When Qin Fangge took out this "Liang Zhu", he went straight to the folk music symphony. Otherwise, he could have made a violin concerto, or an erhu concerto. In the original time and space, there are many similar adaptations, as well as the guzheng version, the dulcimer version, the pipa version, etc., not all of which are successful.

He didn't make any changes to the main theme of the whole piece, and he didn't need to. These melodies are classics that have stood the test of time and the audience, and he is not so stupid as to take the dross and abandon the essence. Those adaptations are basically just replacing the violin with other instruments, and there is no substantial adaptation of the overall harmony and structure, which is no less difficult than recreating a similar musical work.

To the average audience, it may not change much, anyway, just listen to a melody.

But to the connoisseur's ear, it's not just that simple, the harmonic direction, the rhythmic changes, and the composition of the structure of the song are all particularly worth exploring.

At this moment, Teng Shuting led the performance of the Jinse Huanian Orchestra, and completed Qin Fang's idea very well. Not only is the melody beautiful and moving, but it is also quite outstanding in other musicality. In particular, their orchestra combines Chinese and Western instruments, in addition to various folk instruments, there are also electronic keyboards, guitars, and drum kits. How to perfectly combine these instruments with strong personalities has made countless composers of national music scratch their heads.

The works that Qin Fangge took out and played for them before, it is not an exaggeration to say that they are petty and experimental.

But this "Liang Zhu", which gives people in the industry the feeling that it is a mature music work, has embarked on a creative path in the harmony of national music.

Sitting in the front row of the concert hall, Zhen Xiangming, vice president of the National Music Association, couldn't help but think about it when he listened carefully. The more he heard it, the more he felt that Qin Fangge's genius was really worthy of his name, and the girls who played on the stage, although they were not as good as those who had been famous for a long time in terms of performance skills and experience, but in terms of attainments in this piece, they were very high. You don't have to think about it to know that Qin Fangge, the author, must have given a lot of guidance.

Unlike ordinary audiences, who focus on the romantic and charming melody, Zhen Xiangming is more concerned about the guiding role of this musical work in the future of national music. In addition to the uniqueness of the composition, these young female college students also made a considerable demonstration in terms of performance techniques.

Yin Mengxue, who has been engaged in guzheng performance for more than 30 years, focuses on their performance. She also admires this group of girls very much, and they are basically impeccable in terms of pitch. The timbre of the performance is also very Chinese, and there are different changes in different movements.

For example, when presenting the love theme of the department, whether it is the pipa or the guzheng, the erhu or the dulcimer, the ornamentation, eraser and portamento are very well handled. After the transformation, the music style is lively and brisk, sometimes enthusiastic and unrestrained, sometimes gentle and happy, which makes people seem to see the life scene of Liang Zhu and his classmates in the college. The two slept together, got along day and night, sang and laughed, and talked all night. It's just that Liang Shanbo at this time didn't know that Yingtai had a secret affection for him, let alone that Yingtai was a daughter. Therefore, some people also infer that Liang Shanbo is actually GAY, which is also quite ridiculous.

And later, after the joy, the music style changed again, and became low and gloomy.

According to Liang Zhu's plot, the audience guessed that it was almost time for the two to separate.

In particular, the music played by the erhu and double bass is sad and lonely, and it also heralds tragedy.

Zhu Yingtai received a letter from her father asking her to return to her hometown, and she was worried and tossed and turned, not knowing what to do, telling Liang Shanbo her feelings for him, how would he react?

This is followed by a short climactic melody that seems to describe Liang Shanbo and Zhu Yingtai at the eighteen-mile long pavilion. Although Zhu Yingtai repeatedly hinted, Ke Mune's Shanbo still couldn't guess her thoughts. The complex and intertwined emotions between the two are also reflected in this paragraph. Yingtai had no choice but to tell Shanbo that there was a younger sister in the family who looked the same as him, and asked him to propose.

Attentive audiences will do their homework in advance before listening to the concert. Especially those who pay attention to Qin Fangge's new work "Liang Zhu", at the very least, will be familiar with the legends of Liang Shanbo and Zhu Yingtai. There are a lot of related literature, film and television and opera works, but no matter what form it is, it can be summed up, that is, acquaintance, worship, classmates, send-off, farewell, marriage resistance, grave throwing, and finally both butterflies.

Audiences like Zhen Xiangming and Yin Mengxue, who have a very high level of national music and traditional cultural attainments, have a preliminary guess about Qin Fangge's work before the performance, how he may compose, what techniques and forms he uses, and so on.

When the music performance on the stage is particularly intense, although she is small, the suona sound is not small, and what is amazing is that her suona is also quite brilliant when she expresses such a sad and sad mood. Suona is like this, not to mention those instruments in the middle and low parts, four erhu, double bass and Teng Shuting's keyboard, Zuo Shuqin's classical guitar, Pan Linna's drum kit, and the sound of the sound knocked into the hearts of the audience. The oppressive atmosphere that is almost eerie has been successfully created.

Xiao Jingru's flute and Li Ruoli's sheng were not as melodious and tactful as before, they were all in tension and pain, and they were all in panic. But in this piece of oppression, there is also the existence of strength and faith, guqin, dulcimer, pipa, zhongruan is a symbol of indomitable.

The climactic movement that followed is also the culmination of this marriage resistance, just like Zhu Yingtai's irrepressible longing for Liang Shanbo.

There is tension and relaxation, and then the rhythm of the music slows down, but it also deepens the meaning of tragedy. Although the two were able to meet on the building, their thoughts were intertwined, they told each other heartfelt words, and they had a thousand words, but the tragic fate was already doomed, and the family's decision, whether it was Liang Shanbo or Zhu Yingtai's resistance, was particularly powerless. The whispered interweaving and lingering music also hint at this.

As Liang Shanbo wrote, "Thousands of feelings are broken, and what do you say to the deceased." Zhu Yingtai replied: "I woke up in a hurry from a good dream, my heart was broken, and it was difficult to stretch my mind, and I never went to Qiantang Road, afraid of seeing the mandarin ducks flying." ”

The balcony meeting finally ended with a sad breakup, just like the music here.

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