[DOWNLOAD] Cao Cao - The Great Peaceful Age

Cao Cao was written in early 2019 for a consortium project in Japan.

Cao Cao (pronounced "Tsao Tsao," also known as Ts'ao Ts'ao, with the courtesy name of "Mengde") is a historical figure from China, who is also quite famous in Japan and known by many. Cao Cao, a talented poet, was a hero in the mold of Oda Nobunaga. He was active during the late Han Dynasty and the Three Kingdoms period (A.D. 155-220). He established an empire called "Wei" and supported a puppet emperor of the declining Han Dynasty but never ascended to the throne himself. He was known for his cruelty at times, such as the massacre in Xuzhou under the pretext of mourning his father and puppeteering the Han Dynasty emperor. In the historical fiction "Romance of the Three Kingdoms," he is portrayed as an antagonist to the main character, Liu Bei, and is often seen as a villain.

On the other hand, he was also a person who burned with ideals and fought for the common people, actively participating in politics. The poem by Cao Cao that begins with "對酒歌太平時" (which is the inspiration for the title) is one piece of evidence that represents his ideals. This Han poem describes a world where, through sincere and excellent governance, officials do not oppress the people, there is no war, and fields flourish, bringing happiness to all, including plants, animals, and insects.

This work was composed with inspiration from this Han poem and Cao Cao's life. It is divided into four main sections.

The first part begins with a dark motif, presenting the "Theme of the Land" to express the devastation of the country due to famine and war. Eventually, it becomes the sorrowful prayers of people longing for peace. The flames of war are then represented by agitated woodwinds, and the G pitch played by the brass is the call to Cao Cao from the battlefield.

The second part presents the "12-tone rowof war" in a fugato style, followed by intense motifs using dynamic musical clusters to depict conflict and chaos. After various changes in motifs, the call to Cao Cao from the battlefield is reproduced in a more intense form.

The third part is a scene from Cao Cao's banquet. It contains scherzo-like music with some influence from Peking opera and represents Cao Cao's artistic side as someone who loved not only poetry but also music, dance, and architecture.

In the fourth part, during the height of the banquet, Cao Cao retires to his room alone, where he dreams of a peaceful world. This is the most tonal part of the composition. The alto saxophone solo seems as though it is strolling through a peaceful world while humming a tune. In response to this, the "12-tone row of war" is played beautifully by the high woodwinds in an obligato style. Eventually, these elements become a powerful "Theme of the Land" that nourishes millions of people and nature. However, it's just Cao Cao's dream, and he is pulled back to the battlefield by the flames of war and the calling voices.

"對酒" is said to have been published about seven years before Cao Cao's death. After his death, 1800 years later, did his ideals truly manifest in the world?


Performance Notes

• If available, play Piccolo where the 2nd Flute part is written "Piccolo". When Piccolo is absent, play only Flute. In a large ensemble setting, Flutes and Piccolos can be combined.
• The 1st Clarinet part can be doubled with Soprano Sax as needed. This should only be done if the Clarinet lacks adequate volume.
• The Piano part is optional but it is desirable to include it whenever possible. The Piano carries many bassline responsibilities, so placing it on the stage's right side facilitates ensemble playing and is preferable. Additionally, keeping the lid fully open is recommended. Using a hand towel or similar when performing glissando can prevent finger injury.
• In the case of a single player for 2nd and 3rd Percussion, you may omit notes with parentheses (play whenever possible). If there are two players for each part, player A takes A-part, and player B takes B-part, including notes with parentheses.
• Tom-Toms and Bass Drum can be optionally replaced with Chinese, Japanese, or other ethnic drums if available. In particular, for sections like [12], [34], and [35], simultaneous hits, multiple players, and added embellishments are allowed.
• If the specified percussion instruments are not available, substitute them with other instruments. However, it's not recommended to substitute Finger Cymbals with Glockenspiel.
• If required instruments are unavailable, use another instrument with the same pitch to compensate for the missing notes. This can also be done to resolve technical or volume balance issues.

(Souhei Kano)