Here's some lovely Chinese traditional music, you can find loads of information about this record in the comments section thanks to Mark and Yoshio...
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Enjoy!
Big waves wash over the sand (Ethnic Instrumental Solo Selection Three)
1. Flowing water (ancient gold) (single) played gradually 2. Night Rain on the Jiao Window (Ancient) with Liu Tianyi, one of the great all time erhu players 3. Mountains and flowing water (fish) 4. The big waves wash away the sand 5. plug the song(gold) 6. Embroidery purse 7. Western Tunes medley
Thanks Mark add some 中国的唱片 大浪淘汰 大浪淘沙 民族器乐独奏选3《大浪淘沙》 Big Waves on the Sand:National Instrumental Solo Selection 3
Meanings Great waves sweeping away sand:Only The Strong Survive After the tides of market have washed sands away, the real gold emerges Side A 01 流水 Flowing Water Flowing Water, Chinese Guqin music. It was first seen in Zhu Quan's "Magic Secret Book". But nowadays, those who play "Liu Shui" all use Zhang Kongshan's "Liu Shui". Zhang Kongshan's "Flowing Water" can only be found in one engraving of "Tianwenge Qinpu" (1867), but the printed version of Zhang Kongshan's "Living Water" handed down by Gu Yucheng (1808-1876) in Huayang, Sichuan is different. The genealogy handed down to Wuhan by Zhang Kongshan around 1850 is different. In addition, "Baipingzhai Qinpu" and "Qinxue Chujin" both include this piece. Among them, "Qinxue Chujin" contains the combined version of "High Mountains and Flowing Waters". From https://baike.baidu.com/item/%E6%B5%81%E6%B0%B4/2809439?fr=ge_ala
02 蕉窗夜雨 Night Rain on the Jiao Window (Ancient) :Banana Window Night Rain "Night Rain on the Jiao Window" is a Zheng piece, one of the outstanding representative pieces of the Hakka Zheng art genre in Guangdong, China. With the sound of the patter of rain hitting the banana leaves, I can feel the helplessness of homesickness alone. The Hakka spirit is everywhere in the music. The charm of music strongly reflects the connotation of Hakka culture. From https://baike.baidu.com/item/%E8%95%89%E7%AA%97%E5%A4%9C%E9%9B%A8/7041240?fr=aladdin
03高山流水 Mountains and flowing water ‘High Mountains and Flowing Water’ In people's practice of using allusions, this allusion gradually developed more than seventy allusions and music and music is wonderful, know each other can be valuable, know the voice is difficult to find, the painful loss of the soul mate, the leisure interest and other allusions, there are allusions to the phenomenon of the opposite use. Gao Shan Liu Shui (高山流水) is a Chinese ancient qin piece, one of the ten most important ancient pieces of music in China. Legend has it that the pre-Qin qin master Bo Ya once played the qin in the deserted mountain wilderness, and the woodcutter Zhong Ziqi was able to comprehend that this was a depiction of ‘E'e Ruoxi Taishan’ and ‘Yang Yang 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
Side B 04 大浪淘沙 Big Waves on the Sand The piece is a solo pipa piece composed by Hua Yanjun, which expresses the author's infinite feelings towards the unfairness of the world and his attitude towards fate. The piece was recorded and notated by Mr Yang Yinliu and Mr Cao Anhe before it was preserved. According to Ah Bing's statement, this piece was originally a Taoist ensemble piece called ‘Brahma Sound’, which he played on the pipa. However, according to Yang Yinliu, there is no such piece in the Taoist family. The melody of the first section of the piece is similar to that of the first part of the piece ‘Three Pools and the Printing Moon’ in Cantonese music, and it is very likely that Hua Yanjun composed the piece according to the tones he was familiar with. The most distinctive feature of this piece is that, although it is now generally categorised as a ‘literary piece’, it has its own distinctive features of content and emotion, which are closely related to Ah Bing's life. For example, the use of rhythmic patterns of gongs and drums, especially in the slow movement, creates a kind of ups and downs, quite bold momentum, and indeed