Flute solo gusuhang
"Gusuxing" is a flute solo with typical Jiangnan music style, which was adapted by Mr. Jiang Xianwei, a famous composer and performer in China, according to the music of Kunqu opera and the tone of Jiangnan silk and bamboo. Mr. Jiang Xianwei has made great contributions to the arrangement and research of folk music. His works are elegant and beautiful in style and have a long aftertaste. His masterpiece Gusuxing is undoubtedly a model of modern national instrumental music in China. A trip to Suzhou is a piece of music played by Qu Di. Qu Di is popular in the south of China, and it is named after being used to accompany Kunqu Opera. Qu Di's timbre is soft and clear, which shows its unique charm, especially when playing Andante and Allegro.
In the long cultural river with a long history of 5,000 years in China, music culture is an important part of this historical and cultural development. National music has experienced a long evolution from ancient times to the present, from folk to academic school today.
The development of national music has promoted the development of national instrumental music. As an important member of the national instrumental family, bamboo flute is one of the favorite musical instruments of people of all ethnic groups. In its long development process of thousands of years, it has won the favor of scholars of past dynasties with its unique charm and charm, and has made a magical and wonderful description of bamboo flute art with a large number of poems. Especially in Tang and Song poetry, it is not difficult to find vivid poems praising the art of bamboo flute. In modern times, the art of bamboo flute is becoming more and more perfect and its application scope is expanding. Almost every music block is involved, including Beijing Opera, Kunqu Opera and even all kinds of opera music. The local music and some folk music are inseparable from the accompaniment of bamboo flute. But it was still in the 1950s that it was presented on the music stage with a brand-new solo posture. Feng Zicun, a famous flute player, successfully played two solos, Wings of an Oriole and Welcome, at the 1st National Folk Music and Dance Concert on 1953, which won applause from the audience.
Since then, the solo form of bamboo flute has appeared on various stages one after another, becoming one of the indispensable and important artistic performances on the stage. During this period, a large number of folk bamboo flute artists joined the ranks of professional music with a brand-new look, and they were active on the stage with their colorful bamboo flute art. Bamboo flute, which has been a supporting role for thousands of years, entered the domestic music scene with the spirit of leading role and swept the world stage.
The establishment and vigorous development of the solo art of bamboo flute has promoted the emergence of bamboo flute art tracks like mushrooms after rain. With the passage of time, the performance techniques are constantly improved and innovated, and the subject matter of flute music is more extensive, the creative techniques are more novel and the structural forms are more diverse. The flute solo "Gusu Star" is one of the most widely circulated and enduring excellent tracks.
Jiang Xianwei (1924~) is a modern composer and performer in China. He created a large number of national instrumental music works, which made great contributions to the collation and research of national music. His works are elegant and beautiful in style and have a long aftertaste. His masterpiece Gusuxing is undoubtedly a model of modern national instrumental music in China. Jiang Xianwei was born in Weihai, Shandong. /kloc-when he was 0/2 years old, he was forced by life to learn from his brother and play national musical instruments. /kloc-When she was 0/4 years old, she went to Dalian with her family to make a living. 65438-0949 participated in the revolution and was admitted to the People's Liberation Army Art Troupe, specializing in literary and artistic work. Now he is a soloist of China People's Liberation Army Front-line Song and Dance Troupe. He is a generalist in national musical instruments, specializing in bamboo flute, mainly relying on self-study to learn the playing style of Jiangnan silk and bamboo music. In the 1960s, he composed and played A Journey to Gusu and Singing Harvest with Wheels and Feet, taking Jiangnan folk songs and Kunqu tunes as raw materials, making his mark in the flute field. On 1959 and 1965, Jiang Xianwei went to Austria, the Soviet Union, Poland and Indonesia with the China Art Troupe. Edit the introduction of this paragraph.
Written by gusuhang on 1962. The author is a famous flute player and a first-class performer of the frontline song and dance troupe of Nanjing Military Region. According to Jiang, he usually loves opera and is familiar with opera music such as Beijing Opera and Kunqu Opera. When there was no systematic flute etudes, Jiang Cai often played several pieces of opera music to practice his breath, music and fingering skills. At that time, he got a piece of Kunqu music from a comrade-in-arms, less than 30 bars. So he often plays, and the more he plays, the more unforgettable he feels. It coincides with the performance of the literary and art group of the whole army, which has the task of creating new works. He developed this beautiful Kunqu opera into a flute solo with complete structure and rich musical expression. Because I often go to Suzhou to perform, I have a special liking for the beautiful scenery of Suzhou gardens, so I named it "Gusuxing". The first record was in 1963. Because of its beautiful melody, elegance, lyricism and profound connotation and artistic conception, it was deeply loved by the majority of bamboo flute players and listeners, so it soon spread all over the country.
This song adopted the timbre material of Kunqu opera and the scale rich in national timbre in melody creation technique, and absorbed the complex trilogy creation method adopted by western music in musical form structure, which was quite innovative in the national instrumental works at that time. Looking back, most of the previous bamboo flute tracks were directly developed from folk music and opera music, lacking the ups and downs of musical emotions and the comparison and unity of the whole and part of the structure. Therefore, Gusuxing received rave reviews as soon as it came out.
