|About this Recording
82085 - HUANG, Y.: Fair Flowers Under Full Moon / North Anhui Suite / Capriccio
May 1 1993
It is my great pleasure that, on the occasion of the 60th anniversary of my artistic career as a musician (1933-1993 ), Hongkong HNH International Ltd. publishes a special of my compositions in the past over half a century. First or all, I must extend my acknowledgement to Mr. Cao Peng, art director of Shanghai Philharmonic Society and principal conductor of Shanghai Marco Polo Symphony Orchestra, for his artistically imaginative re-creation before the recording of my compositions ,and to the musicians or the Orchestra for their creative labour. Meantime, I must express my heartfelt thanks to Hongkong HNH International Ltd. for their kindness. Although these compositions have been popular over the years, I still have the desire to rearrange and revise them before the recording. But my advanced age and feeble strength do not match my ambition. However, I still believe that these compositions will surely be appreciated by friends, home and abroad, as many or the materials I have made use of in these compositions are all gems or the national music or my country.
FAIR FLOWERS UNDER FULL MOON (HUA HAO YUE YUAN)
In 1935 when the composer was working at the Music Department or Shanghai EMI Record Company, he composed the ensemble for the recording or a gramophone or Chinese traditional instrumental music. As the music sounds cheerful and enthusiastic and conveys the Chinese traditional desire for luckiness and family reunion, it has been popular over the years. In the 1950s and the 1960s, it was arranged respectively for the traditional instruments orchestra and for the symphony orchestra. F or the recording or this special, the orchestrator has redone the symphonic orchestration.
VIOLET (ZI HUA ER)
It was originally a set tune of Sunan cuida (South Jiangsu wind and percussion), a well-known form of folk instrumental music popular in the south of Jiangsu Province. In the early 1960s, the composer extracted from it several comparatively tranquil fragments and developed them with traditional melodic embellishment which is quite common in Chinese folk music. Besides, the composer added to it another theme which sounds comparatively lively, to form a contrast in the orchestral piece.
NORTH ANHUI SUITE
In 1952, the composer spent a period of time living in the countryside of the north of Anhui Province, where he collected a lot of tunes of flower-drum tunes (huagudiao), mountain songs and folk songs popular among the local farmers. In1953, the composer selected from them three tunes (one from each form) as material to compose this orchestral suite. Besides, the composer adopted a fragment from another folk song and developed it into a theme running through the whole composition, which was meant to serve as call and echo. The composition conveys the composer's recollection of his short but unforgettable rural life in the north of Anhui Province.
arranged by Huang Yijun
It was originally one of the eight major pieces of Jiangnan sizhu (a form of folk instrumental music popular in Jiangnan-the south of the lower reaches of the Yangtze River). The tune is fluent, roundabout and loaded with lasting appeal. In 1986 the composer was commissioned by a friend to arrange a number of Chinese folk pieces for the orchestra. San Liu was one of them. The composer introduced into the orchestra a Chinese bamboo flute so as to further enrich the piece with the charm of Chinese folk music.
FESTIVE NIGHT (LIANG XIAO)
arranged by Huang Yijun
It was originally an erhu solo without accompaniment composed by Liu Tianhua on the New Year's Eve of 1927. Over the years it has been Popular for its fresh, sprightful and happy melody. In 1950, Huang Yijun arranged it for the strings. The simulation of dulcimer by pizzicato on the strings makes the music sound original in style.
This piece was composed in 1950. The composer adopted a comparatively free rondo form, and used the tone or “Reverse Eight Beats” (Dao BaBan), a well-known Jiangnan folk instrumental piece, as the theme running through the whole composition, so as to load the piece with a lively sentiment. Besides, the composer elaborately selected the tunes of three other folk songs, equally Popular in Jiangnan but utterly different in style, developed them and had them woven in the piece to make a contrast with “Reverse Eight Beats” and to elicit the passion these folk tunes contain. The piece possesses a sharp Chinese national style and exhibits a rich colour or fantasy. Moreover, it was a stroke of genius for the composer to adopt the tone of “Ambush on All Sides” (Shi Mian Mai Fu), a famous ancient solo for pipa (Chinese lute with four strings), in the middle part. The composition consists or five parts which are linked into a continuous whole:
1. Reverse Eight Beats;
2. Hoe Song and Dance;
3. Fengyang Flower-Drum;
4. Suwu Tending Sheep;
5. Epilogue (Reverse Eight Beats).
HAPPY REUNION (XI XIANG FENG)
arranged by Huang Yijun
Originally a folk instrumental tune Popular in Inner Mongolia, it was later introduced into northern local operas including Shanxi Bangzi and Errentai as guochang music (similar to the interlude in Occidental opera). Feng Zicun, a well'-known bamboo flute virtuoso, once arranged it for the Chinese bamboo flute with the accompaniment of the sheng (a wind instrument with 17 to 36 reed pipes) , thus making the piece spread to the whole country. In 1986, Huang Yijun arranged it for the orchestra and retained the Chinese bamboo flute as a part in the orchestra. The composition sounds cheerful, sprightful and candid.
RIVER WATERS (JIANG HE SHUI)
arranged by Huang Yijun
erhu solo by Yang Rui
It was originally a guchuiyue (wind and drum music) piece popular Sin the south of Liaoning Province. Although it had been arranged into a solo for the shuangguan (a double reel pipe wind instrument) in the 1950s, it was the arrangement for the solo erhu that made the piece widespread. In 1983 Huang Yijun arranged it for erhu and orchestra .The composition sounds heartbreakingly plaintive, describing a woman waiting grievously by the river for her husband who has been out for years without return.
In 1961 when the composer went to Zhengzhou, Henan, to view the All-China Folk Arts Assembly Performance, he was intoxicated with the splendid and colourful folk music, later he made a visit to Qiliying, Henan. As soon as he returned to Shanghai, he composed an orchestral piece with Henan folk tunes as material. The original piece consisted of three parts. Later he extracted one from them and arranged it into an independent piece with the title of "Spring", The composition conveys a radiant sentiment.
For more than half a century Huang has devoted himself to various musical careers: he taught music in primary schools and later became an erhu and dulcimer player in a Chinese folk ensemble, a trumpetist and hornist of a symphony orchestra, a music director of film studios and drama companies, and an associate professor of the music conservatory. He was one of the few early Chinese orchestral members of the Shanghai Municipal Orchestra, and one of the pioneer composers in China who wrote music for movies and plays in their early days. His early Work "Fair Flowers under Full Moon" is still known to every family in China.
In 1950 he took the post as a conductor at the Shanghai Symphony Orchestra. Soon after he was appointed director of the Orchestra. He is one of the most renowned veteran conductors and has conducted a lot of symphonic Works by celebrated Chinese and foreign composers, and collaborated with a great many soloists who visited Shanghai to give performance. He is now Honorary Music Director of Shanghai Symphony Orchestra, Member of Standing Committee of China Musicians Association and Advisor of Shanghai Musicians Association.
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