has the kind of Guansi big man holding a copper arpeggio and iron nickel of Su Shi's ‘Nian Nu Jiao’ lyrics, ‘The great river is going eastward, the waves are exhausting the characters of a thousand years of wind and streams,’ and sings with the same kind of vigour. In the use of the long wheel, also has a strong effect of compact ups and downs, showing a kind of dark reality accusation of emotion. And in the push and pull, the use of sliding tone, is to abandon the general Wenqu that kind of bosom feeling, and replaced by a hard playing method and more than a large-scale, the effect of the prominent sliding tone, quite powerful. https://baike.baidu.com/item/%E5%A4%A7%E6%B5%AA%E6%B7%98%E6%B2%99/6798801?fr=ge_ala
05 塞上曲 Plug the song The one of 10 Greatest Pipa Pieces Song on the Sea" is a traditional pipa opera set. The music score was first seen in Li Fangyuan's "Pipa Score". The music expresses sadness and sorrow by describing Wang Zhaojun's longing for his motherland. From https://baike.baidu.com/item/%E5%A1%9E%E4%B8%8A%E6%9B%B2/22082?fr=aladdin
06 綉荷包 Embroidery Purse Shanxi Jinbei Folk Song Source In each exquisite purse, these clever folk girls use their highest enthusiasm and association to turn pictures of a beautiful life into embroidery pictures. Some are complex and some are simple. The beautiful patterns implicitly convey their innermost emotions. . Many women often make purses carefully while singing in a low voice. Over time, "Embroidered Purse" composed by working women themselves has become an important theme in traditional Chinese folk songs and can be found almost all over China. History background The folk song "Embroidered Purse" has a long history. According to the research of modern opera and folk art theorist Fu Xihua (1907-1970), "Embroidered Purse" was a popular ditty in the middle of the Qing Dynasty. "Embroidered Purse" in the collection of folk songs "Baixue Yiyin" (compiled by Hua Guangsheng) published in the eighth year of Daoguang reign of the Qing Dynasty (1828), has twelve paragraphs, which is the earliest version of the lyrics found in written records. "The art of embroidering purses is a unique art form, which is not only the language and historical symbol of the Chinese nation, but also the characteristic and essence of regional culture. From https://baike.baidu.com/item/%E7%BB%A3%E8%8D%B7%E5%8C%85/19674552?fr=ge_ala
07 数西調 Several Western Melodies Song and Performer The most famous Yueqin solo piece in Taiwan in the early years was the Yueqin music of the Yi ethnic group "扉西调" compiled by Li Yongnian, a Yueqin player of the Bai ethnic group in Yunnan. The word "扉" was misunderstood by the record industry as the simplified Chinese character for "number". Therefore, "Shu Xi Tiao" is the designated song for each plucked instrument in the Taiwan Music Competition. It has been delayed for nearly 30 years and has not been changed to this day. From https://m.zgmzyq.cn/zh/works-collection/chinese-music-spring-and-autumn-shuxi-diao-li-yongnians-qin-performance.html
Thanks guys! Will try to do something with this today but the internet connection is still terrible, incredibly frustrating, happens every 2 months or so and can take up to a week, no idea why
Performers 01菅平湖 Guan Pinghu Guan Pinghu (1897~1967), name Ping, character Ji'an, Zhongkang, No. Pinghu, self-proclaimed layman, ancestor of Suzhou in Jiangsu Province, born in Beijing in an artistic family, China's famous guqin player and painter. He is the son of Guan Nianci, a famous painter of the Qing Dynasty. [2] From a young age, he followed his father to learn painting and playing the zither, and after losing his father at a young age, he extensively pursued his art and worshipped Yang Zongji as his teacher; he learnt flowers and figures from the famous painter Jin Shaocheng, and excelled in brushwork, with a beautiful and original brushwork that was not constrained by the established method. He was one of the main members of the ‘Hushe’ Painting Society, and later taught at the Jinghua Fine Arts College in Beiping.
