From the late 1950s to the early 1960s, the author thinks that it is an important period for the transition from traditional opera music to modern opera music. Judging from the repertoires of 1964 national opera, it is very common to accompany the opera with a complete band. During this period, the author once watched "Catch the Mountain Carving of the Old Bandits" performed by Shanghai Peking Opera Troupe and "Yangmen Woman" performed by Beijing Peking Opera Theatre in Beijing Tianqiao Theater, and their accompaniment was much more full and heavy than that of the operas in the 1950s. After the Cultural Revolution, "revolutionary model operas" appeared immediately, such as Shajiabang, The Red Lantern, A Journey to the Tiger Mountain, Harbor, Ode to the Dragon River and Dufu Mountain. Without exception, these operas abandoned the original folk music accompaniment and replaced it with western orchestral accompaniment. The accompaniment of traditional Chinese opera in this period is the same in terms of musical expression, timbre and range. In addition, new explorations and attempts have been made in composition. Its obvious sign is that the role of composers has been strengthened, while the creative factors of piano players have been weakened. In the aspect of music structure, from the innovation of single disc of traditional opera to complete turntable, from the application of traditional music cards to the creation of independent instrumental music in the creation of pre-curtain music and background music. For example, the prelude to beating tigers up the mountain in "Taking Tiger Mountain by Intelligence", the episode of the tenth ambush and annihilation war in "The Red Lantern", the episode at the end of "Song of the Dragon" and the dance music of "Flying over the Cloud Canyon" for the seventh time in "Dufu Mountain" left a deep impression on people, and these modern music creation factors and expression means undoubtedly provided us. Later, there appeared three-dimensional and symphonic large-scale music works such as the symphony Shajiabang and Taking Tiger Mountain Outside. Let's not talk about the political gains and losses of the above-mentioned "model operas" during the Cultural Revolution, but we must admit that they have reached the domestic first-class level in creation and performance and reached the peak of an era. Can we think that these opera works from the early 1960s to the late Cultural Revolution belong to modern opera music? From the traditional creative mode of "music design" in which actors, violinists and drummers are trinity, it has been transformed into the second work of composers, actors and bands, and a modern creative mode of trinity has been established.
Second, the multifaceted creation of traditional Chinese opera music and its rise
The existence of any art needs soil and space. With the development of the times and the diverse needs of the people for art, fewer and fewer people like opera as the highest art (except a few opera fans), and the media role of radio and television has surpassed the theater effect. There are more and more kinds of traditional opera music in China. In recent years, there are two striking music varieties: one is the emergence of traditional Chinese opera songs, and the other is that many Jinghu musicians are unwilling to be lonely and hold jinghu solo concerts in Jiulongkou. The emergence of the above two phenomena, the author believes that this is by no means "inaction" or "unwilling to be lonely", but the historical necessity of the multi-faceted development of modern opera. Opera marks the composer's in-depth exploration of the highest achievement of China folk music. Jinghu solo Concert is the inevitable result of musicians' solo ability from the backstage to the foreground on the basis of hundreds of traditional China opera tunes. These two varieties have undoubtedly added many new colors to China modern opera music.
Modern opera is different from traditional opera music, and its display has three stage spaces: theater, concert hall and radio and television. Therefore, for composers engaged in opera music, their creative activities have produced a multi-directional trend: first, composing music for opera; The second is to sing oratorios for opera, including opera songs; Is to compose music for China traditional operas and instrumental music, including concerts. Especially the third item gives composers unlimited creative space, so they can create the following forms of works:
1. Major musical instruments (such as solos, duets and concertos of Jinghu, Banhu, Bang Qu Di, Pipa and Guzheng).
2. Independent orchestral and national orchestral works.
3. Large symphonic divertimento music works.
4. Opera oratorio.
5. Music and dance or ballet in China traditional opera style.
To sum up, these new varieties of traditional Chinese opera music were not invented by the author, but excellent operas harvested by musicians after more than 40 years of efforts. Now the author lists the famous works as follows:
Instrumental solo works include: flute solo Bangzi, 357 and Blue Bridge Club; Banhu solo Qin Opera Paizi, Hebei Flower Bangzi, and Red Army brothers return; Erhu solo "Capriccio on the Theme of Shaanxi Opera", "Shadow", "Baoyu Cry" and "Henan Xiaoqu"; Yang Qin solo "Lin Chong Running at Night"; Guzheng solo Wen Xi Gui Han; Jing Hu's solo "Late Night" and so on.
