VII (4 parts)—harps and celesta
201:Fughetta II on Subject VI (4 parts)—bassoons
68:World Youth Orchestra, and premiered at the
334:State Sacrifices and Music in Ming China
155:Variation VIII. A leisurely modulating
96:State Sacrifices and Music in Ming China
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186:Fugato II on Subject II (6 parts)—brass
53:明律回音 (Echo of the Ming Pitch-pipes).
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70:Shanghai International Arts Festival
264:links fractal geometry and musical
198:I on Subject V (4 parts)—clarinets
57:World premiere and instrumentation
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74:Shanghai Philharmonic Orchestra
81:Analysis of form and structure
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257:Ching remarks of this piece:
423:Symphonies by Jeffrey Ching
241:Another fractal value, the
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332:Lam, Joseph S. C. (1998).
312:Hong Kong Economic Journal
287:The Well-Tempered Clavier
382:(香港信報), 6 December 2006.
64:was commissioned by the
174:invertible counterpoint
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249:Fibonacci aggregates.
18:Symphony No. 4 (Ching)
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253:Historical allusions
226:The role of fractals
134:retrograde inversion
351:The Philippine Star
66:Jeunesses Musicales
306:Critical reception
428:2002 compositions
380:Xianggang xinbao
299:Pythagorean comma
291:Souvenir des Ming
275:equal temperament
262:Souvenir des Ming
62:Souvenir des Ming
28:Souvenir des Ming
16:(Redirected from
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283:Wohltemperierte
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106:The passacaglia
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45:Ming dynasty
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266:chinoiserie
100:passacaglia
37:Passacaglia
417:Categories
327:References
279:J. S. Bach
138:retrograde
130:retrograde
358:Footnotes
271:Zhu Zaiyu
236:Fibonacci
164:The fugue
149:sarabande
86:The theme
77:strings.
47:Fragments
215:aleatory
196:Fughetta
218:stretto
122:scherzo
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181:Fugato
297:sans
232:Lucas
221:will.
205:Fugue
157:canon
41:Fugue
338:ISBN
132:and
92:Ming
39:and
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