Mr. Guan's skills were passed down by famous qin masters such as Yang Zongji, "Wuyi School" Wucheng and "Sichuan School" Qin Heming. He was able to draw on the strengths of the three schools and draw nutrients from folk music, integrate them, constantly innovate, and become his own brand. , formed the "Guan School" with an important position in the modern Chinese piano world; when he returned to Suzhou to visit Tianping Mountain at the age of 28, he was lucky enough to meet the master Wucheng, a monk with superb piano skills. After Wucheng's guidance, his skills greatly improved; later he He learned the Sichuan School's "Flowing Water" from Shandong Taoist Qin Heming, and has become famous ever since. His playing style is simple and vigorous, with delicate musical expression, vivid images and charm.
From https://baike.baidu.com/item/%E7%AE%A1%E5%B9%B3%E6%B9%96/2838089?fr=ge_ala
02 刘天一 Liu Tianyi Liu Tianyi (1910-1990), a native of Hengtang Village, Duanfen Township, Taishan City, formerly known as Liu Houji, and Liu Shanshu, joined the famous Guangzhou amateur music society ‘Soushe’ as a gaohu player in 1931, and worked as a Chinese music instructor in the military band of the 19th Route Army General Command in 1933. In 1933, he worked as a Chinese music instructor in the military band of the 19th Route Army General Headquarters, and cooperated with the famous Russian pianist Prof. Sharikh, who was living in Guangzhou. Liu Tianyi played the solo of gaohu, accompanied by Sharikh's piano in the Guangzhou YMCA Concert Hall, and played the famous Cantonese music pieces ‘Early Thunder’, ‘Hungry Horses Shaking Bells’, ‘Raining Bananas’, etc, and created the combination of the gaohu (a folk musical instrument) and the piano (a Western musical instrument) in 1935, and went to the Oriental School of Japan to study the theory of music, and then came back to China in 1938. During the War of Resistance Against Japanese Aggression, she moved to Macau, and at the end of 1946, she moved to Hong Kong, where she played the guzheng for the soundtracks of the feature films ‘Home’, ‘Spring’, ‘Autumn’ and ‘A Beautiful Woman in Her Generation’ in 1950. In 1954, she returned to Guangzhou and worked in the Guangdong Music Research Group; in 1961, she became the deputy director of the Guangdong Music Troupe and performed in Macau, Hong Kong and Japan; in September 1980, she joined the Communist Party of China and became the director of the Guangdong Music Troupe and a soloist. In September 1980, he joined the Communist Party of China and became the director of the Guangdong Music Troupe, where he was also a soloist. Liu Tianyi was a member of the China Federation of Literary and Art Circles, a director of the China Musicians Association, a member of the Standing Committee of the Fourth Provincial Committee of the Chinese People's Political Consultative Conference, vice-chairman of the Provincial Federation of Literature and Arts, vice-chairman of the Provincial Musicians Association, vice-chairman of the Guangzhou Federation of Literature and Arts, and leader of the Guangzhou Folk Orchestra. From https://baike.baidu.com/item/%E5%88%98%E5%A4%A9%E4%B8%80/14676745?fr=ge_ala
03 曹正 Cao Zheng Cao Zheng (1920-1998.4.13) 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. On 13 April 1998, he passed away. From https://baike.baidu.com/item/%E6%9B%B9%E6%AD%A3/8471332?fr=ge_ala
04 李乙 Li Yi Professor of the Department of Ethnomusicology, Shanghai Conservatory of MusicExpand 3 entries with the same name Li Yi was born in February 1932 in Pudong, Shanghai. He is a three-stringed instrumentalist and a professor at the Department of Ethnic Music of the Shanghai Conservatory of Music. Li Yi joined the New Fourth Army with his family at the age of 12, and at the age of 14, he switched to the Xin'an Travelling Troupe, where he used pictures and musical instruments to carry out anti-Japanese propaganda. He learnt to play the sanxian string from Shandong folk rappers, and learnt his skills from the music of the commentary, and in 1952 he joined the Shanghai Opera House orchestra with the army, and in 1953 he performed for the first time his self-translated ‘Eighteen Planks’, which was highly acclaimed in the music world. Since then, he has adapted more than ten pieces of music, such as The Great Wave, Moonlit Night of Spring River, Ambush on Ten Sides, and Song on the Plate.
