Who are the two most influential classic works in contemporary China? One is the violin concerto "Liang Zhu", composed by Chen Gang and He Zhanhao. One is the piano concerto "Yellow River", composed under the names Of Yin Chengzong, Chu Wanghua, Sheng Hongli and Liu Zhuang.
The piano concerto "Yellow River" is closely related to the pianist Yin Chengzong, which is a well-known fact. What is the relationship between Shi Shucheng and the Yellow River of the Steel Association? Why was Shi Shucheng's later revised version not accepted and popularized? At that time, Yin Chengzong planned to create the "Yellow River" of the Steel Association, and several parties had specific memories and texts, and they all had clear answers.
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The origin of the "Yellow River" of the Steel Association can be summarized as a female comrade. She told Yin Chengzong that a certain leader of the Cultural Revolution Group hoped to use Xian Xinghai's "Yellow River Chorus" music to develop a new musical form, and not to use the lyrics written before he ran out. Yin Chengzong was born to compose a piano concerto, and according to Yin Chengzong's later words, he mainly wanted to think about how to keep the piano playable.
Yin Chengzong himself could not create. I could only let my friend, Chu Wanghua of the Composition Department of the Central Conservatory of Music, help to achieve the creation. Most of the original music played by Yin Chengzong was written by Chu Wanghua. Chu Wanghua loves piano playing more passionately than composing, but because of family reasons, he learned to compose music and inadvertently became a two-way piano player and composer.
The creation of the "Yellow River" of the Steel Association was strongly supported by the leaders. The organization assigned professional composer Sheng Hongli to assist, and then pulled Liu Zhuang, a talented female composer who was engaged in the music creation of the model play "Sha Jiabang" at the Beijing Opera House, to join. A four-person creative team with Yin Chengzong as the main body was formed.
These four people are also the four composers of Yin Chengzong's "Yellow River" registered with the Steel Association after he arrived in the United States: Yin Chengzong, Chu Wanghua, Sheng Hongli, and Liu Zhuang.
After Yin Chengzong reported the registration of the Yellow River in the United States, Shi Shucheng objected after hearing the news in China, and the creative team had others. Because there were two new young people in the creative team that year. One is Xu Feixing, Yin Chengzong's Fellow Gulangyu, the brother of the famous pianist Xu Feiping, and a piano player of the Central Orchestra; the other is Shi Shucheng. They are all pianists of the former Central Orchestra.
Yin Chengzong did not specifically explain why he registered his creations in the United States as four people. It can be speculated that at that time, they each had their own status in the creative team. The creative team has a dedicated suite, four small rooms inside, one for each of the four of them, and xu and shi and other assistants are in the living room. This seems to indicate that other people are not creators.
Shi Shucheng said that he had contributed to his creation. Speaking of contributions, the old members of the orchestra recalled that many people at that time contributed to the completion of this work. The playing manuscript was in Chu Wanghua's hand, because the main structure was written by him. Chu Wanghua also played the pianist of the orchestra's vocals during the audition. Who else can compare their status and role to Yin Chengzong?
In particular, it should be noted that the central orchestra conductor Li Delun's contribution and influence. The master conductor mobilized the whole group, including the principal of each part of the orchestra, to give advice, ideas and suggestions to help with specific modifications. Many talents of the Central Orchestra, all of them are silently supporting the creation and dedication behind the scenes. It is true that it is not possible to sign or acknowledge them all.
It is worth mentioning that Li Delun did not have a high evaluation of the work in his later years, opposed Shi Shucheng's modifications, and refused to conduct the performance again. He thinks that the past is over, and don't play such a simple imitation of Russian works: you can ask Shi Shucheng, he knows that this performance does not need to be directed...