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Chicago Symphony Orchestra
Tan Dun: Water Concerto & Marco Polo
May 20-22, 2027
Overview
Explore the kaleidoscopic musical world of Tan Dun, who leads the CSO in three of his inventive works that bridge Asian and Western traditions. His utterly distinct Water Concerto harnesses the percussive possibilities of water to enchanting effect, while the Concerto for Orchestra takes inspiration from Marco Polo’s legendary travels from Italy to China. Combining the ancient with the modern, Passacaglia brings nature to life by blending live symphonic music with recorded bird songs — played by audience and orchestra members on their phones.
Program
Tan Dun
Passacaglia: Secret of Wind and Birds
Tan Dun
Water Concerto
Tan Dun
Concerto for Orchestra from Marco Polo
Performers
Enhance your experience
Preconcert Conversation
Explore the music in a free preconcert conversation featuring Daniel Schlosberg in Orchestra Hall 75 minutes before the performance. The talk will last approximately 30 minutes. No additional tickets are needed.
Preconcert Dining
Explore Chicago Symphony Center’s on-site dining options for a seamless preconcert experience. Preorder a Sound Bites meal to enjoy in the Rotunda before the concert — or make a reservation to dine at the Thomas Club, offering a prix fixe menu featuring traditional American fare and a spectacular view of Lake Michigan.
Sponsors & Partners
The appearance of Yuri Yamashita is made possible by the Grainger Fund for Excellence.
Inside the Music
About the music
The three-movement Water Concerto (1998) by Chinese-American composer Tan Dun uses the sound of splashes and flows of water as a solo musical instrument: "I want to present music that is for listening in a visual way."
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CSO at the Movies
In this video titled "Composing Myself," Tan Dun explains how he always has been drawn to the avant-garde, from Beethoven and Wagner to contemporaries such as Philip Glass and John Cage. “My instrument is the orchestra.”
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CSO at the Movies
For his "Crouching Tiger, Hidden Dragon," score, composer Tan Dun reports that the martial-arts scenes were the most difficult: "It’s like a ballet, every second is choreographed, and every second needs to be to be synchronized."
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