|About this Recording
8.225814 - DU, Mingxin: 10 Xinjiang Dances (Takako Nishizaki, Singapore Symphony, Choo Hoey)
Located on the northwest border, the Xinjiang Uygur Autonomous Region is the largest provincial administrative area of China. On a vast stretch of land of 1.6 million square kilometres resides a population of 13 million made up of 14 nationalities, including the Uygurs, Hans, Kazakhs, Huis, Mongolians, Kirgiz, Sibos, Tajiks, Tartars, Daurs , Manchus, Özbeks, Tibetans and Russians. In ancient times, Xinjiang was known as Xiyu, the West Regions, and was an important channel for China’s cultural and economic exchange with West Asia, Europe and Africa. The famous “silk road” cutting through Xiyu appeared about the fourth century. Based on the inheritance of the ancient Xiyu music and on exchange with the music of Zhongyuan (the central areas of China), India, Persia and Arab countries through the ages, the music of the various Xinjiang nationalities has gradually developed into a rich modern form. Historically, the music of Qiuxi, an ancient Xiyu city-state near the present Kuche, once effected a positive influence on the development of the Zhongyuan music. Today the colourful Xinjiang folk-songs and instrumental pieces enjoy wide popularity among the people of all the nationalities throughout China.
A Xinjiang Musical Tour by Du Mingxin is a suite for violin and orchestra. The suite takes the folk-songs and instrumental music widely popular in Xinjiang as its material and, by retaining the regional characteristics of the originals, the suite has enriched its expressive power by means of variation and development, with the violin finding free scope for displaying its melodiousness and various techniques.
I’ll Wait for You till Dawn
I’ll Wait for You till Dawn is originally a melodious Kazakh folk-song which describes a lover lying sleepless, thinking of his beloved now gone. In its middle register, the violin amply demonstrates the lyricism of the original tune, while the main melody on the trumpet sounds open and unconstrained. The decrescendo ending touchingly expresses the lover’s wistfulness.
My Flower is originally a Kazakh folk-song, the melody of which is jubilantly bouncy, like a dance. It runs as follows: “How intimate your name sounds, my beloved girl. I get wild with joy at your sight. You are like the sea, while I am like the gull flying over infinity.” When the cello plays the main melody, the responding variation on the solo violin enhances the happy atmosphere and expresses the joyful scene of people singing and dancing.
The original Kazakh folk-song bears the name of Gaorita, a beautiful young girl. It shows a young man, who, when he goes to meet his lover Gaorita, is astonished to find she has disappeared, together with the tent she lived in. He wanders in melancholy over the grassland. The melody sounds very beautiful. At the climax, the mood is even more intense and excited. In the coda, the thematic melody is repeated again and again, and then, changing from the woodwind to the strings, gradually disappears, revealing the deep affection for the girl lingering in his heart.
Maira is originally a Kazakh folk-song, which, in the first person, expresses a beautiful intelligent girl’s love for life and her longing for love. The melody is jubilant and the rhythm is strongly accented. The music depicts the lively Kazakh girl plucking the donbra, a Kazakh stringed instrument, and singing happy songs.
Under the Silver Moon
The original Under the Silver Moon is a Tartar folk-song. It describes a young man, who, on a moonlight night, goes onto the sands where he once had secret meetings with his sweetheart. Though the sands remain unchanged, the girl has gone far away long before. The young man sings, “I ride on the horse, flying like an arrow. Fly, fly, my horse, to the place where she is.” The music is mild and tranquil. The cadential variation on the solo violin and the harmonic progression add to the change in colour.
Going Forward is originally an Uygur folk-song. The ascending figures and the bounding syncopated rhythm display the optimism and energy of the Uygur people. The presto progression on the strings forms a sharp contrast with the melody in the woodwind , which makes the music even more fluent and dynamic.
Dudar and Maria
Dudar and Maria is originally a Kazakh folk-song. Dudar and Maria are a young couple. In the form of dialogue, the song describes Dudar, a young herdsman, conveying his inmost love to Maria. Maria gracefully accepts his love and invites him to meet her under the tree across the river that very night. There they will spend a happy night, plucking the donbra and singing. The music is prettily mild and poetic. Against the background of the bounding accompanying figures, the melody sounds optimistic and bright.
Beautiful Pamirs is originally a Tajik folk instrumental piece. The music begins with a drawn-out, freely rhythmic introduction on the piccolo. Following this, to the accompaniment in dancing rhythm, the solo violin plays the main melody in Tajik style and then drives the music to a jubilant climax by expanding and developing the melody. The music depicts the plateau peaks and the fertile pasturelands. The poetic depiction of the natural sights is an anthem to beautiful Xinjiang.
Ah! My Beloved
Ah! My Beloved is originally a Kazakh folk-song. The mild implicit melody on the muted violin sounds even more exquisite and affectionate. The music conveys the profound love of a young man for his beloved.
Celebrative Singing and Dancing
Celebrative Singing and Dancing is a happy dance depicting the scene of the Xinjiang people celebrating a festival. The smooth and sprightly rhythmic melody in Uygur style is considerably developed in the middle section and sounds even more ardently jubilant in the recapitulation. The whole piece comes to an end with a grand climax.
Close the window