Chinese classical music - classic, eternal, warm, romantic. When classical music flows out, you can realize that what flows in the air is the mountain, the flowing water, the silk bamboo, the winter snow, and the endless call of life through the ages. The feeling of being inexplicable and inexhaustible is precisely the unique beauty of Chinese classical music.
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Chinese classical music has gone through the vicissitudes of the times, still unconsciously touching our souls, under the eternal sun, across time and space, its melodious echo is like a diamond - still classic, eternal, warm and romantic. There are famous Chinese classical songs played by guzheng, flute, erhu, pipa, big drum and other national instruments. When the music flows out of your speakers, you can clearly see that what flows in the air is the mountain, the water, the leaf falling, the winter snow, and the life of the ages, the unspeakable and inexhaustible touch, that is the beauty of Chinese classical music that you have never experienced. When did Chinese music start? This problem is quite difficult to determine, according to ancient texts, when Fuxi Nuwa was born, there were already inventions of "qin", "se" and "箫". At this time, the "qin" is the predecessor of the "guqin" that is now spoken of. There are countless stories about the poems written around the guqin, including the poem "Lady of the Guqin, Youzhi of the Qinser". There is a story that "Boya is good at drums and pianos, Zhong Zi is good at listening, Zi is dead, Boya breaks the strings, and never returns to the drum and piano for life", which shows that the sound of the piano is the voice of the heart, and the guqin occupies a very high position in Chinese music. The origin of "kite" is "Ser", and it has the same magic as "qin". Because it was popular in Qin at the time of the Spring and Autumn Period, it was called "Qin Zheng" in history. The sound of "kite" is gorgeous and beautiful, bright and lyrical, singing strongly, and is good at expressing the artistic conception of clouds and flowing water. Today we will "qin" and "zither" juxtaposed, presented in front of your eyes, I hope you can appreciate the cultural origin and heavy artistic heritage of the broad spirit of the Chinese nation in the sound of the melodious piano. Here we share the appreciation of the musical works of music master Li Guinian.
In the history of Chinese music, there are many successful people who have composed and played musical dance music and specialized in music and dance, for example, the Musicians of the Jin Dynasty in the Spring and Autumn Period, Shi Kuang and Boya, Li Yannian of the Western Han Dynasty, the Musicians of the Western Han Dynasty, the Cao Wei musician Ji Kang in the Three Kingdoms Period, Su Yuanbo in the Northern Zhou Dynasty, Wan Baochang during the Sui Dynasty, Li Longji of Tang Xuanzong, Lei Haiqing, a tang Dynasty mastered court pipa artist, Li Guinian, a court musician, Jiang Kui, a southern Song Dynasty musician, Zhu Quan, Zhu Zaiyu, and so on. Here we share the appreciation of the musical works of music master Li Guinian.
Li Guinian, a native of Bairen, Xingzhou (present-day western Longyao County, Xingtai City, Hebei Province), was the son of Li Jingbo and a Musician of the Tang Dynasty, and was known as the "Tang Dynasty Music Saint" by posterity. Born in Zhao County, li clan. Good at singing, he is also good at blowing the stalk, good at playing karma drums, and also good at composing music. The "Weichuan Song" composed with li pengnian and Li Henian brothers was particularly appreciated by Tang Xuanzong.
"Weichuan Qu" This song has long been scattered, but it can be roughly concluded that it is a French music tune that absorbs the folk music of the Northwest and integrates the Qin and Han tunes on the basis of folk music, and is similar to the miscellaneous songs such as "Liangzhou Qu" and "Yizhou Qu". Later generations called it "Weizhou Qu", also known as "Hu Weizhou", and in the southern Song Dynasty Jiang Baishi's "Drunken Bard Shang" word order also wrote "Huweizhou", and said that it belonged to one of the four pipa songs. Due to the superb performance of the karma drum in the year of Li Gui, many people have written popular verses after appreciating it. There were also many court singers in the Tang Dynasty, Yongxin was a singer during the Tang Xuanzong period, his original name was Xu Hezi, the daughter of the music worker, the music singing was very good, and he was selected into the palace during the Kaiyuan year and became the emperor's favorite "insider". Her singing voice is tactful and infectious, and the singing of a song is endlessly evocative. After the Anshi Rebellion, Li Guinian was exiled to Jiangnan (here referring to the Tang Dynasty's Jiangnan, the Tang Dynasty's Jiangnan in present-day Hunan Province; the Tang Dynasty's Jiangzuo in the present-day Jiangnan region), singing a few songs every time he encountered a beautiful day, often making the listener cry. As a disciple of Li Yuan, Li Guinian was favored by Tang Xuanzong for many years, and his relationship with Xuanzong was very human, singing one of Wang Wei's "Yizhou Songs": "Qingfeng Mingyue is bitterly missing each other, and the prodigal son has been from Rong for more than ten years." Recruit people to go to the day to earnestly advise, return to the goose when the number of times attached. He expressed his wish for Tang Xuanzong Nanxing. After singing, he suddenly fainted, and four days later Li Guinian woke up again, and finally died of depression.
