Here's a bit of traditional Chinese music, thanks to our friend ayshio there is A LOT of information about this record in the comment section, thanks Yoshio!
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Enjoy!
This is a heavy heavy one. The title(02)(05) is Ancient China's Ten Greatest Songs
古琤独奏 高山流水 Guzheng Solo:High Mountain and Flowing Water fig. intimate and understanding friend
(1)渔舟唱晚 (2)高山流水 (3)閙元宵 (4)庆丰年 (5)汉宮秋月 (6)四段錦
(1)Fishing Boat Singing in the Evening (2)High Mountains and Flowing Water (3)Alarm the Lantern Festival (4)Celebrate the Year of Abundance (5)Autumn Moon in Han Palace (6) Four Sections of Brocade.
Performers 曹正 Cao Zheng(1)(2) (Cao Zheng1920-1998.4.13) was a guzheng educator, theorist, performer, founder of the Chinese guzheng school, a master of the Chinese guzheng, and a professor at the China Conservatory of Music. Mr Cao Zheng was formerly known as Guo Chengxue (郭成學), and his name was Ciguang (缉光). Originally from Changli County, Hebei Province, he was born on 31 December 1920 in Xinmin County, Liaoning Province. In 1936, at the age of 16, Mr Cao went to Beiping to study and at the same time worked in a mass charitable organisation, the ‘Moral Society’. Lou Shuhua, a famous guzheng player from Yutian, Hebei Province, who worked in the ‘Moral Society’, found Cao's talent and took him as a student, teaching him songs such as ‘The Fishing Boat Sings the Evening Song’. After Lou Shuhua introduced him, in October 1945, Mr Cao Zheng followed the master of Lingnan Zither School, Mr Liang Zaiping, in Nanjing to learn the art. In 1947, Cao Zheng and Fan Lotian (who was the director of the Chinese Music Academy in the United States) co-founded the ‘Lavender Wind Zither Society’ in Xuzhou, and held the first formal guzheng recital in modern history in November of the same year. 1948 spring, introduced by Cheng Wujia, Cao Zheng was appointed as a guzheng instructor in the National Music Group in Nanjing (at that time, there was also Yang Yinliu in the National Music Group). In the spring of 1948, Cao Zheng was introduced by Cheng Wujia to the National Music Group of Nanjing as a guzheng instructor (at that time, there were also Yang Yinliu, Chu Shizhu, Cao Anhe, Liu Beimao, Chen Zhenduo, Cheng Wujia and Xia Yifeng in the National Music Group), which for the first time brought the guzheng from the folk to the institutions of higher education in music, and created a new era in the history of the Chinese zheng. At the end of 1948, after the Battle of Huaihai, the 28-year-old Cao Zheng went to the liberated area of North Jiangsu Province and changed his name to ‘Cao Zheng’ (a homonym of ‘Chaozheng’) to show his pursuit and determination to go in the right direction, and on New Year's Day of 1949, Cao Zheng came to be the leader of the Cultural Troupe of the rural village in North Anhui Province and the guzheng player. In 1950, Cao Zheng was transferred from Hefei to Shenyang Northeast Lu Xun College of the Arts, and in 1952, he became the director of the discipline of Shenyang Northeast Music College and the headmaster of the attached middle school of Shenyang Conservatory of Music, as well as a member of Shenyang Municipal Committee of Political Consultative Conference, and was awarded the title of Associate Professor of China Conservatory of Music in 1957, and he put forward the idea of ‘Qin Zheng Returns to Qin’ in the same year. In the same year, he put forward the idea of ‘Qin zheng returns to Qin’, and in 1981, he was appointed as a professor. In the same year, Mr Cao Zheng was invited to attend the Asian Music Festival in Hong Kong. At the invitation of the East Asian Music Centre of Maryland State University, he went to the United States to give a lecture in 1985. In 1990, in the name of the Beijing Guzheng Research Association, he held a joint concert with the ‘Qin Yun Zheng Sound’ Head Office in Taipei, in which Mr. Cao Zhengye and his mentor, Mr. Liang Zaiping, performed respectively. From https://baike.baidu.com/item/%E6%9B%B9%E6%AD%A3/8471332?fr=aladdin
