Concert Report on "Golden Chinese Classics of the Century: Parade I"

Yangqin) gradually came in with repeating short Concert report on melodic fragments. Special sound effect was "Golden Chinese Classics produced by the Dizi blowing air across the mouth-hole without producing a specified pitch. of the Century: Parade I" At times flutter tonguing was also applied in 30 Nov 2002 (8pm) producing this kind of airy sound. The sound of Hong Kong Cultural Centre Concert Hall bird calls was also heard throughout the entire © 2002 by Helen Kin Hoi Wong movement, played by the small wind instruments Xun ( 塤). The highlight in the movement was the For the vast majority of Hong Kong sound of Yangqin. The third movement “ The Silk audiences, Chinese music is regarded as Worms Spinning Silk” featured the sound of wind “traditional” and conservative in its instruments (Dizi and Shao) with harmonics of compositional approach. The concert presented the bowed-strings (Gehu and Bass Gehu). The 4 th by the Hong Kong Chinese Orchestra last month movement “Butterflies among the Flowers” proved otherwise. On 30 Nov 2002, the HKCO explored the different colours on the Zheng. The launched its first of 4 series of concerts organized final movement “The Insert World” incorporated by “Golden Chinese Classics of the Century”, the use of all instruments. Themes from the featuring works by Hong Kong composer previous movement reappeared again created an Doming Lam, Chinese composers Liu Xing, interplay which reflected the harmonious Wang Jainmin and Kuan Nai-chung, displaying a co-existence of all insects. mixture of traditional, contemporary and experimental styles. Following all kinds of exotic sounds from The Insect World , a standard concerto work was Under the baton of guest conductor Yu Feng, presented. Performed by soloist Zhang Xinhua, the concert opened with The Insect World by the Zhongruan Concerto no.1 “In Remembrance Doming Lam, a work composed in 1979 for the of Yunnan” explored to the limit the possible commemoration of the International Year of the virtuosity on Zhongruan. Composed by Liu Xing Child. It was described by the composer as an in 1987, the music depicted the imaginary scenes experimental work which emphasized Chinese of Yunnan, a land which the composer had never tonalities, modalities, harmony, timbres and visited. The yearning and fantasies for this land textures. The Insect World contained five was expressed through the expressive melodies, movements: 1) Buzzing Bees Making Honey, 2) warm tone colour and the rich texture of the Dragon Flies along a Stream, 3) Silk Worms concerto. The concerto was written in 3 Spinning Silk, 4) Butterflies among the Flowers movements: 1) Allegretto moderato, 2) Adagio and 5) The insect World. As the programmatic sostenuto and 3) Allegro meccanico. It began titles suggested, a particular insect was being with an ostinato played by the soloist using 挑輪 , depicted in each movement. Other instruments creating a sense of forward motion. As different were employed to provide background support sections of the orchestra gradually came in a with different playing techniques which created dialogue between the soloist and tutti began. The special sound effects. The music began with an Zhongruan changed from 挑輪 to 單音 playing atonal dialogue between the Sheng and the Dizi, 彈挑勾抹 with the use of staccatissimo and flutter tonguing using , , and , before it returned to to create rhythmic tension. The string section the ostinato again. The second statement of the soon joined in with tremolo with running fingers solo passage by the Zhongruan was played by a up and down along the string to produce combination of 單音 and 雙音 . A small cadenza unpitched tone clusters, depicting the buzzy was then performed with fast travelling on the sound of the bees. Texture of the music was frets and gradually building up into a passage gradually thickened by entries of Gehu, Dizi, using 掃 and 拂 , which used harmonic Yangqin and glockenspiel, all playing repetitive progression that recalled that of the guitar playing. atonal phrases. The Erhu section became the Towards the last part of the movement, right hand highlight of this movement, it was mainly techniques 彈 and 挑 were incorporated with the performed as tremolo at high positions with fast 打, 推, 拉 on the left hand. The movement travelling of fingers. The second movement gradually decreased in textural thickness and “Dragon Flies along a Stream” began tranquilly made its final cadence with the wind section with the Erhu section playing repetitive melodic (Dizi and Sheng). The second movement began phrases at a moving tempo, while different kinds with a Dizi solo. It soon formed into a dialogue of instruments (Dizi, triangle, Zhongruan, with the solo Zhongruan with Sheng and Erhu 1 sections as background, rhythmically supported