During the Tang Dynasty, as an avid music lover, Tang Xuanzong established Pear Garden. Pear Garden's duties are to select, rehearse, and perform excellent songs and dances, and the service object is the royal family. Pear Garden has become the predecessor of the contemporary theater industry, and it is said that the people who used to engage in theatrical performances worshiped Tang Xuanzong as their grandfather.
During the reign of Emperor Xuanzong, the most famous musician was Li Guinian . Legend has it that he was good at singing and had high achievements in instrumental performance. The most prestigious one is related to the poetry immortal Li Bai. Emperor Xuanzong and Yang Guifei admired the flowers and summoned Li Bai to compose poems to help entertain. Li Bai was not awake from a hangover, and he wrote a poem "Qing Ping Le" in a daze, and the first sentence of the poem, "Yun wants to dress and flowers want to look", has long become the most powerful statement for modern women to dress themselves. Although it was improvised, it did not affect its widespread singing as a masterpiece. Subsequently, Li Guinian sang, and Tang Xuanzong played the jade flute to accompany it, which was a good story for a while.
Li Guinian was an expert in recognizing musical rhythms. Once, Li Fanjia, the King of Qi, held a small concert, and he could clearly distinguish between the slow plate of Qin Yin and the flowing water of Chu Yin. After the concert, when the host distributed small gifts to the guests, Li Guinian's attention was only on the musical instruments, and when everyone left, he quietly played with them, and when the King of Qi saw it, he did not know whether to give him the gift in his hand, which showed that his obsession with music had reached a situation where no one was in sight.
The Anshi Rebellion ended all that was peaceful and beautiful, and Li Guinian had to wander to the Jiangnan region, relying on his early savings and the rewards of the dignitaries and nobles to live. During his wanderings, the fallen poet Du Fu met him and wrote a poem "Jiangnan Feng Li Gui Year". From the last sentence, "When the flowers fall and the king is in full bloom", you can feel Du Fu's sorrow and joy at meeting the deceased in his hometown.
Living in the tang dynasty was the greatest luck in the year of Li Gui. Throughout the feudal period, there was no era that could give musicians such a high status. Taking the Anshi Rebellion as the watershed, he enjoyed the glory of the first half of his life, and the second half of his life was turbulent and displaced. His life is legendary. Li Bai, Du Fu, Tang Xuanzong Li Longji and others all had a unique intersection with his life. After the Tang Dynasty, the Song Dynasty promoted theory of science and opposed hedonism; after the Yuan Dynasty, dramatists represented by Guan Hanqing began to occupy a place on the literary and artistic stage. Guan Hanqing wrote a script for the lingren, which can be regarded as half a person in the pear garden, and the influence at that time was undoubtedly huge. But in other aspects, whether it is economic income or social status, it is far from being comparable to Li Guinian. Even because the works expose social reality, they have been persecuted by those in power many times, and their life safety cannot be guaranteed. Other pear garden children, even if they are excellent talents, but because the pear garden itself is an industry at the bottom of the society, there is no social status to speak of.
Li Guinian's life not only reflects the fate of the artists of that era, but also shows the changes of the times in which he lived. Times make heroes, and special times make artists. The first half of his life was a prosperous world, wearing Chinese clothes, living in high-rise buildings, and receiving hot praise everywhere he went; the second half of his life was a chaotic world, fleeing, homesick, dying in a foreign land, and experiencing a tragic fate that everyone could not avoid in the chaos of war. His life represents the peak of ancient musicians. After the Tang Dynasty, there was never such a legendary figure as Li Guinian again.
Li Guinian's life is full of sorrow and joy, the main reason is that the times have created, his joy is created by the times, and his sorrow is also created by the times, after all, it is always difficult to have both in the world.
"Jiangnan Feng Li Gui Year" Du Fu
It was common in the Qi King's mansion, and Cui Jiutang smelled it several times before.
It is the good scenery of Jiangnan, and the flower fall season is also the king.
