The more Tan Dun is rising in new-music circles, the more I am
convinced of the validity of my Hans Christian Andersen moment six
years ago (http://www.sfcv.org/arts_revs/waterpassion_7_9_02.php).
I appreciate Tan Dun's film scores - especially those written for
Zhang Yimou, especially the moody-minimalistic "Hero"
(http://www.amazon.com/dp/B0002S945W/classicalnet/) - and some early
chamber music, but when it comes to big noise-making and operas, the
First Emperor guy is way short of clothes, his popularity reminding
one of the rise and rise of Andrew Lloyd Webber, prince of empty
musical calories.

From Thursday's festival-closer at the otherwise splendid Music@Menlo:

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/08/09/DD3P127N9D.DTL

  "...For truly overweening emptiness, there was Tan Dun's
  "Elegy: Snow in June," a pointless 25-minute jumble of
  sounds for cello and four percussionists.

  Each of the percussionists (Daniel Kennedy, Florian Conzetti,
  Christopher Froh and Tom Kolor) had what seemed like several
  dozen instruments at his disposal - none of which was played
  for more than five seconds at a time - and cellist Andres
  Diaz sat in the middle offering driblets of melody and
  squeaky interjections. The goal seemed to be to use the
  sheer profusion of incident to distract listeners from the
  lack of musical ideas."

Janos Gereben
www.sfcv.org
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