Beautiful Spring River with Flowers and Moonlight Night

One of the top ten famous Chinese classical songs, formerly known as "Sunset Drums", it has profound artistic conception and long music. Later, it was renamed after the famous Tang poem "Spring River with Flowers and Moonlight Night". It is considered to be the representative of Chinese classical folk music. "Sunset Flute and Drum" is also known as "Xunyang Moon Night", "Xunyang Pipa" or "Xunyang Song". This is a famous traditional pipa routine that has been circulated in the Ming and Qing Dynasties. The title of "Sunset Flute and Drum" was first seen in "Textual Research on Modern Music" written by Yao Xie (1805-1864) in the Qing Dynasty. The music score of this pipa piece was first found in the "Xianxu Youyin" pipa score passed down by Ju Shilin (about 1736-1820) (the one we see now is the copy handed down by his disciples in 1860), and in the 1819 "Northern and Southern Schools" "The True Biography of the Secret Book of Pipa Music", as well as the 1842 handwritten "Tan Cao Ji" pipa music by Zhang Jianshan in Songjiang, Jiangsu, the 1875 handwritten copy of Wu Wanqing's "Chen Zijing Pipa Music Copy" in 1898, and the 1929 "Yangzhengxuan Pipa Music" wait. Wu Wanqing's manuscript in the first year of Guangxu (1875) consists of six paragraphs plus an epilogue, with no text title. In 1895, Li Fangyuan of the Pinghu School included this piece of music in the "New Score of Thirteen Daqu Pipa of the Northern and Southern School", which was renamed "Xunyang Pipa" and expanded to 10 sections, namely: 1. Sunset Flute and Drum; 2. Huarui San The returning wind; 3. Guanshan is facing the moon; 4. The setting sun is near the water; 5. The sound of autumn maples; 6. Qianxun Wu Gorge; 7. The sound of flutes in the red trees; 8. The evening view by the river; 9. The singing of fishing boats at night; 10. Returning to the boat in the shadow of the setting sun. In 1929, when Shen Haochu was compiling "Yangzhengxuan Pipa Score", the song was called "Sunset Flute and Drum". The titles of each section are: Returning to the Wind, Queuing the Moon, Linshui, Mountain Climbing, Roaring, Viewing at Night, and Returning to the Boat. In 1925, Liu Yaozhang and Zheng Jinwen of the Shanghai Datong Ensemble changed this piece to a silk and bamboo ensemble. At the same time, it was renamed "Spring River Flowers and Autumn Moon Night" based on the "Spring River Flowers Morning and Autumn Moon Night" in "Pipa Xing". "Sunset Flute and Drum" is a lyrical song with an elegant and graceful melody. The left hand mostly uses pushing, pulling, rubbing, chanting and other playing techniques. The music begins with the sound of drums and flutes, and the theme is rich in the sentiment of the Jiangnan water town. Later, each section uses variation techniques such as expansion, contraction, shifting ranges, and changing the beginning and ending, as well as onomatopoeic music such as the sound of water waves and the sound of oars and oars to enrich the music. Lesi. With its soft melody and peaceful mood, this song depicts the beauty of the good time in the world: the evening drum bids farewell to the sunset, and the sound of the flute welcomes the evening of the full moon; people float on the spring river in light boats; the green mountains on both sides of the bank are verdant, and the flower branches are scattered among them. Shadow; the waves on the water are dancing in the heart of the moon, and the oars are adding sound... Chinese classical guitar player Yin Biao changed this song into a guitar solo "Moon at Night in the Sun Yang", which won the 1988 Guitar Competition held in Guangdong, Hong Kong and Macau. Classical guitar champion. Li Haiying adapted it into a piano solo, Liu Zhuang adapted it into a wind quintet, and Chen Peixun adapted it into a symphonic music painting.

