Cha Fuxi, Jiangxi Xiuhui people. Guqin player, music theorist and music educator. The qin songs he played were deep and delicate, and the qin songs he sang were simple and elegant. He has compiled "Cunjian Guqin Music Scores", and served as the editor-in-chief of "Qin Music Collection" and other masterpieces.

Biography

Cha Fuxi learned to play the guqin at the age of thirteen, and later engaged in qin learning activities in Changsha, Suzhou, Shanghai and other places. After the founding of the People's Republic of China, he served as vice chairman of the Chinese Musicians Association, director of the Department of National Instrumental Music of the Central Conservatory of Music, and chairman of the Beijing Guqin Research Association. Initiated and organized the "Beijing Guqin Research Association" to carry out the academic discussion and performance practice of Guqin music. The qin songs he played were deep and delicate, and the qin songs he sang were simple and elegant. He has compiled "Cunjian Guqin Music Scores", edited "Qin Music Collection" and other masterpieces.

biography

In the early years, he founded and presided over the Jinyu Qin Society in Suzhou and Shanghai, compiled and published the "Jinyu" Qin magazine, contacted piano players from all over the world, and exchanged piano skills. Before the founding of the People's Republic of China, under the leadership of the Communist Party of China, he did some work beneficial to the revolution; after the founding of the People's Republic of China, he served as a consultant to the Civil Aviation Administration of China. In 1953, he served as the executive director of the Chinese Musicians Association and a communication researcher at the Institute of Ethnic Music. In 1959, he served as the head of the Folk Music Department of the Central Conservatory of Music, and in 1969, he was elected as the vice-chairman of the Chinese Musicians Association. In 1956, he led a guqin investigation team organized by the Ministry of Culture and the Chinese Musicians Association, and visited 10 cities across the country, collecting and arranging a large number of historical materials on qin studies. Later, under the auspices of the Beijing Guqin Research Association, he edited and printed "Compilation of Qin Songs" (Volume 1, Volume 1, Zhonghua Book Company, 1963), "Cunjian Guqin Music Scores" (People's Music Publishing House, 1958), "Cunjian Guqin". He has also compiled books and periodicals such as "Fingering Pu Zi Collection" (1958), "Biographies of Qin People of All Dynasties" (1961), "Youlan Records" (1957) and "Qin Lun Shuxin" (1963), laying a solid foundation for the study of Qin studies. foundation. In addition, in the work of the Chinese Music Association, Cha Fuxi has done a lot of work on the singing and performance of music such as "Nine Palaces Dacheng North and South Ci Gong Pu" and "Zhihua Temple Music" in order to promote various ancient music research. Representative works: Editor-in-chief "Qin Song Collection"

Character achievement

Cha Fuxi is a rare and comprehensive Guqin artist in history. He has made admirable contributions in Guqin art research, teaching, creation, performance, organization and leadership of Guqin academic research, artistic activities, etc. The art of Guqin performance is the foundation and starting point of all these. He loved music since he was a child, and learned to play the flute at a very young age. After that, he also tried to score, compose and learn to sing Kunqu Opera, and studied the rhythm of folk music. In the 1920s, he learned to play instrumental qin pieces in Shanghai and Changsha. In the 1930s, the "Jinyu Qin Society" was organized, and the "Jinyu Qin Journal" was compiled. Through these activities, piano players across the country were contacted and surveyed.

The qin songs he played were deep and delicate, and the qin songs he sang were simple and elegant. In 1945, he was invited to several universities in the United States to give academic lectures on the guqin, and found some precious ancient qin scores in the American library. In 1958, as a classical music consultant, he visited Japan with the Chinese Song and Dance Troupe, and later was invited to attend the International Pentatonic Academic Conference held in the Soviet Union. Since 1953, Zha Fuxi has served as the executive director and vice-chairman of the National Music Association, a communications researcher at the China Music Research Institute, the chairman of the Beijing Guqin Research Association, and the director of the Folk Music Department of the Central Conservatory of Music. In his later years, he concentrated on piano learning activities.

Character evaluation

Mr. Cha Fuxi is a rare and comprehensive Guqin artist in history. He has made admirable contributions in Guqin art research, teaching, creation, performance, organization and leadership of Guqin academic research, artistic activities, etc. The art of Guqin performance is the foundation and starting point of all these.

Among the deceased contemporary guqin masters, there are three recognized as the most accomplished and influential guqin masters: Mr. Zha Fuxi, Mr. Wu Jinglue, and Mr. Guan Pinghu. The three musicians embody three distinct artistic styles with distinct personalities. Mr. Cha Fuxi's guqin performance art is in the artistic category of literati qin. It can be said that he is a literati guqin artist. He uses the artistry of the guqin to reflect the literati's spiritual outlook and ideological interest, and it can also be said that the literati's spiritual outlook and ideological interest influence the artistry of guqin playing. He is a passionate leader of the piano world, a scholar with traditional cultural accomplishment, and a literati with new ideas and the spirit of the times. Guqin music art is an artistic hobby and cultural accomplishment that permeated his life since he was a boy, and then it has become his lifelong career. The playing style formed in his decades of guqin art practice clearly reflects the literati temperament. His guqin playing has a leisurely, sparse and sincere spirit, not like the artist's passionate, strong, or gorgeous, romantic, deep and red-hot. At the same time, his way of life and way of thinking still has a traditional literati atmosphere. For example, his interest and taste in traditional art are casual in Chinese painting collection, rigorous in Kunqu Opera study, and refined in poetry writing. He entertained photography instead of playing at the ballroom and card tables, and read for pleasure and insight, and even wrote letters with a brush. And as late as the 1950s, he also had a feeling of repulsion from participating in performances because he did not regard piano as his profession.

art value

However, Mr. Zha Fuxi did not use the qin as an instrument for sages, nor did he take the qin as the purpose of self-cultivation for the purpose of seeking purity and detachment, but clearly proposed that guqin music should be used as an art to benefit the stable development of the country and the society. The tool of education.

Therefore, in the "Synopsis" of "Cunjian Guqin Music Compilation" published in 1957, he wrote that the qinists would not only perform well to introduce and promote the national form of music, but also "make the excavated music. As Sima Qian said, it is a fine tradition of 'complementing the shortcomings and changing the state and helping the state and religion'." It is necessary to "rectify the cultural life of the broad masses of people and promote the early completion of socialism." He also wrote in the first draft of his remarks for "Guqin Research": "The contribution of art to society is to arouse people's enthusiasm for struggle, labor, and production, so as to promote the development of society", "Guqin is an excellent artistic tradition in my country. , should be added to inspire the enthusiasm of the people's patriotism."

Throughout the ages, literati played the qin, and most of them treated the qin as literature and philosophy. Mr. Zha Fuxi regards the guqin as a musical art and pays attention to the musical content, thoughts and feelings, the background of the times, and the artistry of performance skills and expressions.

First of all, Mr. Zha Fuxi attached great importance to the era background of the qin music, the author's ideological status, the title and explanation of the qin music. For example, in his discussion of "Xiaoxiang Shuiyun" (page 431) in the book "Chafu Western Qin Xuewen" (page 431), he clearly stated that the author of this piece was "a very good guqin player and performer in the late Southern Song Dynasty. , named Guo Mian, also known as Guo Chuwang", which shows that Mr. Cha paid attention to the investigation of the identity of the composer and affirmed the nature of his artist. In order to clarify the relevant historical situation at that time, Mr. Cha discussed Mao Minzhong's ideological personality and also And Han Wabi, who was executed in the battle between the main battle and the peacemaker in the Southern Song Dynasty.