曹东扶 Cao DongfuTrack(3) He is the founder of Henan zheng, one of the four major schools of guzheng in China, and the founder of the Henan Cao school of major tunes. He is a native of Cao Ying Village, Bai Lu Township, Dengzhou City, Henan Province. He was born in a poor family of music artists. His father, Cao Huaiqing, earned his living by begging and singing big tunes. The young Cao Dongfu early taste of the world's sorrows. 7 years old into the private school, only 4 years old will be due to famine and dropped out of school, with his family to the county to earn a living, when the county teahouse restaurants, bookstores singing tunes of the wind is quite prevalent, he took the opportunity to sell business along the street in and out of which, listen to the lingering forgetfulness. He successively studied under Lan Wenbing, Zhao Xisan, Ma Shuzhang, Qiu Guohe and other veteran artists, learning to sing and yangqin, antique and three-stringed, and also studied pipa with Ma Wanshou, who was known as the ‘Pipa God's Finger’. Afterwards, he travelled with his father to Xiangfan in Hubei Province, and at the age of 19, with the financial support of his friends and relatives, he entered the Deng County Primary Teacher's Training Centre for half a year, and benefited greatly from the training. From https://baike.baidu.com/item/%E6%9B%B9%E4%B8%9C%E6%89%B6?fromModule=lemma_search-box
Track(4)(5)(6) 赵玉斋 Zhao Yuzai Born in 1923 in Yuncheng County, Shandong Province, known as ‘the sea of books, mountains and theatre, the township of zhengqin’, successively studied under Wang Denghai, Wang Erjing and other artists to learn the two strings, clapper plays, Shandong qinshu and other local theatre, learning to pull the drop hu, erxian, four hu strings, Panhu, and to Fan Xiyu, Mr. Lai Lianjun learn to play the guzheng. 1943-1953In 1943, after being introduced by Mr Shi Dengyan, he took Mr Wang Dianyu, the ‘King of Silk String’, as his teacher, and learnt to play the zither and guzheng, and became a student of the ‘Donglu Yalu Music Society’, and at the beginning of 1952, he joined the Tianjin Opera Troupe on the invitation of Mr Wang. In the first national music and dance performance, the two masters and disciples won the outstanding performance award for their zither playing. 1953 in the autumn, recommended by Mr. Cao Zheng, Mr. Zhao was recruited by the Shenyang Conservatory of Music as a guzheng zither instructor in the Department of folk music. 1956-1963 In the spring of 1956, Mr Zhao went to Czechoslovakia with the Chinese Art Troupe to take part in the 11th ‘Prague Spring’ International Music Week, and played Shandong traditional zheng music ‘Autumn Moon in the Palace of Han’, ‘High Mountains and Flowing Water’, ‘Song of the Winds and Flows’, and ‘Celebration of the Year of Abundance’, which was composed by him, and received a warm welcome. In October of the same year, he visited four Scandinavian countries with a delegation of Chinese musicians, playing nearly 20 traditional and self-composed zheng pieces. The Finnish President Jikkonen and his wife also watched his performance and praised him warmly. 1962, he held a solo concert in Jinan, Shandong Province. 1963, in the Shenyang Evening News published ‘on the zheng's performance art’, which was his first attempt at music theory, laying a good foundation for his later theoretical work. 1957 In 1957, Mr Zhao proposed to the Shenyang Conservatory of Music Musical Instrument Factory the idea of enlarging the zheng body and increasing the number of strings, so the first 21-string zheng was born, which is the prototype of the modern guzheng. After Mr Zhao's suggestion, the factory began to develop the tuning zither, and in 1959 developed the first tension tuning zither in China. From:https://baike.baidu.com/item/%E8%B5%B5%E7%8E%89%E6%96%8B?fromModule=lemma_search-box
Songs Track (01) This is a piece of zheng music with classical style. The piece depicts a beautiful scene of the setting sun reflecting on the blue waves, the fishermen at ease, and the fishing boats drifting away with the waves. This piece is one of the most popular and influential zheng solo pieces in China since the 1930's. It was completed in 1925 by Wei Ziyou, a master of the zheng. From https://baike.baidu.com/item/%E6%B8%94%E8%88%9F%E5%94%B1%E6%99%9A/9426507?fr=ge_ala