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"Moonlight Night on the Spring River" is a famous piece of Chinese classical music and a classic of Chinese classical music. This is an elegant and beautiful lyrical piece of music. It is like a landscape painting, showing the charming scenery of nature on a quiet night in spring, with the moon rising in the east mountain, the boat rippling on the river, and the shadows of flowers swaying gently on the west bank. Before our eyes. Through euphemistic and simple melody, smooth and changeable rhythm, ingenious and delicate orchestration, and meticulous performance, the music vividly depicts the charming scenery of the spring river on a moonlit night and fully praises the grace and beauty of the Jiangnan water town. The whole song is like a long landscape scroll with fine brushwork, soft colors, elegance and elegance, which is fascinating. "Moonlight Night on the Spring River" was originally a pipa solo piece called "Sunset Flute and Drum" (also known as "Sunset Flute Song", "Xunyang Pipa", "Xunyang Night and Moon", "Xunyang Song"). This title was first seen in the late Qing Dynasty Yao Xie's book "Jin Yue Textual Research", and was listed as one of the middle tunes in the "Jiangnan School Pipa Repertoire". Musical notation was first found in Ju Shilin's copied pipa score and Wu Wanqing's handwritten manuscript in 1875. Around 1925, Liu Yaozhang and Zheng Jinwen of the Shanghai Datong Ensemble adapted it for the first time into a national orchestral music. They eradicated the poetic and picturesque artistic conception of this music and named it "Spring River Flower Moonlight Night". After liberation, it was edited and adapted by many people, making it more perfect and deeply cherished by audiences at home and abroad. "Moonlight Night on the Spring River" has a beautiful artistic conception, tight music structure, simple and elegant melody, relatively stable and relaxed rhythm, expresses the profound artistic conception in an implicit way, and has strong artistic appeal. Although the theme melody of this piece of music has many changes and new factors emerge one after another, the end of each section uses the same phrase. It sounds very harmonious. In folk music, this technique is called "changing the beginning and ending", which can reveal the artistic conception of the music from different angles and deepen the content of the music expression. "Moonlight Night on the Spring River" is very cleverly conceived. With the continuous changes and development of the music theme, the artistic conception depicted in the music gradually changes, sometimes quiet, sometimes passionate, realizing the endless changes of natural scenery. The whole song is generally divided into ten sections. People follow the tradition of Chinese classical title music and add a subtitle to each section. These titles are: River Tower Bells and Drums, Moon Over East Mountain, Wind Returns to the Winding Water, Flower Shadows Cascade, Deep Water Between Clouds, Fishermen Sing Late, Waves of Waves Lap on the Shore, Radiators Ming Far Away, Well, Return to the Boat, and the End. The first section, "Jiang Tower Bells and Drums," depicts the setting sun reflecting on the river and the wind ripples. Then, the band played a beautiful and cantabile theme in unison, with the phrases connected in the same tone, euphemistic and calm; the bass drum rolled softly, creating a profound artistic conception.

The second and third paragraphs express the artistic conception of "Moon above the Eastern Mountain" and "The wind returns to the wind and the water". Then it was like seeing the breeze blowing in the river, the flowers and plants swaying, and the reflections in the water, layer by layer, in a trance. Entering the fifth section of "Deep Water and Clouds", the magnificent scenery of "the river and sky are the same color without dust, and the moon is alone in the bright sky" emerges spontaneously. The band plays in unison and speeds up, just like the scene of white sails dotted, fishing songs heard in the distance, from far to near, singing one after another. In the seventh section, the pipa is played with a sweeping wheel, which is like the movement of a fishing boat breaking the water and causing waves to hit the shore. The climax of the whole song is the ninth section "Oh, I'm going back to the boat". The melody changes from slow to fast, from weak to strong, which is exciting. It expresses the artistic conception of returning to the boat, breaking the water, splashing waves, and the sound of the oar, from far to near, reaching the peak of emotion. Then the music stopped abruptly at high speed, returned to a calm and gentle mood, and then came to an end. The music at the end is so ethereal and long, as if the boat is gradually disappearing on the distant river. The night sky over the Spring River is quiet and peaceful. The whole song ends in a melodious and slow melody, making people indulge in this charming poetic and artistic conception... The piece was adapted by Li Yinghai as a piano piece, by Liu Zhuang as a wind quintet, and by Chen Peixun as a symphonic music painting. The whole song has the most common multi-section structure in ethnic instrumental music.