Mr. Huang Zi is one of the most accomplished music educators in China since the May Fourth Movement. His parents were educators, and his father, Huang Hongpei, was the cousin of Huang Yanpei, a famous patriotic democrat. He is a famous modern composer and music theorist in China, the first music educator to systematically and comprehensively teach domestic students the theory of modern professional composition in Europe and the United States, and has the ambition to establish a Chinese national music school. Huang Zi graduated from the School of Music of Yale University in the United States, composed China's first symphony "Nostalgia", and later published the famous "Plum Blossom Three Alleys" and "Rose Three Wishes" and so on. At the critical time of the Chinese nation in the War of Resistance Against Japan, Huang Zi actively participated in the Anti-Japanese Salvation Movement and wrote large-scale patriotic chorus songs such as "Anti-Japanese War Song", "Flag Flying", "September 18", "Hot Blood" and so on. Huang Zi explicitly put forward the slogan of establishing a "nationalized new music", and his ideas had a profound impact on his students He Luting and others; as a professional music education institution who has been engaged in the teaching of composition theory, considering that "it is difficult to teach without textbooks, and scholars have no pain in reading books", driven by a sense of responsibility, he is determined to fill the gap in acoustics and music history first, and from the beginning of 1934, he began to write and wrote the earliest "History of Music" and "Harmony Acoustics" in China. He has made a great contribution to the musical cause of our country.
In 1904, Huang Zi was born in Neishidi, Shanghai
In 1930, he became the director and faculty member of the Shanghai National Music College, which was the pillar of the school's initial period of teaching affairs and teaching. He was the only full-time teacher in the theoretical composition group at that time, and he undertook 11 classroom teachings alone, in addition to teaching two school-wide common courses of Western music history and music appreciation, cultivating modern music pioneers such as He Luting, Chen Tianhe, Jiang Dingxian, Liu Xue'an, etc., thus becoming the first person in China's professional music education institutions to comprehensively, completely and systematically teach the theory of traditional European composition techniques, and the first person with a high degree of discipleship. He teaches and creates. The oratorio "Long Hate Song" is one of his masterpieces. In the first year of the Tang Dynasty (806 AD), Bai Juyi wrote a long narrative poem "Long Hate Song" that has been recited through the ages. Huang Zi wrote China's first oratorio drama "Long Hate Song" under the title of Bai Juyi's song. Created in the summer and autumn of 1932, "Long Hate Song" was composed by Wei Hanzhang, and the verses in it were selected as the titles of each movement, and in terms of plot structure and paragraph layout, it also referred to the legendary script "Hall of Eternal Life" created by Hong Sheng in the Qing Dynasty. The song sings: "Only love beautiful people and wine, do not love Jiangshan..." The whole song is divided into ten movements, describing the unforgettable love between Emperor Tang Ming and His Concubine Yang Yuhuan and the historical lesson of the king's covetousness for women and the destruction of the country and family. Huang Zi borrowed The Tang Ming Emperor's disregard for the government to make a powerful satire on the Kuomintang reactionary government.
"Long Hate Song" is an attempt by Huang Zi to use Western European creative techniques to nationalize music, and has a good combination and application of language, melody and rhythm, and a good combination of traditional poetry and ancient tunes. This oratorio, on the one hand, is to fill the gap in the lack of Chinese works in the choral teaching materials, on the other hand, there is also a positive intention to pin the shortcomings of the times. The work reflects that the Japanese Kou stepped up their aggression against China and the imminent calamity of national subjugation; after the "9.18" incident, the aggression of Japanese imperialism became more and more rampant, they continued to go deep into the interior and provoked in Shanghai, the Kuomintang Nineteenth Route Army stationed in Songhu at that time fought back heroically, while the corrupt Kuomintang authorities adopted a policy of non-resistance. It declares to the people that corrupt politics will inevitably lead to national disasters, and it effectively cooperates with the anti-Japanese salvation movement led by our Party. This creation has left valuable wealth to future generations in terms of artistic conception and composition techniques, and he is also the most valuable and influential composer in the boom period of artistic song creation in the 1930s.
"Long Hate Song" is the first large-scale work created by Huang since returning from studying in Europe and the United States, the largest vocal work left by him in his short life, his only large-scale vocal suite, and the first work of this genre in the history of modern Chinese music. "Long Hate Song" was originally scheduled to be ten, and Mr. Huang Zi completed seven of them (in 1972, his disciple Professor Lin Shengxi completed the fourth, seventh and ninth inscriptions in Hong Kong). Although it was completed at the end, it has included the main content and scenes of Bai Juyi's original work, without losing the coherence of its plot and the integrity of its structure. The musical image of this oratorio is vivid and vivid, the music and lyrics are closely coordinated, and the individual movements are very creative in the attempts of national style melodies, harmonies and instruments.
Huang Zi emphasized the content and function of music, and he believed that music can influence people through beauty: "Today's human beings have many weaknesses, and we should remedy them, and music should be the biggest task." At the same time, he also attaches great importance to the formal beauty of music, such as his talk about the creation of art songs: "It is necessary to make the meaning of the music, rhythm, syntax, etc. fit with the lyrics one by one, and it is not pleasant at all." At the same time, it is also necessary to use harmony and accompaniment to express emotions very thoroughly. "The creation of the oratorio "Long Hate Song" is the composer's excellent practice of taking into account the formal beauty of music, content and function. For a tragedy with many characters and many complicated historical events, how to organize various materials is related to the "intention" of the whole play, the clarity of the central idea and the audience's acceptance tendency. This is a musical work with a distinct "intention" and musical style. His works have made meaningful explorations in Chinese the creation of the first oratorio, and the combination of Western creative techniques and traditional Chinese musical elements.
In November 1933, at the concert of the students of the Music College, the Shanghai Music College performed seven of the movements for the first time: first, "Xianle Fluttering Everywhere", second, "The Hall of Eternal Life on the Seventh Day of July", third, "Yuyang Nai agitated to come", fifth, "The Sixth Army does not send helplessness", 6, "Graceful Moth Eyebrow Horse Before Death", 8, "The Mountain in the Void", 10, "This Hate Has No End". Although the remaining three movements have not yet been composed, the completed seven movements basically summarize the main plot of Bai Juyi's original poem, which is quite complete in art. Among them, "The Hall of Eternal Life on the Seventh day of July" and "The Mountain in the Void" are the two most performed movements in concerts in decades. In May 1943, in order to commemorate the fifth anniversary of Huang Zi's death, the Chinese Music Research Society in Chongqing published for the first time "Huang Zi's Last Works - Special Issue of "Long Hate Song" in the second volume and one issue of music monthly magazine. In 1957, the Shanghai Music Publishing House officially published Huang Zi's "Long Hate Song". Live recording of a concert at the City Hall Concert Hall in Hong Kong in October 1999. A month after its release, the first mixed chorus of the oratorio, "Fairy Wind Everywhere", had ruled out more than 7,000 other pieces produced by Hugo and topped the singles audiovisual chart on Hugo's website. In 2018, coinciding with the 80th anniversary of Huang Zi's death, the Shanghai Conservatory of Music adopted the form of a multimedia music theater to adapt "Long Hate Song" (seven-paragraph version).
"Music Monthly" "Long Hate Song" special number
In 1957, the Shanghai Music Publishing House published "Long Hate Song"
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