vanguard horns of the lamas. The use of by the 木魚 . The whole movement was played dissonances and atonal phrases interchanging tranquilly, creating a pictorial atmosphere. with pentatonic melodies helped create both an Syncopation was used on the Zhongruan placing oriented and mysterious atmosphere. The melodic accents on weak beat with 彈音 . The western motive 3 2 1 6 was being repeated throughout the string playing technique of Col legno (playing movement, each time being played by different with the wood of the bow) was heard in the Erhu instruments. The Zheng player playing on 2 section. A sectional climax was created with the Zhengs simultaneously created special visual and full orchestra using the Chinese Gong as sound effects. The strings of the two Zhengs were rhythmic support before the music dropped back set differently and both atonally, which added to to calmness again and ended quietly. The third the movement more mysterious atmosphere. The movement began energetically, demonstrating a second movement depicted the Yalu Zangbo variety of Zhongruan techniques such as 掃 and River, the source of life for the people of Tibet. The use of Gaohu against Bass Gehu created a 拂, which interchanged with 彈挑 and 摭分指 transparent tone colour. Melody was passed from 法 in building up a momentum. Use of one section to another (Gaohu – Pipa – Erhu etc.), syncopation also created a sense of forward creating running motion depicting the flowing motion. Chromatic and parallel harmonies were river. The whole movement was played lyrically. used in the brushing of chords. A solo phrase by th th The third movement “Heavenly Burial” depicted the Sheng in parallel 4 and 5 was heard before the Tibetan tradition of sending a corpse to the the Zhongruan entered with an ostinato burial ground. The corpse was to be cut up by the recapitulating the motivic element in the opening priest first as a sacrifice to God and then eaten by of the concerto. The texture began to build up the vultures. In the first section of this movement again and the concerto ended in an exciting the Zheng was played atonally in dialogue with manner. This concerto showed the infusion of the Erhu section at low register as a prelude to western compositional elements, such as use of this rather gruesome scene. The terrifying ostinato, chromatic chords and a formal structure atmosphere was then created by strong beats of that contains exposition, development and timpani and shrieking sounds of the Dizi. The use recapitulation. of trills in Erhu with xylophone and other percussion also intensified the atmosphere. The After the intermission, another virtuosic final movement “Beating Ghost” depicted work, Erhu Rhapsody o.1 by Wang Jianmin was “Jiduo” - the feast of exorcism, as celebrated by brought to the stage. Composed in 1988, this the lamas of Potala Palace dancing as disguised work showed the composer’s interest in blending wicked ghosts and being ceremonially chased folk elements with modern compositional around. The music here employed complex techniques, using the western form of rhapsodic rhythms, as played by different Chinese writing. The work expressed a festive atmosphere. percussive instruments, to depict an atmosphere Many instrumental techniques were being which was both religious and mysterious. The explored by the Erhu, such as left-hand pizzicato, melodic motive 3 2 1 6 returned again, unifying 頓弓 , 滑音 , 人工泛音 , and the simultaneous the whole work. The music then dropped into playing of open-string notes with left-hand quietness, and gradually built up again. The pizzicato. closing section was created by the full sound of the orchestra, highlighting the Erhu and Suona The last concert item Journey to Lhasa by melodies with the use of percussion which Kuan Nai-chung demonstrated the descriptive created a festive mood. The return of melodic ability of a Chinese orchestra. Lhasa is the motive 3 2 1 6 was heard again in the last few Tibetan word for “Holy Land” or “Land of the bars of the work. The use of 雲鑼 before the Buddha”. The music was written to depict final cadence created surprise. The whole work different scenes found in Lhasa, an ancient city was finished in an exciting gesture. All with a history of over 1300 years. The work compositions in this concert presented an contained 4 movements: 1) The Potala Palace, 2) abundance of new sounds with traditional sources. Yaluzangbo River, 3) The Heavenly Burial and 4) The concert was enthusiastically received and Beating Ghosts. The first movement described undoubtedly left the audiences with a new the magnificent and mystic Potala Palace - the impression for Chinese music. sacred shrine of Lamaism and the residence of the Living Buddha (Dali Lama). The music began with low notes imitating the broad, sonorous 2.

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