Music is a quiet introduction at first, which mainly shows the wonderful reverie that people are about to see. With the ups and downs of melody and the change of mood in tranquility, the whole introduction changes from tranquility-excitement-tranquility. Melody mostly uses long lines, and long notes and short notes are staggered and orderly. Just like coming to the front of the garden, from the outside to the inside, pavilions, bridges and fountains are faintly visible in the morning fog, and the hazy mystery is particularly poetic. Through poetic scenery description, people's pursuit of beautiful things is described.
Then there is the beginning of paragraph a of the speech department. The lyric andante is just in line with the heartfelt pleasure of tourists walking behind the garden, watching their steps leisurely and relaxing, and enjoying the beautiful scenery. This article is divided into three paragraphs (A, B, C). The first part, the first to 15 (paragraph a), focuses on the theme of music. Andante, slow down. This accent evolved from a section of Kunqu Opera called Ascending the Mountain.
The second part (section B) is obviously different from 16 to 27 in section A acoustics, starting from the weak bomb (P). In the exhibition section 16, this section vividly depicts the exquisiteness and details of the garden: in the lotus pond in front of the waterside pavilion, a few crystal drops of water on the lotus leaf sway from side to side in the breeze; Beautiful butterflies fly around leisurely among thousands of flowers ... These ordinary and unnoticed scenes intoxicated the careful tourists, and the A and B paragraphs were a little comprehensive, favoring one over the other.
Paragraph C, from paragraph 28 to paragraph 39 of the exhibition section, is obviously stronger than paragraph B, and contains the sighs summarized in paragraphs A and B, expressing people's excitement after enjoying the beautiful scenery. This paragraph has also reached the emotional climax of the whole paragraph A. The latter two paragraphs of this paragraph should be gradually weakened and slowed down, so that the next part can enter, which will have initial inhibition and later promotion.
Section b of the development department is a small allegro with great fluctuation, which is in sharp contrast with the section in rhythm and melody. I think it can be understood as two meanings: one is the psychological description that tourists are very excited and excited when they sit in the chairs of pavilions and cloisters at rest and enjoy the beautiful scenery of the garden; Secondly, it also includes a scene description of seeing a group of naughty children chasing and playing between pavilions and bridges and playing on the shore of a fake pond, which is lively and lively and has a hot atmosphere. The melody is light and smooth. Allegro in the original works has been repeatedly processed, and the second time is more cheerful and enthusiastic than the first time, thus pushing the whole song to a climax. F-p-f-p has been changed to be cheerful and enthusiastic, enriching the expressive force.
The last part is the reappearance of part of the theme A, which is slower than the reappearance of part A and vividly shows the scene that people don't want to leave the garden when the sun goes down. The use of several homophones "do" is very infectious. After the slow tone "sol" is extended, the aftertaste is long, pauses, and finally falls on the long tone of the tonic "do". In the second half of the long tone of "do", the virtual finger vibrato fades away, and then fades away, vividly reflecting the unfinished imagination space and rippling with beautiful thoughts in the hearts of tourists. The structure of the whole song is reasonable, the music scenes are rich in contrast, the scenery is lyrical and the artistic conception is vivid, which is worthy of being a masterpiece in flute music.
A flute solo "Gusuxing" has aroused great interest of bamboo flute players, including famous performers, professional actors and many amateur flute lovers. Therefore, the performance level is different and the performance style is diverse. For a long time, several different styles of play have been formed.
First of all, when the author wrote this song, he borrowed the tune of Kunqu opera, so it should have the charm of Kunqu opera in performance. In the accompaniment of Kunqu opera, bamboo flute is often in tune with singing, so it is quite like singing. Decorative notes are used at the beginning of the theme in the introduction part and the exhibition part, which is the customary treatment of human voices in Kunqu singing; The performance was personified and vividly imitated the euphemism of human voice, which was very vivid. The above is the original text of Mr. Jiang Xianwei. In processing, more decorative sounds like singing are used, and at the same time, Kunqu singing is reflected in music.
In the 1970s, this song was adapted from Xun Fa, making Gu Suxing a household name. In his early years, he studied under Mr. Lu Chunling, a flute master from the South. Over the years, he has been eclectic, and all factions in the north and south are meticulous. His qigong performance is profound, his timbre is full and round, and his expressive force is rich. He played and recorded a trip to Suzhou, and now people often hear about it, so he was deeply impressed. His Journey to Suzhou is biased towards the charm of silk and bamboo in the south of the Yangtze River, and at the same time it has the characteristics of Kunqu opera. He also deleted and modified the whole song, making the whole structure more compact, and applied the fingering of "folding, beating, giving, trembling and redundancy" used by Qu Di when playing "Bamboo in the South of the Yangtze River" to the extreme, which made the music performance reach the extreme. He pays special attention to the portrayal of images and the creation of artistic conception. In the last paragraph, the speech speed of the reproduction department obviously slowed down. He used the homophonic "1", and at the same time avoided the impact of qi, making the melody simple and dull, adding lingering interest to tourists and touching.
In a word, Gusuxing is Jiangnan-style music, which should please people with sound and impress people with expression. Performance is strong but not dry, weak but not empty, and should not be dull. In the contrast and unification of the decorative sound and timbre of melody, all aspects need profound basic skills as the backing. At this point, no matter what style and characteristics of play, we must do it.