On the afternoon of September 25, the premiere of "Qin Zui Taibai - Concert of Mao Peiqi's Works of Ancient Chinese Poetry, Compositions and Songs" was held in Beijing. The event is hosted by the Advisory Committee of the China Cultural Relics Conservation Foundation, supported by the China Cultural Relics Conservation Foundation, hosted by the Beijing Chongxian Museum, and hosted by the Alumni Association of the School of History of Renmin University of China, the Instrumental Music Culture Professional Committee of the Chinese Musical Instrument Association, the Musical Instruments Society of Beijing Musical Instruments Society and Children's Aesthetic Education Professional Committee, Guangming The World·Traditional Culture Reading Club is co-organized by the Silk Road Charity Fund of China Social and Cultural Development Foundation and the Scholarly China Charity Project.
Zheng Xinmiao, former deputy minister of the Ministry of Culture and former director of the Palace Museum, Liang Gang, vice chairman and secretary-general of the China Cultural Relics Conservation Foundation, Zhao Xiaojie, secretary of the party committee of the Institute of Ancient History, Chinese Academy of Social Sciences, former deputy director of the State Administration of Cultural Heritage and principle of the Cultural Relics Conservation Foundation Chairman Ma Zishu, former director of Guo Moruo Memorial Hall Guo Pingying, President of People's Music Publishing House Shen Zhijin, as well as composer Mao Peiqi of this concert, Director of Guqin Professional Committee of Chinese Musical Instrument Society Yang Qing, Director of Beijing Chongxian Museum Li Ke, People's Music Publishing House More than 60 people attended the concert, including Liu Ying, editor-in-chief of "Qin Zui Taibai", the Alumni Association of the School of History of Renmin University of China, Chen Guoguang, co-organizer of this concert, and some experts, scholars and artists in Beijing.
Liang Gang said in his speech that "The Drunken Taibai" selected more than ten poems by Li Bai, composed by Mr. Mao Peiqi, and performed and interpreted by Yang Qing Qinge Art Center. It is a creative transformation and innovation of China's excellent traditional culture. A useful attempt at development.
Classical poetry reflects the phenology, customs, work and love of the Chinese nation in many aspects of thought and life. It is like a mirror of people's life. The guqin has always been highly praised by ancient Chinese literati. The left qin and the right hand have been the ideal life of literati throughout the ages. The combination of ancient poetry and guqin can be traced back to at least the time of Confucius. From the emergence of countless moving poems and music classics from the Book of Songs, Yuefu, Tang poetry, Song lyrics, Yuan opera and other dynasties, we can see that most of these works are the most perfect collaboration between literati and musicians.
Mao Peiqi, a professor at the School of History at Renmin University of China and a historian of the Ming Dynasty, served as the composer of "Qin Zui Taibai" and was also the music creator of all the songs in this concert. In the opening session, he introduced the origin and original intention of music creation, and said: Chinese civilization has both a philosophical system and historical inheritance of "praising the transformation and education of heaven and earth" and an ideal sentiment of "the world must be benevolent". Cultural self-confidence is a more basic, deeper and more lasting force. In order to deeply explore the ideas and concepts contained in China's excellent traditional culture, and better inherit and carry forward Chinese wisdom and national spirit in the new era, this "Qin Zui Taibai" concert selected more than ten works by "Poetry Immortal" Li Bai and Li Qingzhao's works. Two works of poetry were composed into songs. Music creation strives to integrate the glory and dignity of Chinese history and the poet's transcendent expression of real life into national music, and strives to present a brand-new artistic style that is loved by the public.
Guqin artist Yang Qing took the lead in the performance, making this performance a masterpiece of qin song art jointly created by contemporary cultural figures and artists. The work perfectly integrates the cultural connotation and musical value of ancient Chinese poetry, providing the public with an in-depth understanding of the creative transformation of the excellent traditional culture of the Chinese nation in art, and demonstrating a pioneering attempt.
At the scene, the performers of the Yangqing Guqin Art Center, dressed in elegant traditional national costumes, used the classical singing method of stringed songs and elegant rhymes, accompanied by guqin, dongxiao, pipa, guzheng, Ruanxian and other national musical instruments, and added some words before the performance of the song An in-depth interpretation of the cultural background. The literary narration by young cultural scholar Cao Yaxin is three-dimensional and vivid in form, and the effect is touching and refreshing.
There are eloquent narrations on one side and qin songs on the other. This form of interpretation that combines literary explanations with qin song playing and singing is not only based on classics, but also novel and fashionable, allowing the audience to have a rational understanding when listening to each qin song. Cultural cognition and perceptual artistic experience.The concert also specially invited singer Wu Shuang, as well as young singers Liu Jing, Zhang Yiran, Mao Guochen, Liu Yu, Mao Qi, Lun Yanyan and other singing guests, bringing an audio-visual feast with simple form and rich connotation to the audience. . In the performance part, the concert also invited young guqin player Shen Yiqiao, young flute and flute player Ding Ruoqi, young guzheng player Zhao Yukun, and synthesizer Jiang Tuanlian to complete the performance.
On-site experts, scholars and audiences all praised: This concert is a brilliant bloom of Chinese excellent traditional culture integrated into modern life. It also has the significance of the times for the exchange, reflection and collision of Chinese national music and Western music.
(picture provided by the event)