Track(02) Gao Shan Liu Shui (高山流水) is a Chinese guqin (古琴), one of the ten most important ancient Chinese compositions. Legend has it that the pre-Qin qin master Bo Ya once played the qin in a deserted mountain wilderness, and the woodcutter Zhong Ziqi was able to comprehend that it was a depiction of ‘E'e Ruoxi Taishan’ and ‘Yang Yang Ruoxi Ruoxi Jianghe’. Bo Ya was shocked and said, ‘Good, the heart of the son is the same as mine.’ After Zhong Ziqi's death, Bo Ya lost his soulmate, dropped his zither and stopped playing for the rest of his life, hence the song ‘High Mountains and Flowing Water’. The idiom of ‘High Mountains and Flowing Water’ is a metaphor for knowing one's soulmate or one's soulmate, as well as a metaphor for the high quality of music. It was later divided into two pieces, ‘High Mountains’ and ‘Flowing Water’; there is another zheng piece with the same name, ‘High Mountains and Flowing Water’, which has no inheritance relationship with the guqin piece. From https://baike.baidu.com/item/%E9%AB%98%E5%B1%B1%E6%B5%81%E6%B0%B4/5587?fr=ge_ala
Track(03) The Guzheng solo piece ‘Haunted Lantern Festival’ was composed by Mr Cao Dongfu, the founder of the Cao School of Zither Art in Henan Province and a master of the generation, in 1956. It was also the Lantern Festival, and Mr Cao Dongfu composed this heirloom piece ‘Haunted Lantern Festival’ because he was filled with joy and excitement due to the vibrant atmosphere of the people of Nanyang, Henan Province, who were celebrating the festival. The song is a blend of Henan's Yu Opera, Yue Opera, Qu Opera and other local operas, and uses one-finger strumming to simulate the sound of a gong, and a rough, spirited melody to imitate a suona, which expresses the noisy, festive atmosphere of the Lantern Festival in the best possible way! From https://mp.weixin.qq.com/s?__biz=MzAxMjEzMzEyNw==&mid=2650712523&idx=2&sn=79b5957e9d6fc840cb3e5b213892ebda&chksm=83bc7fa3b4cbf6b58a814a87923a3a1fc838d4a31f4e747b5c01ee6dc5ffa76a277e128d6ce1&scene=27
Track(4) Since its introduction in 1955, this piece has been loved by zither players and the general public at home and abroad, and has become one of the must-play pieces for zither players. This piece is based on the traditional Shandong ‘old eight-board’ tune, and the melody of the Shandong suite ‘Little Brook Flowing Water’ is used as the basis to broaden the idea of the piece, enrich the content of the piece, and change the means of expression, so that the original tune has been greatly developed. In terms of the playing technique of the guzheng, the piece is boldly innovative, using many new and unused playing methods, greatly strengthening the function of the left hand, so that the left hand plays the melody on the right side of the zheng as well as the right hand. The piece is extremely successful in its use of lifting, octave grasping, alternating hands grasping, column strings, small shaking, and two-finger harmonic scraping. At the same time, the piece also employs the close shaking of the small joints of the big and small fingers, the large-scale playing of the flower fingers, the sweeping technique borrowed from the pipa, and the technique of ‘pointing the pillar and mute sound’ that imitates the rhythm of the gongs and drums - the middle finger of the left hand presses on the upper end of the instrument's code, while the right hand strums the strings so that they produce the short, husky sound of the aftertone. etc., all of which have obtained good results. Celebrating a Bountiful Year’ is a Guzheng solo piece with a joyful, warm, fiery and festive atmosphere. It vividly depicts the people's joyful mood and the pursuit of a happy and beautiful life in the year of harvest, showing the sound of firecrackers, drums and gongs, all the people are of one mind, and the extremely enthusiastic scene of celebrating a bumper year in the west, which makes the people feel like they are there, and hear the sound of the sound of the sound of the firecrackers and the drums and gongs. Celebrating a Bountiful Year’ is one of the representative zheng compositions in the early period of the founding of the nation, and this piece of music has had a positive influence on the later zheng compositions and performances that continue to develop the “two-handed zheng” technique. From https://baike.baidu.com/item/%E5%BA%86%E4%B8%B0%E5%B9%B4/24443911?fr=ge_ala