05 俞良模 Yu Liangmo Yu Liangmo is a famous pipa player. He is a national-level player of the China Broadcasting Orchestra. He enjoys the special allowance of the State Council.He joined the China Radio Orchestra in 1953, and later became the principal pipa player, the head of plucked-string music and the assistant conductor. In 1957, he went to Moscow with the orchestra to participate in the ‘Sixth World Youth Festival’, and won a gold medal for his performance of ‘Moonlit Night on the Spring River’ in the chamber music competition.He successively recorded three discs: ‘The Moon is High’, ‘Song on the Seas’ and ‘Night of the Spring River and Moonflower’. Since 1963, she has been a part-time pipa teacher at the Central Conservatory of Music and the China Conservatory of Music, and has been the principal pipa and plucked-string vocalist in many important performances. He has given solo pipa recitals and plucked-string concerts in Hong Kong, Taiwan and Singapore. He has served as an art judge for the China Broadcasting Art Troupe, and as a judge for the Ministry of Culture's ‘Wen Yuan Prize’ competition. From https://www.cn-imc.com/perforAr-4-24907T8J5W.html
06 王沂甫 Wang Yifu Wang Yifu, Han nationality, born on 27 July 1917 in Yinglushan village, Haicheng county, Liaoning province, died on 29 October 1989 in Xi'an at the age of 73 due to cerebral haemorrhage. Wang Yifu was a professor of yangqin at the Xi'an Conservatory of Music, a master's tutor, a member of the Chinese Musicians Association, a council member of the Shaanxi branch of the China Music Association, a member of the fourth and fifth sessions of the CPPCC in Shaanxi Province, and an adviser to the Beijing yangqin research society, the Xinjiang yangqin society, and the Guangzhou yangqin enthusiasts' association. between 1957 and 1963, he compiled and edited eight volumes of textbooks on the yangqin. Based on the inheritance of tradition, he innovated yangqin techniques and summarised them as: playing, wheeling, trembling, sliding, pointing, plucking, kneading, and hooking, commonly known as the eight techniques. 1945, he compiled the yangqin solo piece ‘Suwu Shepherds the Sheep’, 1935, he adapted the yangqin solo piece ‘On the Miluo River’, and 1969, he recorded the solo piece ‘Embroidered Lotus Bags’ and then copied it to ‘The Book of World Music’ and recorded it in the ‘Book of World Music’ of the Brown University in the United States. In 1984, Shaanxi People's Publishing House published ‘Selected Yangqin Solos of Wang Yifu’; in September 1985, he was invited to Beijing to give lectures to postgraduate students and undergraduates of the Central Institute of Nationalities and the China Conservatory of Music for four months, and in October of the same year, he went to Tianjin Academy of Music to give lectures; in February 1989, he led postgraduates to Guangzhou to attend the Guangzhou-Hong Kong-Australia Yangqin Concerts. In February 1989, he led his graduate students to Guangzhou City to participate in the Guangzhou, Hong Kong and Macao Yangqin Exchange Conference and the Guangzhou Yangqin Exhibition and Evaluation.
07 李永年 Li Yongnian Born in December 1939 in Hailun County, Heilongjiang Province, to a family of primary school teachers. Yueqin player of Heilongjiang Opera and Dance Drama Theatre. He is a national-level player, a member of the Chinese Musicians Association, a director of the China National Orchestral Music Association, vice-chairman of the Heilongjiang Musicians Association, and vice-president of the Heilongjiang Provincial National Orchestral Music Association.
