Western Classical Origin. It was composed by Johann Strauss Sr.
Orchestration:
Chinese String, Woodwind, and Percussion Instruments.
Chinese subsitutions for the Western classical instruments are used,
including the Erhu as the 1st Violin section in Western Classical music.
Connection:
Immediately, when I found this performance on YouTube I couldn't help but think about our discussion during our last class. We talked about accurately depicting world music in performances and in our classrooms. In our readings, the authors discussed how changing elements of a piece can turn it into a completely new piece. In this video, the China Central Chinese Orchestra takes a Western Classical piece and uses Chinese stringed, woodwind, brass and percussion instruments instead of the typical Western classical counterparts. Couldn't one argue that they are in fact changing the piece? The timbre, tone and textures are very different compared to how Strauss originally imagined it as. As a result, does this make it lose its elements that makes the piece Western Classical. In Thinking Musically there is a whole chapter dedicated to instruments. A lot of times the instrument and style is what makes a culture's music unique. To change that in a performance setting changes the entire game. On the other hand, sometimes schools or individuals wouldn't have the means to play the piece on the correct instrument that it was written for. There would have to be accommodations. This isn't the case for the group depicted in the video.
It is so amusing to hear this Strauss dance with those few obviously Chinese sounds. I personally find it clever. I do see where you're coming from, about the change in instruments changing the meaning of the piece and not adhering to Strauss's original intent. I guess I'm more on the universalist side, because that really doesn't bother me. I don't think it was their intention. Music is all about pushing boundaries and I think that's what this piece is doing. If they had meant it to be like Strauss intended they would have performed it that way. In today's world music stage, there is so much crossing over and blending of culture's and styles. Who is to say we can't do that with the classics?
While I do think that the composer's meaning in writing any piece is something that should be the cornerstone to any performance of any piece, I do find this performance of Strauss quite fascinating. The audience definitely loves this transformation of the piece, and I think I enjoy it more than the original because it seems more personal to the Chinese culture through them putting their own spin on it instead of just another concert by another orchestra playing the same exact thing in no different way than a cover band playing Beatles and Journey tunes at a bar. When we take music and change it, in my opinion it's not necessarily offensive to the original culture because they still have the integrity of their own music while we (the changers) can use their art to create even more art in a wonderfully, synthesized way.
This is great! I have never seen such a large orchestra of completely oriental instruments or heard a german march sound this Eastern. This fits perfectly in with how we were talking about how culture change can completely alter the work. Granted this in almost no way shows integrity to the original, I wish it would be done more often. This gives people in a new culture access to the work that they wouldn't have had before. This can easily lead to more music from that part of the world being studied and performed. It also breathes new life into music which can engage more people into the appreciation and study of music.
I think this is so neat! I generally have a gut opposition to altering music from what the composer intended...but it's hard to defend that instinct when the result of this adaptation is so well-done and entertaining. After all, music is for everyone to enjoy, so adapting it for the audience is also something I really believe in.
As it has already been said in a way, I believe that although this is not similar to the original version, it is a cultural experiment that works. I can't say that Strauss would really be pleased with the change to his piece, but I believe that he would certainly regard it as an interesting experiment in how authentic instruments of a different culture can change the sound and feel of a piece.
I think this is a great, funny, different version of this piece. I do think however it is changing the cultural meaning behind it though. They are using their own instruments and ways of playing to create "their" version of Radetzky March. I feel as though Strauss would find it fascinating but also be a bit weary about it. It is great to see the audience so into it!
Great dialogue, everyone. What comes to my mind is how incredibly difficult it must be to play Strauss' music on instruments that we not intended to play this type of melodic, harmonic, or rhythmic writing. When you hear an example of an erhu live in class in a few weeks, you'll understand what I mean!
It is so amusing to hear this Strauss dance with those few obviously Chinese sounds. I personally find it clever. I do see where you're coming from, about the change in instruments changing the meaning of the piece and not adhering to Strauss's original intent. I guess I'm more on the universalist side, because that really doesn't bother me. I don't think it was their intention. Music is all about pushing boundaries and I think that's what this piece is doing. If they had meant it to be like Strauss intended they would have performed it that way. In today's world music stage, there is so much crossing over and blending of culture's and styles. Who is to say we can't do that with the classics?
ReplyDeleteWhile I do think that the composer's meaning in writing any piece is something that should be the cornerstone to any performance of any piece, I do find this performance of Strauss quite fascinating. The audience definitely loves this transformation of the piece, and I think I enjoy it more than the original because it seems more personal to the Chinese culture through them putting their own spin on it instead of just another concert by another orchestra playing the same exact thing in no different way than a cover band playing Beatles and Journey tunes at a bar. When we take music and change it, in my opinion it's not necessarily offensive to the original culture because they still have the integrity of their own music while we (the changers) can use their art to create even more art in a wonderfully, synthesized way.
ReplyDeleteThis is great! I have never seen such a large orchestra of completely oriental instruments or heard a german march sound this Eastern. This fits perfectly in with how we were talking about how culture change can completely alter the work. Granted this in almost no way shows integrity to the original, I wish it would be done more often. This gives people in a new culture access to the work that they wouldn't have had before. This can easily lead to more music from that part of the world being studied and performed. It also breathes new life into music which can engage more people into the appreciation and study of music.
ReplyDeleteI think this is so neat! I generally have a gut opposition to altering music from what the composer intended...but it's hard to defend that instinct when the result of this adaptation is so well-done and entertaining. After all, music is for everyone to enjoy, so adapting it for the audience is also something I really believe in.
ReplyDeleteAs it has already been said in a way, I believe that although this is not similar to the original version, it is a cultural experiment that works. I can't say that Strauss would really be pleased with the change to his piece, but I believe that he would certainly regard it as an interesting experiment in how authentic instruments of a different culture can change the sound and feel of a piece.
ReplyDeleteI think this is a great, funny, different version of this piece. I do think however it is changing the cultural meaning behind it though. They are using their own instruments and ways of playing to create "their" version of Radetzky March. I feel as though Strauss would find it fascinating but also be a bit weary about it. It is great to see the audience so into it!
ReplyDeleteGreat dialogue, everyone. What comes to my mind is how incredibly difficult it must be to play Strauss' music on instruments that we not intended to play this type of melodic, harmonic, or rhythmic writing. When you hear an example of an erhu live in class in a few weeks, you'll understand what I mean!
ReplyDelete