Wang Changling wrote a famous poem, "The young woman in the boudoir doesn't know how to worry, and she condenses her makeup on the green building in spring." Suddenly, I saw a strange willow color, and the penitent husband was looking for a marquis. "The protagonist is the conscription woman, among which the search for the marquis is the fastest way for the Tang Dynasty people to gain fame, go to the border, make war achievements, expand the territory, and then seal the marquis.

Wang Changling himself also went from Rong to the front line of the Western Regions, and most of his side poems were written at that time. Qin Fangge and Lin Baoqing's Silk Road journey is also the place where the soldiers of the Han and Tang dynasties set out. Yangguan, Yumen Pass, Dunhuang, Loulan these places are also particularly suitable for nostalgia, not only the desolate beauty of "the desert is lonely and the sun sets over the long river", but also more lonely and cruel.

As Wang Changling wrote in his poem, "In the Qin period, the bright moon and the Han period, the Long March has not yet been returned." But to make the dragon city fly will not teach Humadu Yin Mountain. ”

In addition to Wang Changling, the poets of the Tang Dynasty also included Cen Shen, Gao Shi, etc., who had a broad vision and a stirring mind, full of majestic romantic temperament and indomitable heroism. Through one poem after another, many of which have been included in textbooks, they sang the strongest voice of the times, and vividly embodied the spirit of the Tang Dynasty.

And his seven seven-character quatrains are all high-quality works, and reveal the psychological activities of front-line soldiers from all angles, pushing the poems of the Tang Dynasty to the extreme. The poetic conception is lofty, the style is tragic, like a majestic military trumpet, and history is full of blood boiling. The fourth song is even more widely known, "Qinghai Changyun Dark Snow Mountain, the lonely city looks at Yumen Pass." The yellow sand wears gold armor in a hundred battles, and Loulan will not be returned if it is not broken. The first sentence renders the atmosphere of the war very hearty, and the "Yellow Sand Hundred Battles Golden Armor" not only reveals the hardships of the environment, but also shows the heroic spirit of the soldiers who are light and willing to take the country. And the turning point of the last sentence is a stroke of genius, which completely reveals the determination and courage of the Biansai soldiers to swear victory.

Of course, there is also a lack of parting sorrows, homesickness, distant border stops, and a bad environment, far compared to hometown.

For example, the first song, "The 100-foot building in the west of the Beacon City, sitting alone in the sea breeze at dusk." Even more blowing the Qiang flute Guan Shanyue, there is no golden boudoir thousands of miles of sorrow. ”

The second song: "The pipa dances with a new sound, and it is always a parting feeling." The chaos and sorrow are endless, and the high autumn moon shines on the Great Wall.

is all about this kind of emotion, the sorrow of missing his wife thousands of miles away, but also with more helplessness, because every time he misses it, it may be the last time, because once he goes out of the war, he may never return to this "West Hundred Feet Tower of Beacon City". This is the real blood-stained lovesickness, and it is the soldiers who fought hard with their lives! "If Loulan is not broken, it will never be returned." Although he is full of heroism, Wang Changling also saw the pain brought by the war to ordinary soldiers, and did not blindly indulge in the fantasy of meritorious service and marquis. "The Long March has not been returned" is the best portrayal, and more emotions in it also need to be carefully experienced.

And after Qin Fangge created this erhu concerto and gave it to Qian Shuyuan as a birthday gift, he didn't need to say much, they all consciously went to tutor the relevant knowledge, and they had a particularly in-depth understanding of the poetry of Wang Changling and other poets.

In these poems, the musical instruments mentioned are the pipa and the Qiang flute, which are also the most representative instruments of Biansai. Of course, in this erhu concerto, both the pipa and the flute are played as concertos, and the modern and improved version of the erhu is the real protagonist.

The expressiveness of the erhu is particularly rich, and the ability to render emotions is unparalleled, as long as the performer has deep skills and plays a variety of complex scenes and emotions, it is not a problem. Of course, this is first of all very demanding for the composer, and no composer in history has ever written such a large-scale and extraordinarily grand erhu concerto.