Big waves wash over the sand
ReplyDelete(Ethnic Instrumental Solo Selection Three)
1. Flowing water (ancient gold) (single) played gradually
2. Night Rain on the Jiao Window (Ancient) with Liu Tianyi, one of the great all time erhu players
3. Mountains and flowing water (fish)
4. The big waves wash away the sand
5. plug the song(gold)
6. Embroidery purse
7. Western Tunes medley
the tracks are all played on either guzheng, guqin (track 1), or pipa
ReplyDeleteThanks Mark add some
ReplyDelete中国的唱片 大浪淘汰
大浪淘沙 民族器乐独奏选3《大浪淘沙》
Big Waves on the Sand:National Instrumental Solo Selection 3
Meanings
Great waves sweeping away sand:Only The Strong Survive
After the tides of market have washed sands away, the real gold emerges
Side A
01 流水 Flowing Water
Flowing Water, Chinese Guqin music. It was first seen in Zhu Quan's "Magic Secret Book". But nowadays, those who play "Liu Shui" all use Zhang Kongshan's "Liu Shui". Zhang Kongshan's "Flowing Water" can only be found in one engraving of "Tianwenge Qinpu" (1867), but the printed version of Zhang Kongshan's "Living Water" handed down by Gu Yucheng (1808-1876) in Huayang, Sichuan is different. The genealogy handed down to Wuhan by Zhang Kongshan around 1850 is different. In addition, "Baipingzhai Qinpu" and "Qinxue Chujin" both include this piece. Among them, "Qinxue Chujin" contains the combined version of "High Mountains and Flowing Waters".
From https://baike.baidu.com/item/%E6%B5%81%E6%B0%B4/2809439?fr=ge_ala
02 蕉窗夜雨 Night Rain on the Jiao Window (Ancient) :Banana Window Night Rain
"Night Rain on the Jiao Window" is a Zheng piece, one of the outstanding representative pieces of the Hakka Zheng art genre in Guangdong, China. With the sound of the patter of rain hitting the banana leaves, I can feel the helplessness of homesickness alone. The Hakka spirit is everywhere in the music. The charm of music strongly reflects the connotation of Hakka culture.
From https://baike.baidu.com/item/%E8%95%89%E7%AA%97%E5%A4%9C%E9%9B%A8/7041240?fr=aladdin
03高山流水 Mountains and flowing water
‘High Mountains and Flowing Water’ In people's practice of using allusions, this allusion gradually developed more than seventy allusions and music and music is wonderful, know each other can be valuable, know the voice is difficult to find, the painful loss of the soul mate, the leisure interest and other allusions, there are allusions to the phenomenon of the opposite use.
Gao Shan Liu Shui (高山流水) is a Chinese ancient qin piece, one of the ten most important ancient pieces of music in China. Legend has it that the pre-Qin qin master Bo Ya once played the qin in the deserted mountain wilderness, and the woodcutter Zhong Ziqi was able to comprehend that this was a depiction of ‘E'e Ruoxi Taishan’ and ‘Yang Yang 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
Side B
ReplyDelete04 大浪淘沙 Big Waves on the Sand
The piece is a solo pipa piece composed by Hua Yanjun, which expresses the author's infinite feelings towards the unfairness of the world and his attitude towards fate. The piece was recorded and notated by Mr Yang Yinliu and Mr Cao Anhe before it was preserved. According to Ah Bing's statement, this piece was originally a Taoist ensemble piece called ‘Brahma Sound’, which he played on the pipa. However, according to Yang Yinliu, there is no such piece in the Taoist family. The melody of the first section of the piece is similar to that of the first part of the piece ‘Three Pools and the Printing Moon’ in Cantonese music, and it is very likely that Hua Yanjun composed the piece according to the tones he was familiar with. The most distinctive feature of this piece is that, although it is now generally categorised as a ‘literary piece’, it has its own distinctive features of content and emotion, which are closely related to Ah Bing's life. For example, the use of rhythmic patterns of gongs and drums, especially in the slow movement, creates a kind of ups and downs, quite bold momentum, and indeed has the kind of Guansi big man holding a copper arpeggio and iron nickel of Su Shi's ‘Nian Nu Jiao’ lyrics, ‘The great river is going eastward, the waves are exhausting the characters of a thousand years of wind and streams,’ and sings with the same kind of vigour. In the use of the long wheel, also has a strong effect of compact ups and downs, showing a kind of dark reality accusation of emotion. And in the push and pull, the use of sliding tone, is to abandon the general Wenqu that kind of bosom feeling, and replaced by a hard playing method and more than a large-scale, the effect of the prominent sliding tone, quite powerful.
https://baike.baidu.com/item/%E5%A4%A7%E6%B5%AA%E6%B7%98%E6%B2%99/6798801?fr=ge_ala
05 塞上曲 Plug the song The one of 10 Greatest Pipa Pieces
ReplyDeleteSong on the Sea" is a traditional pipa opera set. The music score was first seen in Li Fangyuan's "Pipa Score". The music expresses sadness and sorrow by describing Wang Zhaojun's longing for his motherland.