Track(5) The Autumn Moon in the Han Palace is one of the ten most famous ancient compositions, but it does not have a long history. Originally a pipa piece of the Chongming school, the theme of the piece is not very specific. Many articles on this piece have vaguely stated that the piece is intended to evoke sympathy for the plight of the oppressed courtesans, and that it has a deep artistic impact. According to some articles, the song meticulously depicts the palace maiden facing the bright moon on an autumn night with infinite despair, revealing a strong desire for love. The Autumn Moon in the Han Palace is likely to be related to the Han Palace Autumn in some way. And ‘Autumn in the Han Palace’ is a miscellaneous opera at the end of Yuan Dynasty, written by Ma Zhiyuan. Han Palace Autumn tells the story of Wang Zhaojun, who went out of the West to make peace with her parents. At the beginning of the Han Dynasty, most of the founding fathers were of humble origins, and most of the concubines and court ladies were also of humble origins. Based on this tradition, there was no insurmountable gap between courtesans and concubines in the Han Dynasty. As a result, every courtesan dreamed of being favoured by the emperor one day. However, Wang Zhaojun lived in the palace for several years, but she never even saw the emperor's shadow.
Track(6) The Four Pieces of Brocade is one of the representative pieces of Shandong zheng music, which is adapted and created by Mr Zhao Yuzai. The piece mainly depicts the beautiful scenery and people's joy in celebrating the harvest, and it shows the performance characteristics of Mr Zhao Yuzai's Shandong zheng school and its styles and techniques. He combines the four traditional Shandong zheng tunes, ‘Fresh Breeze and Bamboo’, ‘The Mountains Singing and the Valleys Responding’, ‘The Running of the Streams’, and ‘Celebration of the Heavenly Jubilee’, into a new piece. The performance techniques were also newly adapted and interpreted, which further improved the art of guzheng performance, gave a new development to the national instrument, and enabled more people to have a new understanding of Shandong zheng music.
This is a heavy heavy one.
ReplyDeleteThe title(02)(05) is Ancient China's Ten Greatest Songs
古琤独奏 高山流水
Guzheng Solo:High Mountain and Flowing Water
fig. intimate and understanding friend
(1)渔舟唱晚
(2)高山流水
(3)閙元宵
(4)庆丰年
(5)汉宮秋月
(6)四段錦
(1)Fishing Boat Singing in the Evening
(2)High Mountains and Flowing Water
(3)Alarm the Lantern Festival
(4)Celebrate the Year of Abundance
(5)Autumn Moon in Han Palace
(6) Four Sections of Brocade.
Performers
ReplyDelete曹正 Cao Zheng(1)(2)
(Cao Zheng1920-1998.4.13) was a guzheng educator, theorist, performer, founder of the Chinese guzheng school, a master of the Chinese guzheng, and a professor at the China Conservatory of Music.
Mr Cao Zheng was formerly known as Guo Chengxue (郭成學), and his name was Ciguang (缉光). Originally from Changli County, Hebei Province, he was born on 31 December 1920 in Xinmin County, Liaoning Province.
In 1936, at the age of 16, Mr Cao went to Beiping to study and at the same time worked in a mass charitable organisation, the ‘Moral Society’. Lou Shuhua, a famous guzheng player from Yutian, Hebei Province, who worked in the ‘Moral Society’, found Cao's talent and took him as a student, teaching him songs such as ‘The Fishing Boat Sings the Evening Song’. After Lou Shuhua introduced him, in October 1945, Mr Cao Zheng followed the master of Lingnan Zither School, Mr Liang Zaiping, in Nanjing to learn the art.
In 1947, Cao Zheng and Fan Lotian (who was the director of the Chinese Music Academy in the United States) co-founded the ‘Lavender Wind Zither Society’ in Xuzhou, and held the first formal guzheng recital in modern history in November of the same year. 1948 spring, introduced by Cheng Wujia, Cao Zheng was appointed as a guzheng instructor in the National Music Group in Nanjing (at that time, there was also Yang Yinliu in the National Music Group). In the spring of 1948, Cao Zheng was introduced by Cheng Wujia to the National Music Group of Nanjing as a guzheng instructor (at that time, there were also Yang Yinliu, Chu Shizhu, Cao Anhe, Liu Beimao, Chen Zhenduo, Cheng Wujia and Xia Yifeng in the National Music Group), which for the first time brought the guzheng from the folk to the institutions of higher education in music, and created a new era in the history of the Chinese zheng.