Folk music ensembles include: Beijing dialect, wedding people, purple bamboo tune, Wujiang song, complaints from tea things and Zhao Jun, your legend, etc.
The large-scale symphony suite includes: violin concerto "Butterfly Lovers"; Symphony "Shajiabang" and "Outwit Tiger Mountain"; Symphony suite "Su San", symphony "Young Women" and so on.
Third, the creation and performance practice of "Music Soul of Liyuan"
From 1982, the author spent 20 years creating a series of symphonic concertos entitled Soul of Music in the Pear Garden. The author will describe the creation and performance of "Soul of Music in Liyuan" as follows:
1, A Dream of Red Mansions, National Orchestral Yue Opera, written in 1982.
1, Daiyu entered the mansion 2, * * * read The West Chamber 3, Daiyu buried flowers 4, Daiyu burned manuscripts 5, Jade and Marriage 6, and left crying.
1983 was recorded by china national radio, performed by Hongqi Yue Opera Troupe and conducted by Wu Hua.
2. The suite Young Beauty by Jinghu and Peking Opera Band was written in 1983.
1, the dispute between Chu and Han 2, the sadness 3, the smell of Chu songs 4, the advice to you 5, the night 6, the hate in Kyrgyzstan.
1984 was recorded by china national radio and premiered by China Opera in Beijing Concert Hall in the same year, directed by Li Zhigong.
1987 was recorded and distributed by Shanghai Recording Society, played by Shanghai National Orchestra, solo by Zhang Suying and conducted by Qu Chunquan.
199 1 and 1997 were selected for the CCTV Spring Festival Gala twice, which was performed by China Radio and National Orchestra, with solos conducted by Wu Hua and Wu.
3. Banhu and the band Qin Opera "Yang Guifei" Suite, written in 1990.
1, Yang's family has a daughter, 2, a dress and a feather, 3, a Yuyang drum, 4, a horsetail woman, 5, and nothing.
1998 was recorded by china national radio, accompanied by the National Orchestra of China Conservatory of Music, solo by Shen Cheng and conducted by Huang Xiaofei. In the same year, it premiered at Beijing Theatre.
4. Concerto for the Great Suona, the Legend of Bao Longtou and Henan Opera, written in 1990.
1, sitting in Kaifeng, 2, dreaming for the underworld, 3, trying for the first time.
1994 was recorded by china national radio, accompanied by the Central National Orchestra, Feng Xiaoquan solo and conducted by Wang Fujian.
1995 The Central National Orchestra performed in Hongkong, Taiwan Province and Hu Bingxu.
1998 The Singapore Chinese Orchestra performed at the Victoria Concert Hall, conducted by Hu Bingxu.
5. Beijing Opera "Legend of White Snake", a symphony suite of Jinghu and the band, was written in 1992.
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1992 The Central Orchestra premiered at the Beijing Palace Theatre, with Ai Bing as soloist and Hu Bingxu as conductor.
1994 participated in the first China Opera Music Competition, won the first prize, played by the Central Ballet Symphony Orchestra, solo by Zhang Suying and conducted by Hu Bingxu.
200 1, selected for CCTV Spring Festival Evening, with Wang Caiyun and Ai Bing solo.
6. Guzheng and Band Cantonese Opera "Lin Zexu's Thoughts" Suite, written in 1993.
1, imperial envoy 2, Lingnan complained 3, Humen destroyed opium 4, Haikou resisted the enemy 5, dismissed and exiled.
1999 premiered in Beijing Jinfan Concert Hall, performed by the National Orchestra of China Conservatory of Music, with Sun Xin as soloist and Liu Shun as conductor. In the same year, it was broadcast by CCTV's "National Music Fragrance" column.