From https://baike.baidu.com/item/%E5%A1%9E%E4%B8%8A%E6%9B%B2/22082?fr=aladdin
06 綉荷包 Embroidery Purse Shanxi Jinbei Folk Song
Source
In each exquisite purse, these clever folk girls use their highest enthusiasm and association to turn pictures of a beautiful life into embroidery pictures. Some are complex and some are simple. The beautiful patterns implicitly convey their innermost emotions. . Many women often make purses carefully while singing in a low voice. Over time, "Embroidered Purse" composed by working women themselves has become an important theme in traditional Chinese folk songs and can be found almost all over China.
History background
The folk song "Embroidered Purse" has a long history. According to the research of modern opera and folk art theorist Fu Xihua (1907-1970), "Embroidered Purse" was a popular ditty in the middle of the Qing Dynasty. "Embroidered Purse" in the collection of folk songs "Baixue Yiyin" (compiled by Hua Guangsheng) published in the eighth year of Daoguang reign of the Qing Dynasty (1828), has twelve paragraphs, which is the earliest version of the lyrics found in written records. "The art of embroidering purses is a unique art form, which is not only the language and historical symbol of the Chinese nation, but also the characteristic and essence of regional culture.
From https://baike.baidu.com/item/%E7%BB%A3%E8%8D%B7%E5%8C%85/19674552?fr=ge_ala
07 数西調 Several Western Melodies
Song and Performer
The most famous Yueqin solo piece in Taiwan in the early years was the Yueqin music of the Yi ethnic group "扉西调" compiled by Li Yongnian, a Yueqin player of the Bai ethnic group in Yunnan. The word "扉" was misunderstood by the record industry as the simplified Chinese character for "number". Therefore, "Shu Xi Tiao" is the designated song for each plucked instrument in the Taiwan Music Competition. It has been delayed for nearly 30 years and has not been changed to this day.
From https://m.zgmzyq.cn/zh/works-collection/chinese-music-spring-and-autumn-shuxi-diao-li-yongnians-qin-performance.html
MRHI aka 余错了
Thanks guys! Will try to do something with this today but the internet connection is still terrible, incredibly frustrating, happens every 2 months or so and can take up to a week, no idea why
ReplyDeletePerformers
ReplyDelete01菅平湖 Guan Pinghu
Guan Pinghu (1897~1967), name Ping, character Ji'an, Zhongkang, No. Pinghu, self-proclaimed layman, ancestor of Suzhou in Jiangsu Province, born in Beijing in an artistic family, China's famous guqin player and painter. He is the son of Guan Nianci, a famous painter of the Qing Dynasty. [2]
From a young age, he followed his father to learn painting and playing the zither, and after losing his father at a young age, he extensively pursued his art and worshipped Yang Zongji as his teacher; he learnt flowers and figures from the famous painter Jin Shaocheng, and excelled in brushwork, with a beautiful and original brushwork that was not constrained by the established method. He was one of the main members of the ‘Hushe’ Painting Society, and later taught at the Jinghua Fine Arts College in Beiping.
Mr. Guan's skills were passed down by famous qin masters such as Yang Zongji, "Wuyi School" Wucheng and "Sichuan School" Qin Heming. He was able to draw on the strengths of the three schools and draw nutrients from folk music, integrate them, constantly innovate, and become his own brand. , formed the "Guan School" with an important position in the modern Chinese piano world; when he returned to Suzhou to visit Tianping Mountain at the age of 28, he was lucky enough to meet the master Wucheng, a monk with superb piano skills. After Wucheng's guidance, his skills greatly improved; later he He learned the Sichuan School's "Flowing Water" from Shandong Taoist Qin Heming, and has become famous ever since. His playing style is simple and vigorous, with delicate musical expression, vivid images and charm.
