[Deceased] Wu Zuqiang: Deep regret - the string music "Erquan Yingyue" adaptation of the past

This article was published in Wen Wei Po PEN on August 20, 1992

Around the beginning of 1973, I "resided" in the creative group of the Central Orchestra, and the pipa concerto "Little Sisters of the Prairie" cooperated with Wang Yanqiao and Liu Dehai was ordered by Yu Huiyong to "take off his shoes" (when the work was auditioned, it was referred to as "Pipa Association", which was harmonized with "leather shoes", and then Yu Huiyong was not allowed to use the concerto form, "instructions" to remove the band and change it to solo, and the orchestra crowd said strange things, called "taking off shoes"), which was actually strangled. Therefore, Li Delun borrowed the so-called "long river of history" that Jiang Qing said to engage in musical works, and suggested that I adapt Hua Yanjun's (Ah Bing's) famous erhu song "Erquan Yingyue" into a string band ensemble. I considered that this was quite meaningful, whether it was to add a repertoire with a strong national color and style to the domestic "foreign bands", or to provide foreign bands with a little Chinese works that were easy to play, so I quickly began serious work with such a good wish. The work was completed, and after the audition, some modifications were made, and the response was good. Now, after so many years, from the actual effect, my above wishes have really not been disappointed. Since it was finally officially performed in 1977, this work has been warmly welcomed by listeners and performers, and has been included in the regular repertoire of many bands, including some famous bands in Europe, the United States, Japan and Australia, and many foreign bands have also arranged it in their concert programs, and have also won the love of foreign listeners. Of course, this is first and foremost due to the charm of Hua Yanjun's original work, but I do feel that my work has had a greater impact.

But these are all afterwords, and the things to be said have to be pulled back to 1973. In the autumn of that year, just as the string ensemble "Erquan Yingyue" was patiently waiting for approval for the official performance (during the "Cultural Revolution", any work had to be approved by the Jiang Ji "Cultural Group", which then replaced the functions of the Ministry of Culture), the Philadelphia Orchestra of the United States, led by the world-famous conductor Eugene Ormandi, arrived in Beijing to perform in China. Probably in order to show the "hundred flowers blooming" in the Chinese art world, the cultural group actually agreed to list the string ensemble "Erquan Yingyue" in the "joint rehearsal" of the Central Orchestra and the Philadelphia Orchestra. This activity was carried out in the rehearsal hall of the Central Orchestra, because the author was not not informed of the attendance, and I also "recognized" and hid out. When the event was over and the guests left, I came back from outside to learn that Oman had been greatly appreciated after listening to the rehearsal of "Two Springs and The Moon" and was looking for the author. The conductor of the rehearsal was Li Delun, who was the first conductor of the work and the head of the Central Orchestra at the time, and he happily told me that Oman expressed his interest in the song and hoped to get the total score of the piece. But of course, this has to be reported upwards and approved before it can be given. Li Delun said that he would do it as soon as possible, and first asked the copy team to copy out a copy of the general score for backup. I naturally have no problem with this. Subsequently, I heard that Ao repeatedly urged me through the reception staff of the Association for Friendship with Foreign Countries. Li Delun and other cultural groups could not reply, but before Jiang Qing attended the last concert of the Philadelphia Orchestra and received all the members of the orchestra, he asked her in person with the copied score. Jiang was in a good mood at the time and immediately said, "You can give." So Li Delun gave the score to Oman when the Philadelphia Orchestra left Beijing. O'm very happy.

It was as if everything was going well. For me, I was quite excited that the work had won the favor of the internationally renowned conductor, and I also swept away the sullenness caused by "taking off my shoes". However, if this is really the end, is it still a "cultural life of the Great Revolution"? Sure enough, it wasn't long before Jiang Qing saw an article on a Xinhua news agency's internal reference material on an American journalist who came to China with the Philadelphia Orchestra, Schönberg, which reported on the rehearsal at the Central Orchestra. Speaking of the string ensemble "Erquan Yingyue", he said that it was a beautiful, lyrical, "somewhat sad, sweet" work, "completely different from the exaggerated "Yellow River" piano concerto", and the article also said, "Does this mean that there is some kind of loosening in China's literary and art policy?" Cloud. It was also a disaster, and at this time it coincided with the criticism of the so-called "fallacy on untitled music" launched by Yao Wenyuan and others. Jiang Qing said in a big stroke on the internal reference: "Don't introduce "Erquan Yingyue" anymore. ”

