What kind of sparks will collide with playing the works of France composers with Chinese guzheng? On July 26, the famous guzheng player Chang Jing released a new album "Red· White · Blue", using the guzheng to play 8 works by Ravel, Saty, Debussy, three France composers, including "Moonlight", "Fantasia", "Bolero" and other classic works France.
The new album "Red· White· Blue" is divided into three EP albums: "Red", "White" and "Blue", and the three colors correspond to the three composers of Ravel, Saty, and Debussy. In Chang Jing's view, the imagery of these three colors corresponds to the musical styles of the three composers, among them, the composer Debussy, who corresponds to "blue", is the first one she put into creation. At that time, she was commissioned to use the guzheng to dialogue Western classical music, and after performing Debussy's works, she was still unsatisfied, so she had the overall planning of "Red· White · Blue".
Playing Western classical music with the guzheng is far from being as simple as playing directly according to the scoremap, not to mention that the sound of some classical music works cannot be played on the guzheng at all, even if they can be corresponded to one by one, it is necessary to achieve the unity of musical style through structural arrangement. "That's why I dared to enter the works of these composers in the form of a long talk, and to complete this creation together in the form of a dialogue." Chang Jing said.
Before the "dialogue" began, Chang Jing did a lot of rigorous and meticulous work on the score, selecting works, studying harmony and texture, and only then could she consider how to integrate Chinese instruments into it. Chang Jing clearly felt that she couldn't make the guzheng play the effect of a large-scale symphony orchestra when performing Ravel's "Bolero", so she boldly divided this classic work into two parts, the first half only retains the rhythmic pattern of the original piece, the second half only retains the melody of the original song, and the rest of the music is composed and interpreted by herself. "It's a bit like the beauty of white space in Chinese painting, coupled with Chang Jing's own interpretation, which brings a dreamy change to this work." I don't want to let the Chinese instruments become puppets of the work, just follow the original score, but play to the advantage. Chang Jing said.
The integration of East and West unfolds in dialogue. Of the three France composers, Debussy's works are the most oriental poetic, and the playing of the guzheng is easier to express the aftermath than the piano. When playing Debussy's "Moonlight", playing and playing, Chang Jing suddenly received the melody of the famous guzheng song "Spring River Flower Moonlight Night", "I was surprised to find that there are so many commonalities between the perspectives of Eastern and Western people looking at the world, and the cosmology in the poem "Spring River Flower Moonlight Night" and the cosmology in "Moonlight" can be in dialogue like this. ”
Speaking of "Spring River Flower Moonlit Night", in 2008, Chang Jing brought this work to the guzheng performance at the opening ceremony of the Beijing Olympic Games, which became the focus of world attention. Now, the Paris Olympics are coming, Chang Jing is very emotional, "Playing "Spring River Flower Moon Night" in the Bird's Nest can be said to be the highlight of my life, when the music echoes over the Bird's Nest, I feel proud and proud of being Chinese, and even more proud of our culture." Chang Jing said that the dialogue of music can reflect the mutual appreciation and respect between different civilizations, "Whether it is in the Olympic Games or in peacetime, I hope to use music to express equality and tolerance, and I hope that people in different parts of the world can use music to convey feelings, empathize, feel each other, and nourish each other." ”