The Story of Cao Xueqin Composer: Simon Yuen-Hing Yau Poet and Librettist: Winnie Wai-Lin Ng

The Story of Cao Xueqin Composer: Simon Yuen-hing Yau Poet and Librettist: Winnie Wai-lin Ng

Origin of Composition

Dream of the Red Chamber (紅樓夢), a classical Chinese novel by Cao Xueqin (曹雪芹), first made its debut in the early Qing Dynasty, and has since amassed countless admirers as one of the great Chinese literature classics. With translations in over a dozen languages (including English, Russian, German, Japanese, French, Italian, Korean, and many more), countless literary studies have been published on this classical great novel, with new findings emerging even over 200 years after its inception. Its unique aesthetics, layered characterization of its protagonists, and fully realized presentation of society and culture during its time have enchanted readers over the years, and remains as one of the most celebrated works in Chinese literature.

The remarkable literary achievement that is Dream of the Red Chamber would not have been possible without its author at helm, whom many believed to have possessed unmatched intellect and unprecedented insights to philosophies of life. Although Cao Xueqin is recognized as the main author of the novel by mainstream scholars and theorists, many dissenters have debated this assumption, namely due to the insufficient documentation of Cao’s birth, his family background, and his general character. Some other records of Cao were traceable to poems composed by his friends, but all existing knowledge on his life have been cohered from discrete sources only. As such, Cao Xueqin remains an elusive character, much like the character of Baodai in the novel.

To commemorate the 300th anniversary of birth of Cao Xueqin in 2015, Mr. Simon Yau Yuen-hing, a Hong Kong composer, was commissioned by the Beijing Cao Xueqin Culture Development Foundation to compose a large-scale piece in thirteen movements for a symphonic band titled The Story of Cao Xueqin. The piece received its premiere via the Beijing Children’s Palace Symphonic Band in January 2015, and later in Spain as select movements. In September 2016, the work was presented in Hong Kong by the Hong Kong Festival Wind Orchestra and received widespread acclaim.

The Story of Cao Xueqin features the unique life and character of Cao with diversified genre and styles in each movement. The work not only depicts Cao’s ups and downs in life, but also honors Cao’s extraordinary contributions towards the Chinese literature.

Interpretation of Music and Ideology

Cao Xueqin (ca. 1715-1763) has a personal name, Zhan (霑), and a courtesy name, Mengruan (夢阮). According to legend, the name Mengruan (lit. dreaming of Ruan) originated from Cao’s admiration for renowned personality of Ruan Ji (阮籍) from Wei Jin Southern and Northern dynasties. Ruan was a scholar and writer of The Seven Sages of the Bamboo Grove (竹林七賢), and was known for his eccentric personality and aloof demeanor. Cao lamented not being able to meet such a character, and thus dreamt of meeting Ruan, hence Mengruan. The Story of Cao Xueqin illustrates the color personal life and remarkable journey of the gifted novelist, poet, author, as well as painter in the Qing dynasty.

Cao was born into a family of a textile business in Jiangning (currently Nanjing). The Cao family were once highly regarded during the Kangxi Emperor’s reign, but was unfortunately exterminated after the death of Kangxi. Cao Xueqin moved to Xishan outside the capital and was fully committed in the creation of Dream of the Red Chamber in his later years. This literary work is believed by some scholars to be a reflection of Cao’s entire life.

Experienced with the rise and fall of his family, endowed with talents in poetry and art, disillusioned by honor and fame, frustrated yet proud, and above all well-versed in the philosophies of life --- he is Cao Xueqin. Perhaps most tragic was the many ups and downs of Cao’s life journey, culminating into the loss his beloved wife and child during his middle-age. He ultimately departed this world both sorrowful and regretful.

The Story of Cao Xueqin highlights Cao Xueqin’s personalities and life experiences, and above all illustrates the poetic nature of Chinese traditional culture – to be succinct in words, yet infinite in meaning. The composition establishes emotions and scenes through refined melodies, and decorates these melodies with varied musical stylings and harmonies. The piece also flexibly incorporates elements of traditional Chinese music, with the inclusion of instruments such as the Erhu, Sheng, Dizi, Suona, Pipa, and percussion in its score, creating a unique blend of traditional and modern musical sensibilities, where the East meets the West. Each movement is introduced by an accompanying poem recited by a storyteller (說書人); these poems are designed to complement one another across movements, but also accentuate the central theme to each individual movement, and together form a narrative that mimics the style of traditional Chinese storytelling (說書).

I. Prologue Poem: Born in the golden years of Kangxi, and raised in a bustling city. Alas, his family suffered from harsh misfortunes, and eventually moved to Xishan.

The prologue is composed of two sections. The first is written under the idea of a western “fanfare”. Applying imperial court music of the Qing dynasty, this movement begins with vigorous brass and percussion, while the glockenspiel, vibraphone and tubular bell mimic the sound of Chinese chimes. All these create a majestic mood, culminating to the climatic ambience of a glorious Qing palace, thus introducing the audience to the era of Cao Xueqin. The second section portrays the rural view of Xishan. The music turns sorrowful and bleak to give an upset vision of misfortunes suffered by the Cao family.

II. Literary Prodigy Poem: A gifted poet and painter, endowed with great talent and intelligence unmatched by his peers.

Cao’s literary talent is represented through the refined musical stylings of this piece. The elegant erhu/oboe solo subtly reveals Cao’s extraordinary demeanor. With modulation and changes in instrumentation to enhance its emotional appeal, this movement ends on a sorrowful note by erhu/oboe to lament the waste of Cao’s bright talent.

III. Intoxicated Poem: Spoiled to drink till neither asleep nor awake, and fame and honor were what he scorned!

Cao drank a lot. The wild rhythm presents the drunk novelist’s stumbling gesture. A short passage played alternately by horns and clarinets imitate the scene of Cao drinking with friends.