At the end of 1948, after the Battle of Huaihai, the 28-year-old Cao Zheng went to the liberated area of North Jiangsu Province and changed his name to ‘Cao Zheng’ (a homonym of ‘Chaozheng’) to show his pursuit and determination to go in the right direction, and on New Year's Day of 1949, Cao Zheng came to be the leader of the Cultural Troupe of the rural village in North Anhui Province and the guzheng player.
In 1950, Cao Zheng was transferred from Hefei to Shenyang Northeast Lu Xun College of the Arts, and in 1952, he became the director of the discipline of Shenyang Northeast Music College and the headmaster of the attached middle school of Shenyang Conservatory of Music, as well as a member of Shenyang Municipal Committee of Political Consultative Conference, and was awarded the title of Associate Professor of China Conservatory of Music in 1957, and he put forward the idea of ‘Qin Zheng Returns to Qin’ in the same year. In the same year, he put forward the idea of ‘Qin zheng returns to Qin’, and in 1981, he was appointed as a professor. In the same year, Mr Cao Zheng was invited to attend the Asian Music Festival in Hong Kong. At the invitation of the East Asian Music Centre of Maryland State University, he went to the United States to give a lecture in 1985. In 1990, in the name of the Beijing Guzheng Research Association, he held a joint concert with the ‘Qin Yun Zheng Sound’ Head Office in Taipei, in which Mr. Cao Zhengye and his mentor, Mr. Liang Zaiping, performed respectively.
From https://baike.baidu.com/item/%E6%9B%B9%E6%AD%A3/8471332?fr=aladdin
曹东扶 Cao DongfuTrack(3)
ReplyDeleteHe is the founder of Henan zheng, one of the four major schools of guzheng in China, and the founder of the Henan Cao school of major tunes. He is a native of Cao Ying Village, Bai Lu Township, Dengzhou City, Henan Province. He was born in a poor family of music artists. His father, Cao Huaiqing, earned his living by begging and singing big tunes. The young Cao Dongfu early taste of the world's sorrows. 7 years old into the private school, only 4 years old will be due to famine and dropped out of school, with his family to the county to earn a living, when the county teahouse restaurants, bookstores singing tunes of the wind is quite prevalent, he took the opportunity to sell business along the street in and out of which, listen to the lingering forgetfulness. He successively studied under Lan Wenbing, Zhao Xisan, Ma Shuzhang, Qiu Guohe and other veteran artists, learning to sing and yangqin, antique and three-stringed, and also studied pipa with Ma Wanshou, who was known as the ‘Pipa God's Finger’. Afterwards, he travelled with his father to Xiangfan in Hubei Province, and at the age of 19, with the financial support of his friends and relatives, he entered the Deng County Primary Teacher's Training Centre for half a year, and benefited greatly from the training.
From https://baike.baidu.com/item/%E6%9B%B9%E4%B8%9C%E6%89%B6?fromModule=lemma_search-box
Track(4)(5)(6)
赵玉斋 Zhao Yuzai
Born in 1923 in Yuncheng County, Shandong Province, known as ‘the sea of books, mountains and theatre, the township of zhengqin’, successively studied under Wang Denghai, Wang Erjing and other artists to learn the two strings, clapper plays, Shandong qinshu and other local theatre, learning to pull the drop hu, erxian, four hu strings, Panhu, and to Fan Xiyu, Mr. Lai Lianjun learn to play the guzheng.
1943-1953In 1943, after being introduced by Mr Shi Dengyan, he took Mr Wang Dianyu, the ‘King of Silk String’, as his teacher, and learnt to play the zither and guzheng, and became a student of the ‘Donglu Yalu Music Society’, and at the beginning of 1952, he joined the Tianjin Opera Troupe on the invitation of Mr Wang. In the first national music and dance performance, the two masters and disciples won the outstanding performance award for their zither playing. 1953 in the autumn, recommended by Mr. Cao Zheng, Mr. Zhao was recruited by the Shenyang Conservatory of Music as a guzheng zither instructor in the Department of folk music.
