Guqin master Yang Zhijian played the piano and said that the audience admired: perfect art enjoyment, master the knowledge story

What is it like to listen to the knowledge and stories of the guqin in a place smaller than a small theater while watching the artist play famous songs?

Yang Zhijian, a famous guqin artist from Shanghai, recently held a small art activity of "Winter Solstice Guqin Yaji" in Beijing, and dozens of guests on the scene were people who loved music and guqin, and some guests also brought their children to enjoy it. Yang Zhijian used his carefully copied 4 guqins, one piano and one song, to play "Shenren Chang", "Plum Blossom Three Alleys", "Drunken Fishing Singing Evening", "Pingsha Falling Goose", and finally added "Yangguan Three Stacks". The guests listened with bated breath, concentrated their minds, and felt the different artistic characteristics of famous songs and the realm of literati expression.

As a guqin researcher, producer, performer, and special researcher of the Palace Museum, Yang Zhijian condensed the history, legends, humanistic allusions, ancient songs, ancient styles, production techniques and other contents of the guqin, and relied on his amazing expression ability to go deep and simple. He can play the piano and tell stories.

This time, for Yang Zhijian, some guests are familiar with and some are meeting for the first time. Regardless of the new friends, his opening remarks suddenly narrowed the distance and raised their appetites: thank you for braving the cold to come here, we enjoy the guqin together, it is a kind of fate. Guqin is the musical language of Chinese literati, in ancient times Chinese literati want to express their thoughts, he can speak, can write poetry, can also play the piano, the qin is his means to express his thoughts, just more abstract. Therefore, today, we are friends with the piano, the same piano and music, and experience the long-standing Chinese culture.

The event was held in a house of about 200 square meters in a university, which was 6 meters high and the natural sound effects were acceptable. Yang Zhijian said that the house has a height, doors and windows are small, and it can present a good sound without amplification. It just so happens that we take advantage of this musical environment without a megaphone to listen to the original ancient music like the ancients, which is believed to be a rare experience.

He also borrowed the "house" to play: the ancients played the piano has a problem, that is, its volume is small, the environment is very restrictive to it, so the high realm of playing the piano is played to confidants, such as the familiar Wu WangFucha and Xi Shi. Fu Cha fell in love with Xi Shi and watched her graceful dance in the hall, fu cha praised, and every time she stepped on my heart. In order to pursue a good sound, he ordered the hollowing out of the main hall, with metal strips underneath and wooden planks on top. In this way, his beloved Xi Shi could make a more mellow sound when dancing, and Fu Cha would be more intoxicated. “

"The ancient amplification method I recently saw was in the Forbidden City, there was a big theater stage, there was a big water tank underground, and there was water in the water tank, and the amplification effect was very good." He said.

In just a few words, the amount of information was extremely large, and the guests listened with relish. The scene was also very quiet, as if everyone was afraid of missing every funny word and every funny story.

In recent years, Yang Zhijian has lived in Beijing and has been studying guqin ancient music in the Palace Museum for many years, publishing papers and monographs, filling gaps in some subdivided research fields. The Forbidden City collected hundreds of valuable guqins, he admired over and over again, and used the best materials to copy them one by one, and it took a year to make a violin. The study and study coupled with the hand-made made him have a deeper understanding of the guqin, and a deeper understanding of the practices of the ancients, including stories and legends.

Then, Yang Zhijian introduced the first song he wanted to play, "God and Man Chang". He said that this ancient song has a legend that it was composed by Emperor Yao, the tune is simple and rough, the rhythm is sonorous, depicts the scene of court dance, and expresses the mythical story of "Yao playing the piano and the appearance of gods and people". Chang and, leading, and getting together constitute the four earliest piano music genres in China. However, there are only two guqin songs before the Tang Dynasty that have been handed down to this day with the theme of "Chang", namely "Shenren Chang" and "South Wind Chang".

"Divine Ren Chang" is the oldest known piano piece. Yang Zhijian said that the earliest art of mankind was dedicated to the gods, which was a kind of reverence for heaven and earth and gods, and this song "dialogued" with god. The guqin has seven strings, and "Shenren Chang" only needs to be played with five strings, and the earliest recorded piano in ancient times is called the five-stringed qin. In addition, the development of the guqin is from "more sound and less rhyme" to "less rhyme and more sound", beginning to emphasize the skill of the right hand, after the Ming Dynasty, as more and more intellectuals play the guqin, the skills of the left hand are played, and the right hand skills of "Shenren Chang" are more. These all reflect the antiquity of "Shen Ren Chang" from the side, at least before the Tang Dynasty.

After the few ancient songs, Yang Zhijian also made such an easy-to-understand and quoted interpretation before playing. The last two were the piano ensemble "Pingsha Falling Goose" and "Yangguan Sand Stack" with teacher Fan Linfeng of the Central Conservatory of Music, and he took the opportunity to introduce ancient instruments such as flutes and flutes.

The event lasted for about two hours, and at the end, everyone visited the guqin, exchanged views, and admired: what a perfect artistic enjoyment.

The reporter also felt that art and aesthetic education needed more artists and researchers who could "act" to explore and popularize. Especially in the traditional art of thousands of years and thousands of years, there are many declines, and it is important to support the inheritors, but to create conditions for more artists and researchers to continuously introduce and promote among the masses and cultivate more enthusiasts, in order to re-bloom in the new era.