Zhu Jainer - Symphonies Vol. 1 (n.d.)
EAC Rip | FLAC, IMG+CUE, LOG | 2 CDs | Complete Scans | 472 MB
Classical/20th Century | Label: Shanghai A&V Literature and Art Publishing House
Cat.: 494-B | MU/FileServe
Symphony No. 1 op. 27
01. I. ?
02. II. ?!
03. III. ......
04. IV. !
01. Symphony No. 2 op. 28
Symphony No. 3 "Tibet" op. 29
02. I. Mysterious Land
03. II. Yalu Tsangpo River
04. III. The Sunshine City
Zhu Jainer: Symphonies Vol. 2 (n.d.)
EAC Rip | FLAC, IMG+CUE, LOG | 2 CDs | Complete Scans | 370 MB
Classical/20th Century | Label: Shanghai A&V Literature and Art Publishing House | Cat.: 495-B | MU/RS
As a prominent Chinese composer, Zhu has been in pursuit or originality and has taken pains to organically combine western composition techniques with Chinese musical thinking, idioms and style. He stands as one of the most highly regarded contemporary Chinese composers.
from Encyclopedia of Contemporary Chinese CultureZhu Jan’er grew up in Shanghai and taught himself to play the piano during his middle school years. Even before receiving a formal music education, he began composing and worked in a ‘Literature and Arts Troupe’ (wengongtuan) in the 1940s. From 1949 he served as a composer for the Shanghai and Beijing National Film Studios. He was sent to the Tchaikovsky Conservatory in Moscow (1955–60). Since 1975 he has worked for the Shanghai Symphony as a composer-in-residence. In the late 1990s he went to New York as a visiting scholar, studying contemporary music.
Zhu's stylistic development is remarkable. His early works, such as the overture The Holiday (Jieri, 1958), a symphonic cantata based on words by Mao Zedong (1959), and a Fugato for string quartet, based on the model ballet The White-haired Girl (Baimaonü, 1972) and composed together with Shi Yongkang, are all characterized by a tonal, pentatonic idiom. As composer-in-residence at the Shanghai Symphony, he attended many classes on New Music held at the Shanghai Conservatory. This, along with field-trips to Guizhou province, are reflected in his numerous symphonies and symphonic poems written in short succession since the mid 1980s. Each explores new dimensions in compositional technique and instrumental make-up.
Zhu has written symphonies for suona (Chinese cornet), musical saws and percussion, in twelve-tone, aleatoric and expressionist styles. He incorporates melodies, rhythmic patterns and other structural elements from China’s folk musical traditions. And many of his symphonic works are programmatic. His First Symphony (1986) and his Second Symphony (1987), for example, two studies in manipulated twelve-tone-technique, both deal with the Cultural Revolution.
01. Symphony No. 4 "6.4.2-1" op. 31
a Chamber Symphony for Bamboo Flute and 22 strings
Symphony No. 5 op. 32
02. I. Moderato - Allegro
03. II. Lento
04. III. Allegro - Lento Maestoso
Symphony No. 6 "3Y" op. 35
for Tape and Orchestra
01. I. Ye
02. II. Yun
03. III. Yang