PROGRAM NOTES(Oct.18)
QIU HONG (Autumn Geese)
Wu Wenguang realized according to the “Shengqi Mipu”(1425).
This work is often attributed to either Guomian (Southern Song Dynasty, 1127--1279) or Zhuquan (Ming Dynasty, 1368--1644). The composer through the musical imagery of the autumn migration of geese expresses human lofty aspiration and the breadth of vision.
LIEZI YUFENG (Liezi Riding on the Wind)
Wu Wenguang realized according to the “Shenqi Mipu”(1425)
The work is often attributed to Mao Minzhong of the Southern Song Dynasty. The music symbolizes an ancient Taoist riding on the wind by combining a verity of glissandos, vibratos and high-ranged harmonics in a melody which belong to a Qin mode of the Jiao. The spiritual carefree with vivid images is the characteristic of the piece.
ZHU ZHI CI(The Song of Bamboo Twigs)
Wu Wenguang rearranged according to “Donggao Qinpu (the Qin Handbook of the East hill)”(1676)
The Song of Bamboo Twigs was prevailed in the region of the middle reach of the Yangtze river during the Tang Dynasty (618-907). Since the distinguished Tang poet Liu Yuxi, the form has been employed in literature by a number of later coming poets. But, they are rare to be set into music and, it is therefore, this version is an exception. The meaning of the words here may interpreted as “although the pitch of singing is ambiguous, the sounds are soft. Listeners hardly ever know the heartbroken of the singer and, it is therefore, the singing is in vain. ”
LOU SHI MING(The Motto of Humble Room)
The words are by Liu Yuxi, a distinguished Tang poet, and Wu Jinglue rendered in accordance with the <Zi Yuan tang Qin Pu> (1802).
LIU SHUI (Flowing Water)
Wu Jinglue’s tradition, according to the “Tianwenge Qinpu” (1876).
A work often attributed to Boya, who lived during the Spring and Autumn Period (770—476 B.C.). Boya was a great Qin Master; and Zhong Ziqi, a great listener, could always understand Boya’s
music. Boya while playing the Qin thought of high mountains, then Zhong said, “how excellent, impressing like the Mt. Tai; ” and When Boya thought of flowing water, Zhong said, “how excellent, braod and flowing like rivers and streams.” When Zhong died, boya broke his instrument and all of his life did not play the Qin again. This story adds more depth and meaning to the music itself. Besides being a piece to praise the beauty of the nature, it also symbolizes the sincerity of friendship.
JIE SHI DIAO?YOU LAN (Solitary Orchid in the Mode of Jieshi)
Wu Wenguang’s realization according to a manuscript of the Tang Dynasty (618-907).
This work is handed down from the collection of Qin music by Qiuming (494-590). The original notation is in essay form written in a manuscript scroll of the Tang Dynasty, had kept in a temple of Kyoto, Japan. The piece is divided
into four sections. The music is intermingled with a stirring spontaneity, deeply reflecting the complication of feelings in Confucius when he was rejected for office by different states. It describes his emotional turmoil when he saw the orchid blooming serenely in a deserted valley on his way home. The melody is distinguished and captivating. The frequent use of accidental notes makes it rather special and interesting in style as compared with the pentatonic modes among other Qin pieces.
WU YIE TI (Raven’s cry at dusk)
Wu Wenguang realized according to the “Shengqi Mipu”(1425).
The title is the name of an ancient “labeled-tune” and it means literally the cry of the raven at dusk. According to the “Shengqi Mipu” (1425), it was composed by Prince Liu Yiqing of the Song Dynasty (420--479). The music uses a litany styled fingering to imitate the birds sound, and the harmonics is being employed to create a peaceful atmosphere. It is, therefore, interesting and fresh in the ancient Qin repertoire.
YANG CHUN (Sunny Spring)
Wu Jinglue’s tradition, according to the “Chengyitang Qinpu” (1705).
The “Sunny Spring and White Snow” was a famous ancient song. Later, it was separated into two independent tunes. Lucai of the Tang Dynasty (618--907) re-composed them in accordance with the old Qin tradition. The music is lively and vigorous, as if the spring came to the earth and everything looked fresh and gay.
LI SAO (Departed Sorrow)
Wu Wenguang rendered according to Shenqi Mipu (1425). The compiler of <Shenqi Mipu> attributes the work to Qu Yuan, a great Chu poet dating back to 343-ca. 277 B.C., himself, but scholars admittedly relate this version to Chen Kangshi, a Qin master of the Tang dynasty (618-907). The music is characteristic, reflecting Qu Yuan’s mood while he was maliciously slandered and unjustly banished from the Kingdom.
GUANG LIN SAN (Ode to Guanglin)
Wu Jinglue’s tradition, according to the“Shengqi Mipu” (Miraculous Secret Score, 1425).
An ancient work dating from the Wei Dynasty (ca. 220--265), and was first published in the “Shengqi Mipu”(1425). It describes a popular legend about the assassination of King Han by Niezheng. The musical expression of the piece varies from strong grievance to subtle gentility. This is a masterpiece of Qin music, reflecting fully the style of the Daqu (grand piece). The piece is divided into six sections, with forty-five sub-sections. The performing tradition of it
can be traced back to Jikang (223--263), who was famous for playing it, and was said to played it just before his execution for political reasons.
BU SUAN ZI (Abacus’s Beads for Prediction)
Wu Wenguang’s rendition based on <Songfengge Qipu> (1677). The title is a labeled tune of Ci Poem, written by Cao rong (words) and Cheng Xiong (music and Qin fingering). Wu Wenguang changed the words to Lu You’s “Ode to the Plum Blossoms”. The chorus and piano accompaniment are settled by Zhang Qiao.
SUI LONG YIN (The Roar of Water Dragon)
Wu Wenguang’s rendition based on <Songfengge Qipu> (1677). The words are rearranged according to Su Shi in the same name. The piano accompaniment is adapted by Zhang Qiao.
OU CHENG (By Accident)
Wu Wenguang’s rendition based on <Donggao Qipu> (1676). The words are originally written by a famous philosopher Cheng Hao of the Song Dynasty. The piano accompaniment is arranged by Yang Tongba.