From https://baike.baidu.com/item/%E7%AE%A1%E5%B9%B3%E6%B9%96/2838089?fr=ge_ala
02 刘天一 Liu Tianyi
ReplyDeleteLiu Tianyi (1910-1990), a native of Hengtang Village, Duanfen Township, Taishan City, formerly known as Liu Houji, and Liu Shanshu, joined the famous Guangzhou amateur music society ‘Soushe’ as a gaohu player in 1931, and worked as a Chinese music instructor in the military band of the 19th Route Army General Command in 1933. In 1933, he worked as a Chinese music instructor in the military band of the 19th Route Army General Headquarters, and cooperated with the famous Russian pianist Prof. Sharikh, who was living in Guangzhou. Liu Tianyi played the solo of gaohu, accompanied by Sharikh's piano in the Guangzhou YMCA Concert Hall, and played the famous Cantonese music pieces ‘Early Thunder’, ‘Hungry Horses Shaking Bells’, ‘Raining Bananas’, etc, and created the combination of the gaohu (a folk musical instrument) and the piano (a Western musical instrument) in 1935, and went to the Oriental School of Japan to study the theory of music, and then came back to China in 1938. During the War of Resistance Against Japanese Aggression, she moved to Macau, and at the end of 1946, she moved to Hong Kong, where she played the guzheng for the soundtracks of the feature films ‘Home’, ‘Spring’, ‘Autumn’ and ‘A Beautiful Woman in Her Generation’ in 1950. In 1954, she returned to Guangzhou and worked in the Guangdong Music Research Group; in 1961, she became the deputy director of the Guangdong Music Troupe and performed in Macau, Hong Kong and Japan; in September 1980, she joined the Communist Party of China and became the director of the Guangdong Music Troupe and a soloist. In September 1980, he joined the Communist Party of China and became the director of the Guangdong Music Troupe, where he was also a soloist. Liu Tianyi was a member of the China Federation of Literary and Art Circles, a director of the China Musicians Association, a member of the Standing Committee of the Fourth Provincial Committee of the Chinese People's Political Consultative Conference, vice-chairman of the Provincial Federation of Literature and Arts, vice-chairman of the Provincial Musicians Association, vice-chairman of the Guangzhou Federation of Literature and Arts, and leader of the Guangzhou Folk Orchestra.
From https://baike.baidu.com/item/%E5%88%98%E5%A4%A9%E4%B8%80/14676745?fr=ge_ala
03 曹正 Cao Zheng
ReplyDeleteCao Zheng (1920-1998.4.13) 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.
On 13 April 1998, he passed away.
From https://baike.baidu.com/item/%E6%9B%B9%E6%AD%A3/8471332?fr=ge_ala
04 李乙 Li Yi
ReplyDeleteProfessor of the Department of Ethnomusicology, Shanghai Conservatory of MusicExpand 3 entries with the same name
Li Yi was born in February 1932 in Pudong, Shanghai. He is a three-stringed instrumentalist and a professor at the Department of Ethnic Music of the Shanghai Conservatory of Music.
Li Yi joined the New Fourth Army with his family at the age of 12, and at the age of 14, he switched to the Xin'an Travelling Troupe, where he used pictures and musical instruments to carry out anti-Japanese propaganda. He learnt to play the sanxian string from Shandong folk rappers, and learnt his skills from the music of the commentary, and in 1952 he joined the Shanghai Opera House orchestra with the army, and in 1953 he performed for the first time his self-translated ‘Eighteen Planks’, which was highly acclaimed in the music world. Since then, he has adapted more than ten pieces of music, such as The Great Wave, Moonlit Night of Spring River, Ambush on Ten Sides, and Song on the Plate.
05 俞良模 Yu Liangmo
Yu Liangmo is a famous pipa player. He is a national-level player of the China Broadcasting Orchestra. He enjoys the special allowance of the State Council.He joined the China Radio Orchestra in 1953, and later became the principal pipa player, the head of plucked-string music and the assistant conductor.
