The Voice of China specially curated "Mister" to pay tribute to the masters who nourished the atmosphere with virtue, and leave traces of their achievements and cultivation. Launched today: "Wang Jinmei: Bringing the Pipa Back to Xinjiang".
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"I've been engaged in pipa all my life, and I've come to Xinjiang again, since I've chosen it, no matter what, I'm going to stick to it."
【Character Business Card】
Wang Jinmei, 84 years old, a famous pipa player in Xinjiang, has studied under Mr. Xiong Huaxing, Chen Jiluo, Lin Shicheng and other gentlemen to learn a variety of styles of pipa skills such as Pinghu School and Pudong School. In Xinjiang, he devoted himself to learning the performance skills of Uygur classical music "Twelve Muqam" and Rewafu and other ethnic musical instruments, and published music albums such as "I Love Xinjiang: Thirty Pipa Songs". As the "first person" to play Xinjiang music with the pipa, she has carried forward the art of pipa, which has gradually disappeared in Xinjiang, and revitalized this ancient musical instrument from the Western Regions.
I didn't want to learn pipa, and I didn't want to go to Xinjiang
A year ago, in May, Wang Jinmei took a four-hour flight from Urumqi to Beijing to participate in a series of concerts on the cultivation of pipa art talents from the Pinghu School. In the center of the stage of the Central Conservatory of Music, 83-year-old Wang Jinmei, wearing a jujube red dress, performed excerpts from "Plugged Song" without hurry, showing the charm of Xinjiang's unique music style with graceful music.
When the reporter asked: "Let the pipa take root and blossom in Xinjiang, do you think this wish has come true?" ”
Wang Jinmei replied: "I think it can be said that it has been achieved at present. Especially in teaching, we have begun to train ethnic students. There is another one, from the traditional and modern tunes of pipa to the Xinjiang style of tunes, the creation of music, the talent of performance, and the teaching is now rolled out, and it can basically be said that it has been done. ”
In 1958, Wang Jinmei (first from right) took a group photo with the members of the student team of the Chongqing Literary and Art Work Troupe
Wang Jinmei has played the pipa in Xinjiang for most of her life, but she often tells people that back then, learning pipa was not her own choice; I was also very reluctant to go to Xinjiang. Wang Jinmei was born in a musical family, her mother was a music teacher at the school, and she followed her mother to play the flute from elementary school. When she joined the art troupe, she was 17 years old, and she had never touched the pipa.
Wang Jinmei recalled: "At that time, there were about 500 people who took this exam, and in the end, our band accepted 7 people. The teacher informed me, and he said that you have to change the instrument and the pipa when you come to the group. In this way, I became acquainted with the pipa. ”
Wang Jinmei (first from left) and her younger brother Wang Zengji (middle) in Chengdu in 1962
The Chongqing Art Troupe taught Wang Jinmei at that time Teacher Xiong Huaxing, who was only seven years older than her, and whenever he had free time, he played pipa songs for her one after another.
Wang Jinmei introduced that songs like "Moon Er Gao", "Zhaojun Out of the Stopper" and "Plugged Song" are very delicate. At the same time, Xiong Huaxing also played martial arts songs such as "Ambush on All Sides" and "Overlord Unloading Armor". She felt that the performance ability of the pipa was much better than that of the flute and the harmonica, and its expressive ability was too strong, and the literary and martial arts were very well performed.
Wang Jinmei and Xiong Huaxing (left) met in Chengdu in 1979
What makes Wang Jinmei unforgettable is that on a hot day in Chongqing, Mr. Xiong played for several hours, completely ignoring the fact that his clothes were already soaked with sweat. The wooden chair he often sat on was instantly recognizable to the students, and the one with the most paint falling off and the color of the wood was definitely his.
Wang Jinmei: He said that to learn technology and knowledge, your mouth should be diligent, ask diligently, and ask questions diligently to get solutions and increase your knowledge; You have to be diligent in your legs, and if you find out where there are good teachers, you will go there and learn from others; You have to be thick-skinned, and you have to find a way to learn from any teacher you want to learn from.
At that time, the pipa performance world was divided into the "Shanghai School", that is, the Pudong School, and the "Zhejiang School", that is, the Pinghu School. No matter what faction, as long as there is an opportunity, Wang Jinmei will try her best to learn from all gentlemen. I heard that the famous pipa artist Lin Shicheng passed by Chongqing, so she chased Mr. Lin to learn the pipa for three days.
Reporter: At that time, you firmly believed that learning from the Pudong School would be helpful to your Pinghu School's skills?
Wang Jinmei: Yes, each with its own characteristics. I feel that the Pinghu school is gorgeous and delicate, and the Pudong school is more inclined to modernity, and it pays attention to chords. And Mr. Lin's technique is particularly atmospheric, his hand is open like a big fan, which is really beautiful, and he pays attention to timbre changes. All of this has enriched some of my original knowledge, so I have gained a lot.
