Text | Xu Limei
Recently, the young violinist Tang Yun recital was held at the Shanghai Oriental Art Center, Tang Yun and pianist Zhou Ning cooperated to present Grieg's "Violin and Piano Sonata No. 3 in C minor", Ravel's "Violin and Piano Sonata No. 2 in G major", Saint-Sang's "Introduction and Whirling Capriccio", "Homesick Song", "Why Are Flowers So Red", "Peking Opera" and many other Chinese violin works, using the violin to delicately express the diverse colors and radiance of different ethnic groups.
The cold lines outline the melancholy and clarity of Northern Europe
"The style, region and taste of each work are completely different, and it is really a big challenge for me to properly and clearly understand and grasp it and pass it on to the audience through performance. In preparing Grieg's work, I immersed myself in the experience of studying in Northern Europe: the cold and long winter, the cold wind, the cold and hot Nordic people on the outside, and their deep yearning and love for the sun and the warmth... It gave me a lot of inspiration for playing Grieg's work. Tang Yun concluded that in the classical music world with De'ao as the tradition, ethnic music originally seemed to be on the edge of the mainstream, but this did not hide the unique charm of the works of the national music school. Among them, the Nordic folk music school of the Romantic period, represented by Sibelius and Grieg, is good at integrating the magnificent and beautiful natural features of the northern country and sincere feelings for the motherland into the creation.
Grieg's Violin Sonata No. 3 in C minor is the most mature and widely circulated of his three piano and violin sonatas, presenting a broad musical vision. Beneath those iconic feminine vernacular melodies and Nordic dance elements, there is a deep melancholy and conflict. In the first movement, the third movement of the piano and the violin are fiercely chased and confronted, and at the beginning of the second movement, two instruments are heard talking to each other.
Heavy ink depicts the richness and fierceness of France
"When playing ravel and saint-saëns, I want to transfer the 'band' to the French region. In my opinion, French music is like a kaleidoscope, rich in color and constantly changing, but everything is natural, never giving people the feeling of deliberateness and force. I think the delicacy and elegance are engraved in the bones of the French. Tang Yun introduced that Ravel's "Violin Sonata in G major" has three movements, each with a completely different flavor, which is very different from the sonatas that came out before. The first movement seems to be composed of landscape paintings of the south of France, the colors are sometimes hazy and sometimes brilliant; the second movement uses the musical elements of blues blues, and the swinging rhythm flows freely, from mourning melancholy to intense fanaticism, perfectly showing the soul of bruce, which originates from black music; the third movement is an infinite movement, the violin continues to evolve like a gear, accompanied by the piano playing two simple but dynamic themes, and finally to a warm ending. The three movements form a wonderful harmony and unity.
Tang Yun said that this is a reserved piece that she particularly likes, and she plays it in almost every concert, but every time she works with different pianists, she has a different experience. Maybe that's the charm of this piece.
Borrow the Jinghu tone to express Chinese charm
"This is my second time participating in the Civic Concert at the Oriental Art Center, which is a very good platform to communicate with the audience. Stepping on the Stage of Dongyi has a different meaning for me - when I was a child, I often listened to concerts at Dongyi, and the symphony concert that impressed me the most was Yannick and the Rotterdam Philharmonic Orchestra performing Tchaikovsky's "Sorrow of the Sixth Symphony". The most memorable was Fu Cong's solo concert, where he placed the piano at the back of the stage. Looking at the lonely figure in the distance, the music played left a huge shock on me. "Tang Yun learned from Yu Lina since she was a child, laying a solid foundation in national music, combined with the techniques and techniques learned over the years, so that she can play Chinese works well to show the national charm."
In the second half of the concert, Tang Yun performed Chinese violin works of different eras. Among them, Ma Sicong's "Homesick Song" takes the Mongolian folk song as the theme, and the melody of one chant and three sighs and sad lamentations tells the suffering of the nation and is full of people's thoughts about the homeland. The tune of "Why Are The Flowers So Red" is derived from Tajik folk songs and has a strong Xinjiang style. The audience was very enthusiastic, and Tang Yun also added Sha Hankun's "Pastoral Song".
Composer Lu Pei's Peking Opera is selected from his Four Solo Fantasias on Chinese Themes. Lu Pei's creations are both traditional and modern, skillfully combining traditional Chinese folk music with modern and contemporary music creation techniques, with colorful colors, full of emotions and great dramatic tension. "When preparing "Peking Opera", I specially consulted the students of the Erhu major to understand their perspective on this work, ponder the timbre of Jinghu, and learn some techniques of Jinghu playing, such as portamento, special kneading of strings, etc., to express the unique charm of Peking Opera. The violin, an instrument with a history of more than 300 years, still has infinite charm and needs to be constantly discovered and presented. I hope that in the future, there will be more opportunities to play outstanding contemporary Chinese works for everyone with the violin. ”
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