In 1957, he went to Moscow with the orchestra to participate in the ‘Sixth World Youth Festival’, and won a gold medal for his performance of ‘Moonlit Night on the Spring River’ in the chamber music competition.He successively recorded three discs: ‘The Moon is High’, ‘Song on the Seas’ and ‘Night of the Spring River and Moonflower’.
Since 1963, she has been a part-time pipa teacher at the Central Conservatory of Music and the China Conservatory of Music, and has been the principal pipa and plucked-string vocalist in many important performances.
He has given solo pipa recitals and plucked-string concerts in Hong Kong, Taiwan and Singapore.
He has served as an art judge for the China Broadcasting Art Troupe, and as a judge for the Ministry of Culture's ‘Wen Yuan Prize’ competition.
From https://www.cn-imc.com/perforAr-4-24907T8J5W.html
06 王沂甫 Wang Yifu
ReplyDeleteWang Yifu, Han nationality, born on 27 July 1917 in Yinglushan village, Haicheng county, Liaoning province, died on 29 October 1989 in Xi'an at the age of 73 due to cerebral haemorrhage. Wang Yifu was a professor of yangqin at the Xi'an Conservatory of Music, a master's tutor, a member of the Chinese Musicians Association, a council member of the Shaanxi branch of the China Music Association, a member of the fourth and fifth sessions of the CPPCC in Shaanxi Province, and an adviser to the Beijing yangqin research society, the Xinjiang yangqin society, and the Guangzhou yangqin enthusiasts' association. between 1957 and 1963, he compiled and edited eight volumes of textbooks on the yangqin. Based on the inheritance of tradition, he innovated yangqin techniques and summarised them as: playing, wheeling, trembling, sliding, pointing, plucking, kneading, and hooking, commonly known as the eight techniques. 1945, he compiled the yangqin solo piece ‘Suwu Shepherds the Sheep’, 1935, he adapted the yangqin solo piece ‘On the Miluo River’, and 1969, he recorded the solo piece ‘Embroidered Lotus Bags’ and then copied it to ‘The Book of World Music’ and recorded it in the ‘Book of World Music’ of the Brown University in the United States. In 1984, Shaanxi People's Publishing House published ‘Selected Yangqin Solos of Wang Yifu’; in September 1985, he was invited to Beijing to give lectures to postgraduate students and undergraduates of the Central Institute of Nationalities and the China Conservatory of Music for four months, and in October of the same year, he went to Tianjin Academy of Music to give lectures; in February 1989, he led postgraduates to Guangzhou to attend the Guangzhou-Hong Kong-Australia Yangqin Concerts. In February 1989, he led his graduate students to Guangzhou City to participate in the Guangzhou, Hong Kong and Macao Yangqin Exchange Conference and the Guangzhou Yangqin Exhibition and Evaluation.
07 李永年 Li Yongnian
Born in December 1939 in Hailun County, Heilongjiang Province, to a family of primary school teachers. Yueqin player of Heilongjiang Opera and Dance Drama Theatre. He is a national-level player, a member of the Chinese Musicians Association, a director of the China National Orchestral Music Association, vice-chairman of the Heilongjiang Musicians Association, and vice-president of the Heilongjiang Provincial National Orchestral Music Association.
Discogs
https://www.discogs.com/release/8472513-Various-%E5%A4%A7%E6%B5%AA%E6%B7%98%E6%B2%99-%E6%B0%91%E6%97%8F%E5%99%A8%E6%A8%82%E7%8D%A8%E5%A5%8F%E9%81%B8%E4%B9%8B%E4%B8%89
MRHI aka 余错了
yoshio, where are you getting all this info? I play several of these instruments (dizi, guzheng, guqin, erhu) and don't know all of this background!!!
ReplyDeleteHello Mark
ReplyDeleteMostly https://www.baidu.com/
Song title ＋ 古曲
The Name of the performer ＋Name of instrument 古琴 琵琶 笙 etc
Japanese and Chinese have different fonts for the same characters, so it was tricky at first.