"Qiu Lai" / "Dong Lai" from Chengde palace music of China's Qing Dynasty
ฝัง
- เผยแพร่เมื่อ 8 ก.ย. 2024
- A performance of "Qiu Lai"《秋来》(Autumn Comes) and "Dong Lai"《冬来》(Winter Comes), two lively pieces from the Qingyin shifan (清音十番) repertoire of banquet/entertainment music formerly performed at the Qing Dynasty's summer palace/resort (承德避暑山庄) in the mountains of Chengde (承德市), Hebei province, northern China. This music was preserved by the Chengde Qingyin Hui (承德清音会) following the dismissal of the Qing court musicians following the Xinghai Revolution of 1911.
Performed by the Cleveland Chinese Music Ensemble of Cleveland, Ohio, United States, with guest artists Mimi Jong and Zhang Wei (张维), the finale of their program entitled "Elegant Sounds from the Palace and Scholar’s Studio: 1,000 Years of China’s Classical Music."
Filmed live in concert at Carl F. W. Ludwig Recital Hall, Center for the Performing Arts, Kent State University, Kent, Ohio, United States, September 24, 2017.
Personnel:
● Jay Xiao - dizi (笛子, transverse bamboo flute with buzznig membrane)
● Haochen Qin - sheng (笙, mouth organ)
● Mimi Jong - erhu (二胡, 2-stringed vertical fiddle with python skin-covered resonator) (guest artist)
● David Badagnani - sihu (四胡, vertical fiddle with python skin-covered resonator and four strings in double courses)
● Rob Hassing - percussion
● Courtney Lambert - percussion
● Shasha Zhu - percussion
● Zhang Wei - percussion (guest artist)
Chengde Qingyin Hui was included as one of 130 traditions in the First Batch of the Hebei Province Intangible Cultural Heritage List (河北省第一批省级非物质文化遗产名录), announced on June 6, 2006. On May 18, 2010 Chengde Qingyin Hui was one of 15 traditions from Hebei province included in the List of Recommended Projects for the Third Batch of the National List of Intangible Cultural Heritage of China (第三批国家级非物质文化遗产名录推荐项目名单), although it was not subsequently selected for inclusion in the Third Batch of the National List of Intangible Cultural Heritage of China in 2011.
Built between 1703 and 1792, the resort, a vast complex of palaces and administrative and ceremonial buildings covering a total area of 2.2 square miles (5.6 square km), took 89 years to complete. The Kangxi, Qianlong, and Jiaqing emperors often spent several months of each year here to escape the summer heat in the capital city of Beijing, and the palace zone in the southern part of the resort was therefore designed to resemble the Forbidden City in Beijing. It consists of two parts: a court in front, where the emperor received high officials, nobles of various minority nationalities, and foreign envoys; and bedchambers in the rear, which were the imperial family's living quarters. For all intents and purposes, Chengde served as the Qing empire's second political and cultural center.
When the Qing Dynasty fell in 1912, almost all of the imperial court musicians were dismissed from their positions and many suffered penury upon their return to society. Tang Xifu (唐锡福), a sihu (四胡) player and percussionist who had been one of the principal musicians in the palace orchestra, in 1920 revived the Qing court entertainment music called Qingyin shifan (清音十番), forming the reconstituted "Chengde Qing Music Society" (Chinese: Chengde Qingyin Hui, 承德清音会). This group used handwritten scores in gongche notation (Chinese: gongche pu, 工尺谱) for 23 pieces, which had been collected from musicians who had been in the court orchestra. This ensemble, which used some of the very same musical instruments that had been used in the palace banquet orchestra (yanxiang yuedui, 宴享乐队), performed mainly for the performers' own enjoyment, but also participated in life cycle events of the area's elite residents, whose enthusiasm for this musical tradition had led to its revival. Performing for weddings and funerals in the courtyards of wealthy families that had formerly been associated with the Qing court, these musicians' efforts were at this time usually rewarded by nothing more than a meal. By the late 1930s the society's roster included 32 people, and for some of its activities up to 40 people participated. During the Cultural Revolution (1966-1976) the palace scores were lost, but, miraculously, handwritten copies of the scores for 16 pieces were later found to have been retained in the private collections of some elderly performers, and the tradition was again brought back to life in 1982.
The term "shifan" (十番, meaning "many kinds," literally "ten kinds") refers to a large ensemble comprising many kinds of instruments, usually including diverse types of wind, string, and percussion instruments. Such ensembles were especially popular for ceremonial and festive music in many parts of China, especially during the Qing Dynasty, and many shifan traditions continue to the present.
Link to the concert program (PDF file):
www.dropbox.co...
See also:
www.bilibili.com/video/BV1F3411T7sS
So beautiful! Thank you artists for sharing this treasure of history & culture with us!!!
Great performance! Making silent scores alive, you set a model for all those who'd like to carry on real traditional Chinese music.
Very sorry we didn't have any plucked instruments for this performance, for proper balance. I was very surprised when I read, a year or two ago, that a few of these Chengde palace scores had survived to the present day, but immediately perplexed why they're not properly celebrated. Zhihua Temple music of Beijing is celebrated in the First Batch of China's National-Level List of Intangible Cultural Heritage, but I don't think the Chengde palace music has even been named to the Hebei provincial-level list. And conservatory-trained musicians across China are likely to have never heard of this music, which is contemporaneous with Europe's great music of the 18th century (Bach, Mozart, and Beethoven).
As to your comment, we actually gave our concert these two titles, which follow your idea of restoring the formerly silent (sleeping?) music:
《 宮樂典雅，庭韻悠揚 -
又弄清音，還拾雅樂 》
The full concert program (in PDF form) can be downloaded at the following link:
tinyurl.com/y93vehrm
I like Qing music. It’s very lively.
You may also enjoy bajiaogu narrative singing:
v=LUeJR0XlHRc
@@dbadagna I don’t think so. I’m a traditional Roman Catholic.
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It is very rare for me to see Sihu in a modern ensemble performance! Is Sihu a common instrument in court performance back in Qing time?
Yes, the sihu (usually called "tiqin" at that time, before that name was transferred to the European violin) was a standard instrument in the Qing Dynasty, in both court and folk music, and in both northern and southern China, among both Manchu and Han people, and that's why I purchased this instrument from Taobao and use it when performing such pieces. The erhu was not introduced to Beijing until Liu Tianhua brought it there in the 1920s--less than 100 years ago.
If you are interested, one other genre of traditional music in which the sihu was used was xiansuo music, many videos of which I have uploaded to TH-cam. Today people assume it is primarily a minority instrument, used by Mongols and Manchus, but until the early 20th century it was much more widely used. Today many shuochang (narrative singing) forms in different parts of China still use it as an essential accompanying instrument (the most famous one being Jingyun dagu of Beijing). You can search my TH-cam channel and put in "sihu," and find many more videos that feature this instrument.
Now I got a clear picture of the instrument! Yes like you mentioned, I used to think Sihu was mainly used in Mongolian music, not knowing the fact of its historial standing. Thank you again for your detailed explanation.