IV. Won-Done Poem: As he reached enlightenment, he came to realize the illusion of human attachment. And yet, he still could not let go of what he truly cared for.

Won-Done Song Men all know that salvation should be won, But with ambition won’t have done, have done. Where are the famous ones of days gone by? In grassy graves they lie now, every one.

Men all know that salvation should be won. But with their riches won’t have done, have done. Each day they grumble they’ve not made enough. When they’ve enough, it’s good night everyone!

Men all know that salvation should be won. But with their loving wives they won’t have done. The darlings every day protest their love: But once you’re dead, they’re off with another one.

Men all know that salvation should be won, But with their children won’t have done, have done. Yet though of parents fond there is no lack, Of grateful children saw I ne’er a one. (quoted from David Hawkes’s translation of Dream of the Red Chamber)

The Won-Done Song written in the Dream of the Red Chamber narrates the helplessness and frustration in life. People all know that it is ideal to let go all mortal troubles and thoughts, yet it is hard to achieve. In this movement, the dizi/piccolo solo expresses the vanity of life and sentiment towards the impermanence of life.

V. Rumination Poem: The glitz and glamour was all but a dream, and yet the ruminating thoughts remained.

In this piece, Cao recalls his old days having experienced numerous ups and downs in life. The movement is led by the woodwinds; we are first introduced to a bitter tune by the English horn, followed by the erhu/clarinet. A cloud of agony fills the room as the piece progresses.

VI. Wildness Poem: Proud and uninhibited, he marched to the beat of his own drum. The world called him mad, but he simply heard their ignorance.

The continuous change in meter from the opening creates an unstable emotion, and is followed by an alternation between 5/4 and 2/4 meter. At the end, the ad libitum section of the percussion creates a sense of madness that highlights Cao’s proud and unwillingness to bend with the wind to each note of the music.

VII. Sorrow Poem: Sorrowfully, sadly, dazedly……

The erhu/cornet sings a tune of great solitude throughout the movement, as if Cao is seen sitting in a crude room recalling his life, uncertain towards his future and with no end in sight.

VIII. Desolation Poem: His tears have dried after the pleasure and despair. He grudgingly accepted the painful loss of loved ones!

Led by the dim clarinet tone with other woodwind instruments, a dull feeling of uncertainty is repeated and ends with the echoing vibraphone and glockenspiel. In this movement, Cao recalled his lost loved ones, and was overwhelmed by grief.

IX. Affection I Poem: Filled with plethora of emotions, all feelings and thoughts remained with him and in his mind always.

The many characters and events detailed in Dream of the Red Chamber are believed to be inspired by Cao’s perspectives and experiences in life. A faintly discernible emotion is revealed in the inconsistent rhythm in the upper woodwinds, while the oboe solo sings his hope and expectations towards affections.

X. Affection II Poem: Emotions that can neither be fully written nor spoken.

The conversation between sheng/clarinets and pipa/harp like lovers sharing their love in words. This delicate and tender love lingers on the two very close hearts.

XI. Affection III Poem: Fame and honor is fickle. He learned to appreciate simple life in countryside.

Cao’s life turned simple and heart-warming after moving to the rural Xishan. Introduced by the harp, the first clarinets and bass clarinet play out a reserved tune.

XII. Romp Poem: Raised well in childhood, he loved to romp and laugh, without a care in the world.

The lively rhythm in the woodwinds portrays the young image of Cao Xueqin in games, and a sense of amusement is later added by the trumpets. Jing cymbal, jing gong and bangu enter to bring in the entire percussion section: led by paigu, a section of bass drum, bangu, cymbal, gong, the timpani and snare drum boost the music to the peak.

XIII. Lose Me Not. Forget Me Not Poem: Forget not his talent, forget not his wildness. Forget not the story he told of life, one that is all encompassing and complete. As the song comes to an end, all that is left is the lingering echoes. Lose him not. Forget him not.

This movement is named after the inscription of “Lose Me Not. Forget Me Not” on Jia Baoyu’s jade in the Dream of the Red Chamber. Being the only vocal movement in the composition, its simple tune is quoted from Literary Prodigy.

“Grand as Heaven’s vault, boundless as the mother earth. I desire to return to the place I belong, but the path is too long. Half awake and half drunk, I take a glance of the bustling mortal world. I smile as I leave my footprints behind.” This is the fate of Baoyu, as well as a reflection of Cao’s entire life. The cause of life is reflected in the sensations written in the Dream of the Red Chamber. Whether to stay or to depart is not for us to decide, as of Baoyu, as of Xueqin, and as of all men, but within this finite life span, we should be pleased to leave our footprints behind. Cao has achieved this fully by leaving us his Dream of the Red Chamber, which is recognized as our priceless cultural heritage today.

“My tears dried, and my story completed; no regrets.” The ten-year hard work of Cao Xueqin has contributed remarkably in the Chinese classical literature. This finale wishes to be remained in mind of audience, so as Cao Xueqin.

“Lose Me Not. Forget Me Not” (Lyrics by Ng Wai-lin Winnie)

What fate brings together, it takes apart. Is it fantasy? Or is it reality? Ups and downs, sadness and delight; a never-ending cycle in life! My tears dried, and my story completed; no regrets. Lose me not, forget me not.

Grand as Heaven’s vault, Boundless as the mother earth. I desire to return to the place I belong, but the path is long. Half awake and half drunk, I take a glance at the bustling mortal world. I smile as I leave my footprints behind.

(Translated English version by Hong Kong Festival Wind Orchestra, Ms. Ng Wai-lin Winnie, and Mr. Yau Chi-yeung)