Introduction of works

& lt Liang Zhu >> was composed in 1959. The music content comes from an ancient and beautiful folklore: in the middle of the 4th century, in Zhujiazhuang, a village in the south of China, Zhu Yingtai, the daughter of an intelligent and literate volunteer, broke through the shackles of feudal tradition and disguised herself as a man to study in Hangzhou. There, she established a deep friendship with Liang Chubo, a kind, simple and poor young scholar. Zhu confided his love for many years to Liang with all kinds of wonderful metaphors, but he sincerely didn't understand it. A year later, Liang learned that Zhu was a woman and immediately proposed to Zhu. It turns out that Zhu has already been betrothed. He is the son of Ma Taishou, a rich boy. As the marriage was not free, Liang died of grief and indignation soon. After receiving this unfortunate news, Zhu Yingtai came to Liang's grave and complained of feudal ethics with blood and tears.

This lyrical symphony, full of colorful life, has made bold innovations and successful attempts in nationalization and popularization, and has been warmly welcomed at home and abroad. What the masses call "our own symphony" was praised as "a class and a nation is maturing in art" at the third literary conference of 1960. It has been performed on all continents in the United States and gained international recognition for its distinctive Chinese national style and characteristics. Hong Kong artists adapted it into Gao Hu concerto, oratorio and stage play, while American dancers adapted it into a beautiful and moving ice dance. In the early 1980s, "Butterfly Across the Strait" was sold in Taiwan Province record factory, which was widely welcomed, and Taiwan Province publications also published monographs and comments, which attracted great attention from people from all walks of life. Because the film circulation exceeded 10,000 to 20,000, the Hong Kong record company once awarded the author gold records and platinum records. Now < < Liang Zhu >< has flown into the world music forest and is active in the international music scene.

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Based on the singing of Zhejiang Shaoxing Opera, this work, according to the plot layout, comprehensively adopts the expression techniques of symphony and China folk opera music, and deeply and delicately depicts Liang Zhu's love, marriage resistance and become a butterfly's feelings and artistic conception. Written in the form of sonata, the structure is as follows:

(1) Presentation Department

Against the background of soft string vibrato, the flute played a beautiful and moving cadenza like a bird's song. Then, the oboe introduced the theme in a soft and lyrical way, showing a picture of beautiful weather, bright spring and pink and green flowers blooming by the grass bridge.

In the main part, the solo violin begins with a soft and simple A string, and plays a poetic love theme with charm in the clear high-pitched area. After a repetition on the rich G string, the music is fine-tuned to A, and the cello and solo violin form an answer (middle section) in a unique tone. After playing the theme of love, the band fully demonstrated Liang Zhu's sincere and pure friendship and mutual affection.

After the free-color connecting passage of the solo violin, the music enters the auxiliary part. This theme, which is adapted from Yue Opera, is in sharp contrast with the theme of love by violin solo (including repeated variations).

The first parenthesis is the change and development of the theme motivation of the auxiliary part, which consists of woodwind instruments and solo violins, letter strings and solo violins imitating each other.

The second spot is more relaxed and lively. Solo violins imitate guzheng, harp and strings imitate pipa. The author skillfully absorbed the performance skills of China national musical instruments and enriched the expressive force of the symphony. This piece of music vividly depicts Liang Zhu's classmates for three years with relaxed rhythm, beating melody and lively emotions. * * * Read * * * Play and chase frolic scenes. Together with the soft and lyrical love theme, it reflects Liang Zhu's friendship and study life from different angles.

The ending part, developed from the theme of love, is lyrical and slow (B key, 2/4 beat), and now it is intermittent, showing Zhu Yingtai's speechless and embarrassing feelings. The dialogue between "Liang" and "Zhu" is based on the vibrato of strings, which is light of harmony and orchestration, and depicts the picture of eighteen parting, long pavilion and reluctant to part. It is really "three years of classmates are like the sea, and it is difficult for mountain people to leave Zhu Yingtai".

(2) Development Department

Suddenly, the music went dark. The gruesome sound of gongs and timpani, as well as the chaotic sound of violins, brought us to this tragic struggle.

Anti-Marriage Brass Music interprets the cruel theme of feudal forces with a harsh rhythm and gloomy tone. (F note, 4/4 beat) The solo violin tells the grief and panic of Yingtai in the rhythm of traditional China opera. Then the band played a strong allegro, which set off the decisive rebellious tone of the violin. It successfully depicts the unyielding spirit of resistance between Britain and Taiwan. Later, the above two tones formed two contradictory aspects, constantly appearing in different tonality, and finally reached the climax of the struggle-a strong anti-marriage scene. When the band has been playing, it seems to be full of yearning and longing for a happy life, but the realistic answer is the pressure of feudal forces represented by copper pipes.

Loutaishe B key, 4/4 beat, lingering sound, like crying; The answer between violin and piano was timely, and the scene of Liang Zhu's congeniality was vividly displayed.

Crying accuses the music of plummeting, the fast syncopation rhythm of the strings, the passionate determination, the solo played by the band and the loose board of Allegro alternately appear. The banjo was added here, which changed the techniques of Peking Opera and Yue Opera, and profoundly showed the scene that Yingtai accused feudal ethics with blood and tears in front of the grave. Here, the violin pa adopts the playing technique of national musical instruments, and more uses the expression technique of China traditional opera in harmony, orchestration and overall treatment, which deeply depicts the image and sadness of Yingtai. She kept crying, heartbroken, sometimes tactfully, sometimes sobbing. When the music developed to change the beat (from double beat to triple beat), Yingtai made a final complaint to heaven with her young life. Then the gongs and drums.

(3) Reproduction Department

The flute "Becoming a Butterfly" brings people into the realm of immortals with its beautiful cadence melody and the gradual sliding performance of the harp. On the background of silent strings, both the first violin and the solo violin are silenced, recreating an unforgettable love theme. Then, the colored piano gently played the ups and downs of five tones in the high-pitched area, and shifted the tune many times, as if Liang Zhu were dancing in the sky and singing their faithful love.

Rainbow Wan Li bloom.

Butterflies in the flowers are in pairs.

Thousands of years cannot be separated from generations.

The Butterfly Lovers