PERFORMERS

School of Music, Nanjing University of the Arts, People's Republic of China

Xing Lu (Erhu) 

Tong Ying (Pipa)

Liu Qiang (Flute and Xiao)

Li Hanyue (Chinese Zither)

Wang Xuan (Yangqin)

Wei Wei (Guqin)

Zhou Jie (Bel Canto)

and Zhang Ruixue (Piano)

Supported by the Embassy of the People's Republic of China in the Kingdom of Thailand

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PROGRAM

• Spring in Jiangnan 

String and Wind Quintet

Performers: Liu Qiang (Flute), Tong Ying (Pipa), Xing Lu (Erhu), Wang Xuan (Yangqin), and Li Hanyue (Chinese zither)

• A Parting Tune with a Thrice Repeated Refrain

Performers: Zhou Jie and Wei Wei (Guqin)

• Lady in Thought at the Dressing Table in Autumn 

Bamboo Flute and Chinese Zither

Performers: Liu Qiang (Xiao), Li Hanyue (Chinese Zither)

• Henan Xiaoqu

Composer: Liu Mingyuan 

Performers: Xing Lu (Erhu)  and Wang Xuan (Yangqin)

• Tanci Yun  Trio for Chinese Zither, Yangqin and Pipa

Performers: Li Hanyue (Chinese Zither), Wang Xuan (Yangqin) and Tong Ying (Pipa)

• I Live at the Head of the Yangtze River

Poem: Li Zhiyi

Composer: Qing Zhu

Performers: Zhou Jie (Voice), Zhang Ruixue (Piano)

• The Moon Sets below the Rive

Performers: Xing Lu (Erhu)  and Zhang Ruixue (Piano)

• Sand Carried Away by Great Waves

Performers: Tong Ying (Pipa) and Li Hanyue (Chinese Zither)

• Plum-blossom in Three Movements 

Guqin and Xiao; Wu Jinglve’s composition based on Harmonic Qin Scores (published in 1820)

Performers: Wei Wei (Guqin) and Liu Qiang (Xiao)

• Embroidered Sachet 

Pipa and Erhu Duet

Performers: Xing Lu (Erhu) and Tong Ying (Pipa)

• Si-Zhu

String and Wind Quintet 

Composer: Zhang Yi

Performers: Liu Qiang (Flute), Wang Xuan (Yangqin), Tong Ying (Pipa), Li Hanyue (Chinese Zither) and Xing Lu (Erhu) 

• The Loy Krathong Festival 

Big Ensemble; based on a Thai folk song

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AFTER-CONCERT TALK

The Chinese character 乐 original interpretations in early oracle bones inscriptions

Wang, Xiaojun, Dean, School of Music of Nanjing University of the Arts

With the concept of "returning to the ancients to understand the ancients", this study tries to distinguish the origin of the relationship between rites and music when the Chinese rites and music civilization occurred, and also to sort out the three changes in the meaning of the word "乐(music)" in Chinese history, and provide a basis for further interpreting the different meanings of the word "乐music" in ancient Chinese literature in different periods, and provide a new path for thinking about the modern value of the Chinese rites and music civilization. 

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PROGRAM NOTE

• Spring in Jiangnan 丝竹五重奏《江南春》

Introduction to the Piece: The quintet triggers visual images of sunny spring days and misty drizzling days in Jiangnan. Combining the strong feelings in a lyrical piece of Jiangnan music with Jiangnan and with the animation and passion of an allegro, it is suggestive of people’s love of scenic, fertile land and of a longing for a happy life. 

• A Parting Tune with a Thrice Repeated Refrain 琴歌《阳关三叠》

One of the eight classical Chinese qin pieces, “A Parting Tune with a Thrice Repeated Refrain,” is a musical transcription from “Sending off Yuan Er on a Mission to Anxi,” a poem by Tang poet Wang Wei, which reflects Wang’s reluctance to bid farewell to his friend. As shown by archives, the piece first appeared in the Ming compilation Qin Scores for “Zhejiang Dialect Explained” in 1491 and last appeared in the compilation “The Series of Qin Pieces,” completed in 1931 which incorporates a slew of score versions spanning more than four centuries. 