Commentary: Poetry is sentimental and cold. Li Guinian was a famous singer in the early years of the new century, often singing in the aristocratic giants. Du Fu was brilliant as a teenager, and often went to the court of Li Fan, the King of Qi, and his secretary Cui Di, to appreciate Li Gui's singing art. The first two sentences of the poem are reminiscent of the past contact with Li Guinian and convey the poet's nostalgia for the prosperity of the early years of the New Year; the last two sentences are lamenting the withering of state affairs and the upheaval and displacement of artists. Only four sentences summarize the vicissitudes of the times and the great changes in life throughout the Kaiyuan period. The language is extremely plain, but the connotation is infinitely full. The retired soldier of The Pond rated as: "The Seven Absolutes of Shaoling, this is the pressed scroll." ”
Tang Dynasty poet Zhang Ruoxuan's "Spring River Flower Moon Night" appreciation
Written by the Chinese Tang Dynasty poet Zhang Ruoxuan, depicting the scenery of the riverside on a spring night, the words are beautiful, and it is called a masterpiece of "the whole Tang Dynasty in a single piece", and Wen Yiduo called it: "This is the poem in the poem, the peak on the peak." ”
"Spring River Flower Moon Night" was originally called "Sunset Drum", and the pipa song "Sunset Drum" was listed as a type of "Jiangnan School Pipa Repertoire", which is an elegant and beautiful 'lyrical music'. It is like a landscape painting, showing the beautiful scenery of nature in the quiet night of spring, the moon rising on the east mountain, the boat swaying on the river, and the flower shadow gently swaying on the west bank. Musical scores were first found in Ju Shilin's copied pipa notation and Wu Qiqing's manuscript in 1875. In the 1920s, Shanghai's new-style music community adapted it into a folk music ensemble and eradicated the poetic content of this music, naming it "Spring River Flower Moon Night".
The music is beautiful and the composition is tightly structured. Its theme melody is subject to a variety of variations and new elements, but each paragraph ends with the same phrase. Sounds very harmonious. In folk music, this technique is called "changing the head and closing the tail", which can reveal the artistic conception of the music from different angles and deepen the content of musical expression.
The whole song is generally divided into 10 sections, and people follow the tradition of Classical Chinese title music, adding a subtitle to each section. These titles are: Jianglou Bell and Drum, Moon on dongshan, Wind and Water, Cascading Flowers and Shadows, Deep Clouds in the Water, Fishing Song Singing Evening, Returning To the Shore, Radial Sounding Far Away, Alas, Returning to the Boat, and The Epilogue. The 9th section is the climax of the whole song, the melody is from slow to fast, from weak to strong, exciting. The music depicts the waves of joy as the boat paddles towards the end of the river, reaching the peak of emotion. Then the music stops abruptly in a quick and fast way, returns to a calm, gentle mood, and then turns to the end. The music at the end is so ethereal, long, like a light boat gradually disappearing on the surface of the river in the distance, and the night sky of the Spring River is quiet and serene, making people indulge in this charming poetic mood.
"Spring River Flower Moon Night" Zhang Ruoxu
The tide of the Spring River is connected to the sea level, and the bright moon on the sea is born together.
The waves are thousands of miles, and where the spring river is without the moon.
The river flows around Fangdian, and the moonlit flowers are like thunderbolts.
The frost in the air did not feel flying, and the white sand on the ting could not be seen.
Jiang Tian was free of fibrous dust, and the lonely moon wheel was in the sky.
Who first saw the moon on the riverside, and when did the river moon shine at the beginning?
Life is infinite from generation to generation, and Jiang Yue is only similar every year.
I don't know who Jiang Yue treats, but I see the Yangtze River sending water.
The white clouds went to a leisurely place, and qingfeng pu was overwhelmed with sorrow.
Whose house is flat tonight, where is the Acacia Mingyue Building?
Poor upstairs moon wandering, should be illuminated away from the people makeup mirror table.
The jade curtain could not be rolled up, and the anvil was whisked back.
At this time, they do not hear each other, and they are willing to shine month by month.
The long flying of the wild geese is not enough, and the ichthyosaurs dive into the water.
Last night's idle pond dream fell flowers, poor spring half did not return home.
The river flows in the spring, and the river pool falls and the moon slopes to the west.
The oblique moon sinks into the sea fog, and the jieshi Xiaoxiang infinite road.
I don't know how many people returned by the moon, and the falling moon shook the river tree.
"Spring River Flower Moon Night" is the work of the Tang Dynasty poet Zhang Ruoxuan. This poem has a total of thirty-six sentences, and every four sentences are changed in rhyme, with a clear and beautiful pen full of life, creatively reproducing the scenery of the spring night in Jiangnan, just like the picture scroll of the Yangtze River illuminated by the moonlight, and at the same time conveying the pain of parting and thinking of the wanderer. The poem is empty in mood, lingering and compassionate, washing the thick grease powder of the Body of the Six Dynasties Palace, the words are clear and beautiful, the rhyme is beautiful, the population is popular, it is a song that has been sung for thousands of years, and it is known as "the lonely piece covers the whole Tang".
Music thus becomes the best symbol of time. Classical Chinese philosophy, especially classical music philosophy, that is, Le Daozheng, is because of this, and has a deep understanding of time. In this regard, Classical Chinese philosophy, especially classical music philosophy, that is, the Tao of Music, has long had a profound understanding, and modern Western philosophy and science have also begun to pay great attention to it.
Chinese classical music, its mysterious charm can also remind us of the ancient legend, let us feel a transcendent ideological realm, feel the shocking power of national culture.