There are a few such erhu solo songs, which are already quite good!

Qin Fangge took this as the theme and created this erhu concerto, which can also be regarded as a historical precedent. He is also ambitious, and all kinds of complex scenes, such as large-scale ancient wars, the homesickness of the soldiers, and even the conscripts who have grievances in his hometown, have been taken care of. And these things, in the end, are presented in the form of music.

This kind of music, for Chinese, is still slightly easier to understand, after all, they have read ancient poems and know the style of Biansai poems and so on. As far as foreigners are concerned, it is entirely up to them to be moved by music, and at most they know that this is related to war, after all, "joining the army" means joining the army to fight! However, as for the scale, form, and methods of warfare in ancient China, that is not their barren history at all, and the sparse population base also determines that the scale of their ancient warfare will not be too large.

This is completely dependent on music to express! We can't expect these foreign audiences to have an in-depth understanding of the various poems and songs of the Tang Dynasty frontier war like Qian Shuyuan and Huang Jing for this music, and the domestic audience is actually similar.

Of course, if Qin Fangge creates atonal folk music works similar to Western music, it is no problem at all. It's just that he thinks that in that way, it will be separated from traditional culture, and if it is to use national instruments to play Western music, it will not make much sense. National music should still be based on something unique to the Chinese nation. However, it is not known whether these musical works he wrote can be regarded as national music, and many people will not admit that this is national music. Zuo Shuqin also called this new folk music, which is still quite different from traditional folk music.

China's traditional folk instrumental music all have titles, and there are two kinds of titles: "nominal title" and "nominal title". The title of the title only has the function of the title of the song and has no direct relationship with the meaning of the song. To understand a piece of music, it is necessary to comprehend the musical image composed of various musical elements such as melody, rhythm, mode, tempo, and dynamics. Some titles are derived from ancient vocal songs, lyric songs, folk songs, and the titles of original opera repertoire, such as 、、、、、. Some titles are derived from the structural features of the piece. For example, each phrase in the piece is repeated once, appearing in pairs; The three lanes in are the same theme that recurs three times and so on. Some titles are named after the first sentence of the piece, such as , , etc. Some are named after the key of the piece, such as, ; Some are named according to the purpose of the piece or the form of performance, such as , , , , , , Some pieces of music are a combination of materials from several music cards, and their titles are often composed of words drawn from several music cards.

The other is the symbolic title, which is based on the content of the piece, drawn up by a folk artist, literati or musician, so the title reflects the person's understanding of the content of the piece. Symbolic titles generally have a strong generalization, which uses summarized and concise words to suggest the content of the music, a certain artistic conception, a certain emotional atmosphere or a certain event. Listeners can understand the piece by using the hints of the title and the musical image of the piece to evoke associations. and so on can be counted as such types.

Several folk music concertos composed by Qin Fangge, whether they are or this erhu concerto, can be regarded as symbolic titles. The advantages and disadvantages are obvious, the advantage is that it is easier for the audience to understand the theme of the music, but it can also constrain everyone's thinking, including when he composes himself, and is confined to such a theme.

This is still very different from atonal music that can give full play to the imagination of the audience, but whether it is Qin Fangge himself or Lin Baoqing and her sisters, they can calmly accept these advantages and disadvantages.

In Qian Shuyuan's opinion, there is no perfect music, no matter how good the work is, as long as others are careful, they will be found faulty. So why care so much, as long as you like it, it's enough to have audience recognition!

And how much they like Qin Fangge's creation of these music, even more than they like him himself, is also very revealing.

And Qin Fangge chose to use the poem of the Tang Dynasty poet Wang Changling as the theme for this song, and the reason is also obvious. Wang Changling is particularly good at using psychological descriptions to express delicate and changeable feelings. Wang Changling was one of the earliest poets to express the soul of Zhengfu in his poems, either through the psychological changes of Zhengfu in an instant, describing their beating heartbeat, or through the singing and dancing in the camp, he wrote about Zhengfu's inner pain; or with the help of the unique life scenes of the border pass, write about the sorrow in the heart of the husband; Or use the war to write about the heroism of the border guards to defend the dignity of the country. It can be said that the expression of feelings is very delicate and real.

