Dating back to its source, Hu Qin originated in Hu and eventually merged into the Central Plains. It once circulated in Gulan Vashe and streets. After thousands of years of "you sing and he comes on", Hu Qin no longer lived in a quiet corner and enjoyed great development in the 20th century. As far as artistic achievements are concerned, the thousand-year tradition has not surpassed the century-old creation, and the dual lines of intellectuals and folk artists are parallel, making the Huqin leading the way and stepping into the new century with pride and glory. In 2002, the Huqin Professional Committee of the Chinese Ethnic Orchestral Society was established, continuing its century-old glory in the form of a professional organization. Up to now, it has accumulated extraordinary 20 years of exploration in forging ahead with determination.
On November 3rd, the "Bowstring Chords of Huqin -- Huqin Master Concert", planned by the Professional Committee of Huqin, was staged in the Concert Hall of the National Center for the Performing Arts. Dozens of famous artists and winners of the national competition joined hands with the National Chamber Orchestra of the Central Conservatory of Music, the National Orchestra of the Central Conservatory of Music, and the Shengfeng Chamber Orchestra of the Central Conservatory of Music. With more than ten classical pieces, it traces the century-old development of Huqin, presenting a new pattern and new atmosphere of the new era.
The concert opened with a national chamber music version of "Wanquan River Water", performed by more than 20 young performers of the Shengfeng Chamber Orchestra. The work deconstructs the original work by increasing the proportion of percussion and adjusting the speed. Once it turns melodious and tranquil, it presents more dynamics and vitality.
Solos, with no accompaniment, are "manoeuvring" on their own, in which personal style is most easily revealed. This time, Hu Qin player Tang Feng selected Hua Yanjun's "Listen to the Song" (Abing) to perform for the first time in public. He set the tone with a firm and energetic introduction, and then introduced a powerful phrase with three intermittent and calm repeating patterns. The word "tendon-bones" runs through the whole song, with a vivid, straight, bright and vigorous style. There is also the Song of Praise, which is played by Morin Khuur player Qi Boaliko, with its bleak and rough sound, which makes the grassland feeling reach people's heart. When looking at the stage, the heaven and the earth seem to stand between a person and a piano, allowing themselves to be free and unfettering. The noble music context makes people hold their breath, and no numerous pipes and strings can also catch their eyes and ears.
When the soft tone of the piano sounded, there seemed to be a sense of freshness. In the bow-string music of the Fifth Erhu Rhapsody -- Hymn played by 14 winners of the national competition, a little tinkle of color is blended to balance the concentration of traditional flavor and realize the link with modern sense. Similarly, in the classic Jinghu opera "The Night is Deep" played by Jinghu performer Wang Caiyun, the counterpoint of the piano, Jinghu and guzheng complement the bass stress, making this traditional Peking Opera Qupai a more three-dimensional and sophisticated piece with multiple layers. The first half of the concert ended in a "Ten Thousand Horses Are Galloping". The Huqin players Gao Yang and Zhao Hanyang played together, and the timbre blended like a person, like a pot of mellow and sweet old wine.
The mood gradually rises, and the band's joining naturally fits the progressive logic. In the second half, many of the works are Huqin Concertos adapted from opera fragments and opera tones of the last century, giving full play to the deep, songlike characteristics of Huqin. The Erhu and the band The Wish of the People of Honghu was performed by Yan Jiemin. The sound of the Erhu was strong and solid. Another song, MengShanyi Water Feeling, was composed by Erhu player Yu Hongmei and composer Li Shangqian, conducted by conductor Chen Bing and performed by Yu Hongmei. The orchestrating effect with remarkable symphonic characteristics and the mellow local flavor permeating the whole song, combined with the softness and sweetness of the Erhu, produced a lasting and intriguing appeal.
In this concert, the presentation of Banhu occupies a larger proportion. In the first half, there was the ensemble piece "Harvest Daoqing" led by Bai Miao, a Hu qin player. The flat and high timbre of Banhu reflected the bold and comfortable joy. The other two Banhu and band pieces, both adapted from Shaanxi opera music, are "The Red Army Brother is Back" by Jiang Kemi, a Hu Qin player, and "Qinqiang Qupai" by Shen Cheng, a Banhu player. Due to the overlapping competitive playing and rhyming accompaniment of Banhu and human voice in opera accompaniment, the work highlights the artistic characteristics and musical functions of Banhu in the traditional context, showing the strong charm and style of Qin opera.
The last erhu ensemble, "Reflections on the Great Wall -- Looking Forward", was played melodious in the performance of performers such as Zhang Zunlian and Zhang Fangming, forming a nourishing spiritual power in the repetition of the classic. Then the three encore pieces -- "My Motherland", "Bright Action" and "Horse Racing", the players came on stage, and the small piano boys joined in. In the moving melody, the playing echelon formed by the old, the middle, the young and the young generations condense into a communication space, where they can see each other, illuminate each other, and bloom glory and hope together.
This concert focused on the interpretation of the last century's classic works, in the glory of the moment should still be seen: the pace of the change of The Times has never stopped, how to make the sound of an era into a new tradition? How to grasp the essential features of aesthetics in the multiple attributes of art? How to balance the relationship between theme presentation and audience acceptance? How to realize the unification of return and transcendence in artistic creation and become the spiritual force of the great rejuvenation of the Chinese nation is still the proposition and direction of unremitting exploration.