Wang Jinmei went to Beijing in 1979 to learn pipa from Mr. Lin Shicheng
When Wang Jinmei first went to Xinjiang, she was 28 years old. At that time, she was suffering from tuberculosis and her body was weak, and her younger siblings persuaded her for three days, but she did not agree to go with her. Years later, when she looks back, she still smiles and says, "It was my sister who forced me on the train."
Wang Jinmei said that she didn't expect that an accidental trip would change everything about herself, change her life and work, and change the rest of her life.
Wang Jinmei played the liuqin in 1968
Drunk in the music of Xinjiang
During her five months in Xinjiang, Wang Jinmei was surrounded by all kinds of novelties almost every day. Seeing the colorful blankets hanging on the wall, she felt chic and warm; Hearing the music played by many of the famous local ethnic minority artists, she reveled in it, allowing her heart to beat faster and tears to burn.
Wang Jinmei: I've never heard such good music, I think it's too exotic. Yu Sanjiang's plucked plectrum was so good that it seemed to bounce into my heart, and I felt that the tears were a little moist. In addition, Dawut's Rewafu, as soon as he flicked, I felt like the roof was about to fly. It was like a strong wind blowing his face away, it was too shocking. I think this Rewafu, ten pipas can't be played, it's very shocking, and the charm is also very moving.
Wang Jinmei and Mr. Mushajiang Rouzi, known as the "Prince of Dutar".
Five years later, Wang Jinmei left Chongqing and officially transferred her job to Xinjiang. brought back to Xinjiang together, as well as the pipa song "My Rewafu" that she spent two months' salary to buy equipment at her own expense and carefully adapted.
Wang Jinmei and Rewafu master Dawut Awuti ensemble "My Rewafu"
In 1976, Sun Yude, then the head of the Shanghai Chinese Orchestra and a pipa player, went to Urumqi to visit relatives and specially found Wang Jinmei to listen to this piece. At that time, Wang Jinmei was pregnant, but she really didn't want to miss the opportunity to learn from the master, so she insisted on sitting on the back seat of her lover's bicycle and holding her stomach to learn the piano until the day before her daughter was born. Daughter Wu Lele said that she grew up immersed in the sound of pipa since she was a child.
Wu Lele introduced that when he was a child, the pipa was a part of his life, because he often listened to Wang Jinmei play when he was a child and listened to her teach students. When I was a child, I didn't know how to read music, but after listening to Wang Jinmei teaching more students, there are many pieces of music that can be played by yourself.
"I would like to make an ordinary radish and soak it in the vat of maqam for two years."
The spring breeze of reform and opening up blew all the way to the foot of the Tianshan Mountains, and Wang Jinmei's pipa career also ushered in a new opportunity. In 1982, Mai Miao, the former vice chairman of the Xinjiang Music Association, approached her, hoping that the pipa could bloom in Xinjiang again.
Wang Jinmei recalled: "He asked me, do you know where the pipa came from? I said I remember it was the Western Regions. He said that I will tell you, it is our Kucha in southern Xinjiang, which was called Qiuzi Country in ancient times. He made a request to me, hoping that the pipa can take root and blossom again in Xinjiang, and you should take responsibility for this matter with your friends in the music industry, and more importantly, some ethnic musicians. ”
Wang Jinmei and the descendants of Muqam, the famous tambuurine player Kaul Turdi
At that time, the dilemma was that very few people in Xinjiang could play the pipa, let alone promote and inherit it. Where do you start? Wang Jinmei thought of the solution to learn first. "Muqam" is the distinctive classical music of the Uygur people in Xinjiang and is known as the "mother of music" of the Uygur people. At that time, not long after the establishment of the Muqam Research Room, Wang Jinmei pushed open the door of the rehearsal room, but she was greeted by a series of questions: Do you speak Uyghur? Can you sing Uyghur songs? Nothing, what do you take to learn maqam? Wang Jinmei pointed to the pipa in her hand and said, I will use the pipa to play the Uyghur "Aijiemu".
It was with this Uygur music played on the pipa that Wang Jinmei won unanimous recognition. At that time, she had only one wish, to make an ordinary radish and see what could become after soaking in the vat of maqam for two years.
Wang Jinmei: I play with them with the pipa, I play with them if there is a score or not, and I roll down with the rhythm of the melody.
Reporter: This is not a small challenge.
Wang Jinmei: I just said that I treat myself as a radish, put the radish in the pickle jar and pickle, let this music touch my heart, and let my soul accept it.
Reporter: How long did this kind of learning and mutual run-in last?
Wang Jinmei: Throughout the 80s.
Wang Jinmei played "Spring and White Snow" in 1981
Daughter: I grew up eating "chrysanthemum crystals".