These psychological activities are quite consistent with music, and they can also inspire Qin Fangge a lot, after all, he is not a person of that era, and it is most suitable to feel the atmosphere and scenes through the poems of Wang Changling, a poet who personally wrote from Rong. In any case, it is much more reliable than him going to watch TV series and movies.

Then, Wang Changling's poems are wonderfully coordinated, and the meaning and mood are confused. This is also because Wang Changling has been to Biansai and really saw the desert, Xiongguan, Lonely City, Changyun, Snow Mountain, Beacon Fire, Qiang Di and other scenes in Biansai, so in his Biansai poems, a very magnificent group picture of natural scenery is formed. These images are attached to the feelings and intentions of the soldiers, which are specific objects in a specific environment, that is, the natural objects and the feelings of the soldiers are intertwined, and the poet also uses the artistic technique of turning the invisible into the tangible, constituting the wonderful combination of the scene of Wang Changling's Biansai poems, and the artistic realm of the meaning and the situation. He creates the beauty of the mood of the scene, using a variety of methods.

This is not only a special part of the essence of traditional culture, but also a place that is very worthy of Qin Fangge's learning. The so-called: "The stones of other mountains can attack jade", and in the Tang Dynasty, poetry and music were never separated, and drunken singing was also the most common phenomenon.

In addition, Wang Changling's poems are concise, bright and subtle, and have high achievements in language and art. Wang Changling's poems pay great attention to the refinement of language, and truly achieve the meaning of words and meaning. It can be concise, bright, or subtle, so that readers have endless aftertaste. In addition, Wang Changling strives for perfection in art, carefully handles every sentence, no idle pen, the beginning of the quatrain is often sudden and easy to penetrate, with a thunderous momentum to open a situation, such as: "Qin Shi Mingyue Han Shiguan", "Desert Wind and Dust Sunset", "Qinghai Changyun Dark Snow Mountain", "Pipa Dance for a New Sound" and so on, are all straight to the point, straight to the point, but the best part is not in the beginning of the sentence, but in the third sentence. Quatrains generally have to open up a new realm in the third sentence and turn out new meanings, so the first two sentences should be flat to facilitate the flipping to the next level. Wang Changling's tone is already dangerous, but he can also take the momentum in the third sentence, take his thoughts and feelings one step further, and his superb artistic skills are also revealed.

This is also Qin Fangge's creation of music has the same magic, he also experienced the infinite charm of art, he is a person who is good at learning, after a deep understanding of Wang Changling's thoughts, poems and the historical background at that time. Combined with his own personal experience on the Silk Road, he finally composed such a magnificent, huge pattern and long meaning of the erhu concerto.

Qian Shuyuan and the others naturally took this erhu concerto to their respective professors for review and analysis, and asked for analysis and guidance, also because Qin Fangge was short of time, and many times, he, the original author, was not willing to speak very clearly and transparently. It's not that he deliberately maintains a sense of mystery, because music, many times, can only mean words. Moreover, the level of music is even greater than that of poetry, and it would not be interesting to explain it completely!

Qian Shuyuan and Huang Jing all understand this, and the professors of the Department of Folk Music also understand this even better, they have all seen his concertos before. They also gave a particularly high evaluation of this, and praised Qin Fangge to absorb nutrients from traditional culture, and truly inherited and developed. There are also professors who say that his music is full of strange tension and magnificent imagination, and it also makes people have a special sense of substitution.

After listening to their relays, Qin Fangge was quite satisfied with this, and his standards were quite low, "As long as everyone doesn't scold me for ruining traditional culture, I have already written the tune, it depends on your performance when you play!"

Qian Shuyuan and Huang Jing all nodded, they had also been preparing for this piece for a long time, and they had just begun to practice. Qian Shuyuan also said that her teacher told her not to just practice skills, but to combine the scene and integrate more emotions into it. This is indeed a big test for her, even if she doesn't talk about feelings, just playing the erhu solo part in its entirety will take several months of hard practice.