• Lady in Thought at the Dressing Table in Autumn 竹笛与古筝《妆台秋思》 

The piece originated from the fourth part of “The Frontier,” one of the “Thirteen New Pipa Pieces of Southern and Northern Schools” compiled by Pinghu School master Li Fangyuan. It reconstructs the scene of Wang Zhaojun, homesick upon first arrival at the frontier, dressing alone by the river. 

• Henan Xiaoqu 二胡与扬琴《河南小曲》    

Henan Xiaoqu is a well-known erhu piece based on a tune of “Henan quju.” With an enlivening rhythm, a deep-rooted native flavor and a variety of playing techniques, it relates how Henan natives laud and take pride in their hometown. 

• Tanci Yun 古筝、扬琴、琵琶三重奏《弹词韵》

Transcribed from Xue’s “Tanci Tunes,” a pipa solo, “Tanci Yun” suggests to the listeners the poetic and picturesque Jiangnan waterscape using three different stringed instruments — the pipa, yangqin, and Chinese zither — to render a polyphonic marcato piece giving full expression of the appeal of Suzhou tanci. 

• I Live at the Head of the Yangtze River 我住长江头

Lyrics: I live at the head of the Yangtze River, and you live at the end of the Yangtze River. Thinking of you every day but not seeing you, drinking the water of the Yangtze River together.

• The Moon Sets below the River (二胡与钢琴《月落河间》)

The piece draws inspiration from the Qinhuai Lantern Festival, which has been included in the first batch national intangible cultural heritage list, a folk event popular in Nanjing. “The Moon Sets below the River” renders a motif and a harmonic structure based on the erhu with the piano, presenting a nightscape brimming with a meaningful festival. Throngs of people enjoying the sight of lanterns on the bank signify the peace and cultural prosperity of a country at its height. As the reflections of the moon and stars in the water merge gradually with the lantern light, the listeners fall into meditation over the unity of the past and the present and the unity of man and nature. 

• Sand Carried Away by Great Waves 琵琶古筝二重奏《大浪淘沙》

Rewritten from A Bing’s pipa namesake, the duet is brimming with the musician’s profound feelings about an unequal world. The intense melody coupled with heaving rhythms suggests to the listeners the strong personality of A Bing. 

• Plum-blossom in Three Movements (Wu Jinglve’s composition based on Harmonic Qin Scores (published in 1820)) 琴箫合奏《梅花三弄》据《琴谱谐声》（1820年） 吴景略演奏谱

“Plum-blossom in Three Movements” is a Guqin tune said to have been transcribed from a flute piece composed by Jin musician Huan Yi. It takes its name from the motif of the overtone appearing three times in different staves. It gives expression to the noble character of the plum blossom flourishing in the biting cold, which is a classical theme cited by the Chinese people to extoll the chill-braving white fragrant blossom — an embodiment of firm and noble character. 

• Embroidered Sachet 琵琶二胡二重奏《绣荷包》

Transcribed from Shixiu Qiang (a Shanghai opera) and blending the sound features of Jiangnan string and wind instruments, “Embroidered Sachet” depicts a pretty Jiangnan girl aiming to embroider patterns on all beautiful things in the world.    

• Si-Zhu--string and wind quintet 《丝竹》（Si-Zhu）——丝竹五重奏

This piece is played with the flute, erhu, pipa, xiao and yangqin. Jiangnan string and wind music is a type of traditional Chinese ensemble originating from and popular in Jiangsu, Zhejiang, Shanghai and the localities. It was created to display the singular style, tone color combinations, speed characteristics and musical structure, such as “smallness”, “lightness”, “refinement” and “elegancy”. Regarding melody and tune, Si-Zhu draws inspiration from kunqu, Jiangsu’s intangible cultural heritage item, exemplifying the charm of traditional Jiangsu culture. 

• The Loy Krathong Festival 大合奏《漂水灯》（泰国民歌编创

The lyrics of “The Loy Krathong Festival” are: “It’s a full moon in December. The rivers, lakes and ponds are flush with water. At nightfall, joyful boys and girls let water lamps drift on the river. Following that boys invite girls to dance in exultation, for their goodness is required.” 

The Loy Krathong Festival is a popular traditional Thai festival. Having arrived in company at the riverside, people light the candle in a lamp made from Japanese banana leaves, fruits and flowers and let it drift away in the water under the moon. The School of Music ensemble of Nanjing University of the Arts plays the famous Thai tune on traditional Chinese instruments to signify that the two countries will perpetuate the time-honored friendship.