But it's not over. In May 1974, Li Delun received a letter from Louis Hood, the manager of the Philadelphia Orchestra, saying that Omandi would conduct the Philadelphia Symphony Orchestra's performance of "Two Springs And Moon" in Philadelphia, Washington, D.C., and Baltimore in mid-December of that year, and requested that some additional information be provided for the performance to help the audience understand this Chinese work. In view of the fact that Jiang Qing had banned the performance of this work, Li Delun quickly reported to the cultural group and Jiang Qing, asking how to deal with this matter. Jiang Qing instructed that the Cultural Group and the Ministry of Foreign Affairs would consult and submit opinions to her for examination and approval. Foreign Minister Qiao Guanhua made a suggestion in Jiang Qing's approval document on August 17: "If the music is not very politically and artistically problematic, we tend to think that since the score has been given to the other side, there is no need to stop the performance." However, Joe's opinion was obviously inconsistent with Yu Huiyong's, and at this time he had ordered the cultural group to inform Li Delun that he could reply to Omandi immediately, emphasizing that the composer himself said that "there are some problems in the ideological content and art of the work, and important changes need to be made", and can use this as a reason to disagree with the Philadelphia Orchestra performance. Li Zai wrote in his reply in his "own tone": "For this track, after a period of rehearsal, I have decided to abandon the performance. I sincerely hope that you will not perform either. Such as a performance, it will not be good for promoting the friendship between the two peoples. On August 28, Yu Huiyong and Qiao Guanhua jointly signed a report to Jiang Qing after formal "consultation" that they "unified" their views, saying that they believed that "there is a great problem with this adapted string piece and that we must try to make it not performed in the United States," and at the same time sent her "the letter that Comrade Li Delun has redrafted according to the opinions we discussed." Yu and Qiao also suggested, "If they need another work, they must send it right away." Jiang Qing gave his consent on the same day. Li Delun's reply to Omandi was sent to Qiao Guanhua on September 2 through the Chinese Liaison Office in the United States. In this reply letter, which Jiang Qing agreed to, it was written that "Erquan Yingyue" is a "very immature work", saying that "the adaptor has proposed that this work has great shortcomings in ideological content and art, and it is necessary to make very important revisions." The letter particularly emphasized that "the adaptors insisted on not agreeing to the performance" and said that the performance of this work "cannot play a role in promoting mutual understanding between the Chinese and American peoples." In this way, the tossing and turning for three months forced the Philadelphia Orchestra and Omandi to cancel the performance plan of the string ensemble "Two Springs and The Moon". It is ridiculous and pitiful that I, the composer who has been repeatedly "emphasized", knows nothing about all this. For many years, li delun, such as Li Delun, did not dare to confide in me, and it was not until after the fall of the "Gang of Four" in October 1976 that he explained the truth and all the experience to me in detail. This should be something that makes me furious and extremely angry. But at this time, it was already "a matter of time", and in the face of old friends, in addition to having to express regret, I could only laugh.

After the fall of the "Gang of Four", Li Delun officially premiered the string ensemble "Erquan Yingyue" in 1977, following the command of the resurrected "Pipa Association". Both lost and recovered works were warmly welcomed. In June 1978, the world-famous Japanese conductor and music director of the Boston Symphony Orchestra in the United States, Seiji Ozawa, conducted the orchestra of the Central Orchestra in the capital stadium, and the big concert held by the Capital Gymnasium was also included in the "Two Springs Reflecting the Moon", and the conductor himself was moved to tears by this piece. As an oriental artist, Seiji Ozawa's deep understanding and wonderful exposition of music are indeed very moving. Chinese record companies immediately released live records, which naturally helped the dissemination of the work. Since then, many bands and conductors have played the piece. The People's Music Publishing House published the score in 1979, which sold very well, reprinted several times, and still quickly sold out. To this day, people often come to me for scores. Incidentally, I was paid only 19 yuan and 2 yuan.

However, I have always cited the failure of master conductor Eugene Omante and the famous Philadelphia Orchestra to be the premieres of this work in the United States as a lifelong regret. Omandi died in the early 1980s, and during his lifetime I never had the opportunity to explain to him why I "insisted on disagreeing" at that time, and he performed this string ensemble "Two Springs And The Moon". And because the person who "replied" was Big Brother Li Delun, I could not use another letter to "oppose" his letter and repeat what had been a long time ago. For this reason I was in a dilemma. Although I can imagine that Master Ormandi must have found my composer's attitude really strange and counterintuitive, that he would "insist" on my behalf through state channels against performing a piece of his own that was actually insignificant and less than ten minutes long. This is really a very rare "disrespectful" behavior. He must have been incomprehensible about it. However, if I write a letter, can I make it clear to him? Many foreign friends have told me that they really can't understand some of the things that have happened in China. To be honest, I don't have a strong desire to clarify this matter. The regret of life is nothing else, but it is a pity that it is obvious that it can but failed to achieve the performance of "Erquan Yingyue" conducted by Omandi.

The string ensemble "Erquan Yingyue" came out, and after some artificial twists that now seem absurd, it has won its place in musical life for more than a decade, perhaps even excessively. It may be that there are few works of the same nature, so it has more opportunities. Regarding this piece of music, I have heard many words of praise from listeners and friends at home and abroad, and I am convinced that some of them are indeed from the heart, and I feel the warmth of these beautiful words. And the highest evaluation of this piece of music, I think it should be Yang Yinliu, Cao An and the two old gentlemen, my teacher's words, I attach great importance to what they say because Ah Bing's music has been passed down, mainly because of the merits of the two of them, especially Mr. Yang Yinsu. Before his death, Mr. Yang wrote an article with Mr. Cao on "Erquan Yingyue" and Ah Bing: "Today's Erquan Yingyue, in addition to the Erhu solo, there are also processed and adapted string ensembles. Although the two are different in form, they are equally popular with people. ”

I thought it was the best compliment for my insignificant work.

In addition, whenever I talk about the tortuous course of this piece, although the responsibility is not on me, I always feel sorry from the bottom of my heart that I am very sorry for Mr. Eugene Omandi, whom I respect very much.

Author: Wu Zuqiang

Editor: Qian Yutong

Editor-in-Charge: Shu Ming

*Wenhui exclusive manuscript, please indicate the source when reprinting.