Daughter Wu Lele remembers that her mother always went out early and returned late at that time, and when she came home, she was often happy, and she would tell her family with excitement that she had learned a new skill today, and then hold the pipa to review it repeatedly, so invested that she occasionally forgot that she was still a mother. Back then, when he handed the pills to his daughter for food, when he mentioned it, the family would still laugh and cry.
Wu Lele recalled: "At that time, I was still young, only three years old, and when I came back, I asked my mother if she had anything to eat, and my mother casually found me a pack of chrysanthemum crystals in the medicine box, and said that you can take it and eat it, so I happily took it and ran away." But I didn't have enough to eat, so I came back and told my mother, no, I'm still hungry. This is already a joke that our family has been talking about until now, and then I said that I grew up eating chrysanthemum crystals, which is so funny. ”
It was the decade when Wang Jinmei couldn't take care of her home, and it was also the decade when Wang Jinmei gained the most and was the most active in creation, and she successively created a number of pipa repertoire with ethnic minority characteristics, such as "At the Water's Edge", "Hometown Trip", and "Calga Theme Caprice". When Dutar and the pipa meet by chance, when Rewafu meets the pipa, the notes fly above the strings.
Wang Jinmei said: "At that time, I thought that I had added a lot of things in the middle, and the national comrades platoon would not be excluded? I played it to them in the maqam, and they were very happy to hear it. When they saw some of the fragments depicting the storm, they shouted, 'Yakesi, Yakesi', and they were very happy, they felt that the original artistic conception had been enriched. ”
Wang Jinmei teaches students to play the pipa at home
After several years of efforts, we have achieved a breakthrough in the source of China's pipa
In December 1988, the Pipa Society of Xinjiang Musicians Association was established, and Wang Jinmei became the first president, which caused a lot of sensation in the national pipa circle. Teacher Xiong Huaxing wrote a special letter and said excitedly that it is really commendable that the Xinjiang folk music circle and pipa peers have done such a good job. It is necessary to let Xinjiang's pipa cause have successors, love it, and inherit it. Since 1985, Wang Jinmei has been hired by Xinjiang Academy of Arts as a professional teacher of pipa in the Department of Folk Music, and has cultivated Taoli Manchu Frontier. In 2008, she established the first pipa training center in Aksu, achieving a breakthrough in the origin of pipa in China. And Wang Jinmei's carefully produced album "I Love Xinjiang Pipa Songs Thirty Songs" not only fills the gap of the pipa playing Xinjiang's "original" local music, but also makes the sound of "big beads and small beads falling on jade plates" spread throughout the vast land of Xinjiang.
Wang Jinmei and her daughter Wu Lele learn piano skills
What makes Wang Jinmei most gratified is that her second daughter Wu Lele has liked pipa since she was a child. Nowadays, performing and taking students, the family is often too busy to see each other. But she was happy in her heart that the two generations of mother and daughter were busy with the same thing.
Wang Jinmei: In terms of teaching, we have begun to train ethnic students, but this kind of teaching must be carried on from generation to generation. My children are better than me, from promoting the pipa, teaching, and performing, they have a wider breadth. The return of the pipa to Xinjiang can continue to be passed on, especially among ethnic minorities, and it will take several generations to pass it on.
[Reporter's Notes]
I'm journalist Feng Huiling. Wang Jinmei has insisted on playing with her fingernails since the first day she learned pipa, until today. Back then, I played with Mr. Xiong Huaxing for eight or nine hours a day, grinding calluses on my hands again and again, and growing new flesh, and every time I touched the strings, it was painful. Practice the wheel finger practice until the back of the hand is swollen and high, and still practice correctly. Daughter Lele said that her mother was obsessed with learning various ethnic music in Xinjiang, and she was also questioned for "not doing her job", stopped paying her salary, and was not understood and wronged, but she never heard her mother complain, she only remembered that every time she learned a new skill, she must have hummed a minor key to enter the door, the corners of her mouth were raised, and her face was shining brightly.
Wang Jinmei still remembers that before his grandfather died, he asked several children to hold a musical instrument in their hands, or play or blow, around his bedside, and play a piece of his favorite music together until he passed away peacefully. She said that in this life, there are ups and downs, ditches and bumps, which is normal, and people who really love music have a fulfilling life in all four seasons.
Producer丨Gao Yan
Planning丨Fan Xinzheng Xiao Yuan
Editor丨Fan Xinzheng
Reporter丨Feng Huiling, Jiang Xuejiao
Broadcasting丨Wang Xian, Tang Ziwen
Co-ordinator丨Li Hang
Video director丨Zhou Xinping
Camera丨Li Li Pan Xu
Audio Production丨Zhou Tianzong
Video Editing Production丨Zhou Xinping
New Media丨Chen Yi, Zhang Zongpeng
Packaging design丨Cao Yixin
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