1956-1963
In the spring of 1956, Mr Zhao went to Czechoslovakia with the Chinese Art Troupe to take part in the 11th ‘Prague Spring’ International Music Week, and played Shandong traditional zheng music ‘Autumn Moon in the Palace of Han’, ‘High Mountains and Flowing Water’, ‘Song of the Winds and Flows’, and ‘Celebration of the Year of Abundance’, which was composed by him, and received a warm welcome. In October of the same year, he visited four Scandinavian countries with a delegation of Chinese musicians, playing nearly 20 traditional and self-composed zheng pieces. The Finnish President Jikkonen and his wife also watched his performance and praised him warmly. 1962, he held a solo concert in Jinan, Shandong Province. 1963, in the Shenyang Evening News published ‘on the zheng's performance art’, which was his first attempt at music theory, laying a good foundation for his later theoretical work.
1957
In 1957, Mr Zhao proposed to the Shenyang Conservatory of Music Musical Instrument Factory the idea of enlarging the zheng body and increasing the number of strings, so the first 21-string zheng was born, which is the prototype of the modern guzheng. After Mr Zhao's suggestion, the factory began to develop the tuning zither, and in 1959 developed the first tension tuning zither in China.
From:https://baike.baidu.com/item/%E8%B5%B5%E7%8E%89%E6%96%8B?fromModule=lemma_search-box
Songs
ReplyDeleteTrack (01)
This is a piece of zheng music with classical style. The piece depicts a beautiful scene of the setting sun reflecting on the blue waves, the fishermen at ease, and the fishing boats drifting away with the waves. This piece is one of the most popular and influential zheng solo pieces in China since the 1930's. It was completed in 1925 by Wei Ziyou, a master of the zheng.
From https://baike.baidu.com/item/%E6%B8%94%E8%88%9F%E5%94%B1%E6%99%9A/9426507?fr=ge_ala
Track(02)
Gao Shan Liu Shui (高山流水) is a Chinese guqin (古琴), one of the ten most important ancient Chinese compositions. Legend has it that the pre-Qin qin master Bo Ya once played the qin in a deserted mountain wilderness, and the woodcutter Zhong Ziqi was able to comprehend that it was a depiction of ‘E'e Ruoxi Taishan’ and ‘Yang Yang Ruoxi Ruoxi Jianghe’. Bo Ya was shocked and said, ‘Good, the heart of the son is the same as mine.’ After Zhong Ziqi's death, Bo Ya lost his soulmate, dropped his zither and stopped playing for the rest of his life, hence the song ‘High Mountains and Flowing Water’.
The idiom of ‘High Mountains and Flowing Water’ is a metaphor for knowing one's soulmate or one's soulmate, as well as a metaphor for the high quality of music. It was later divided into two pieces, ‘High Mountains’ and ‘Flowing Water’; there is another zheng piece with the same name, ‘High Mountains and Flowing Water’, which has no inheritance relationship with the guqin piece.
From https://baike.baidu.com/item/%E9%AB%98%E5%B1%B1%E6%B5%81%E6%B0%B4/5587?fr=ge_ala
Track(03)
ReplyDeleteThe Guzheng solo piece ‘Haunted Lantern Festival’ was composed by Mr Cao Dongfu, the founder of the Cao School of Zither Art in Henan Province and a master of the generation, in 1956. It was also the Lantern Festival, and Mr Cao Dongfu composed this heirloom piece ‘Haunted Lantern Festival’ because he was filled with joy and excitement due to the vibrant atmosphere of the people of Nanyang, Henan Province, who were celebrating the festival.
The song is a blend of Henan's Yu Opera, Yue Opera, Qu Opera and other local operas, and uses one-finger strumming to simulate the sound of a gong, and a rough, spirited melody to imitate a suona, which expresses the noisy, festive atmosphere of the Lantern Festival in the best possible way!
From https://mp.weixin.qq.com/s?__biz=MzAxMjEzMzEyNw==&mid=2650712523&idx=2&sn=79b5957e9d6fc840cb3e5b213892ebda&chksm=83bc7fa3b4cbf6b58a814a87923a3a1fc838d4a31f4e747b5c01ee6dc5ffa76a277e128d6ce1&scene=27
Track(4)
Since its introduction in 1955, this piece has been loved by zither players and the general public at home and abroad, and has become one of the must-play pieces for zither players. This piece is based on the traditional Shandong ‘old eight-board’ tune, and the melody of the Shandong suite ‘Little Brook Flowing Water’ is used as the basis to broaden the idea of the piece, enrich the content of the piece, and change the means of expression, so that the original tune has been greatly developed. In terms of the playing technique of the guzheng, the piece is boldly innovative, using many new and unused playing methods, greatly strengthening the function of the left hand, so that the left hand plays the melody on the right side of the zheng as well as the right hand. The piece is extremely successful in its use of lifting, octave grasping, alternating hands grasping, column strings, small shaking, and two-finger harmonic scraping. At the same time, the piece also employs the close shaking of the small joints of the big and small fingers, the large-scale playing of the flower fingers, the sweeping technique borrowed from the pipa, and the technique of ‘pointing the pillar and mute sound’ that imitates the rhythm of the gongs and drums - the middle finger of the left hand presses on the upper end of the instrument's code, while the right hand strums the strings so that they produce the short, husky sound of the aftertone. etc., all of which have obtained good results.
Celebrating a Bountiful Year’ is a Guzheng solo piece with a joyful, warm, fiery and festive atmosphere. It vividly depicts the people's joyful mood and the pursuit of a happy and beautiful life in the year of harvest, showing the sound of firecrackers, drums and gongs, all the people are of one mind, and the extremely enthusiastic scene of celebrating a bumper year in the west, which makes the people feel like they are there, and hear the sound of the sound of the sound of the firecrackers and the drums and gongs.
Celebrating a Bountiful Year’ is one of the representative zheng compositions in the early period of the founding of the nation, and this piece of music has had a positive influence on the later zheng compositions and performances that continue to develop the “two-handed zheng” technique.
From https://baike.baidu.com/item/%E5%BA%86%E4%B8%B0%E5%B9%B4/24443911?fr=ge_ala
Track(5)
ReplyDeleteThe Autumn Moon in the Han Palace is one of the ten most famous ancient compositions, but it does not have a long history. Originally a pipa piece of the Chongming school, the theme of the piece is not very specific. Many articles on this piece have vaguely stated that the piece is intended to evoke sympathy for the plight of the oppressed courtesans, and that it has a deep artistic impact. According to some articles, the song meticulously depicts the palace maiden facing the bright moon on an autumn night with infinite despair, revealing a strong desire for love.
The Autumn Moon in the Han Palace is likely to be related to the Han Palace Autumn in some way. And ‘Autumn in the Han Palace’ is a miscellaneous opera at the end of Yuan Dynasty, written by Ma Zhiyuan. Han Palace Autumn tells the story of Wang Zhaojun, who went out of the West to make peace with her parents. At the beginning of the Han Dynasty, most of the founding fathers were of humble origins, and most of the concubines and court ladies were also of humble origins. Based on this tradition, there was no insurmountable gap between courtesans and concubines in the Han Dynasty. As a result, every courtesan dreamed of being favoured by the emperor one day. However, Wang Zhaojun lived in the palace for several years, but she never even saw the emperor's shadow.
Track(6)
The Four Pieces of Brocade is one of the representative pieces of Shandong zheng music, which is adapted and created by Mr Zhao Yuzai. The piece mainly depicts the beautiful scenery and people's joy in celebrating the harvest, and it shows the performance characteristics of Mr Zhao Yuzai's Shandong zheng school and its styles and techniques. He combines the four traditional Shandong zheng tunes, ‘Fresh Breeze and Bamboo’, ‘The Mountains Singing and the Valleys Responding’, ‘The Running of the Streams’, and ‘Celebration of the Heavenly Jubilee’, into a new piece. The performance techniques were also newly adapted and interpreted, which further improved the art of guzheng performance, gave a new development to the national instrument, and enabled more people to have a new understanding of Shandong zheng music.
yoshio