
<<Enchanting Tunes>>
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The High Moon |
A pipa solo piece by origin, the composition was first published in the Hua Brothers Pipa Anthology (1819). The piece is structured into four main divisions with three sub-sections each. The introduction comprises three sections, namely Cold Moon Shining on an Island, Watching the Moon from a Pavilion by the River and Lingering by the Waterfront. The music is sentimental, touching and subtle, depicting the serenity of a moonlit night in a picturesque and poetic manner. Following that, the three sections of The Silver Toad Emitting Hue around the Moon, Autumn Dew fills the Air and The Adorned Beauty of the Moon accelerates the tempo of free rhythm with colourful traits. The next three sections, The Moonlit Sky, The Majestic Heavenly Palace and Crossing the Milky Way marks a distinct contrast to the preceding divisions. The melody is characterized by traditional dance music full of vitality. It strongly captures the audience imagination of a dancing angel. In the final sections of Towering Edifice of Jade, The Glittering Toad Light and Jade Rabbit Sinking in the West are elegant like a dance. The introduction is then repeated, immersing the audience in the beautiful atmosphere of a moonlit night. |
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The Legend of Shadi'er |
Shadi'er was a hero of the Weiwuer tribe in Xinjiang Province during the Qing Dynasty (AD 1644-1911). Although illiterate, he was an excellent composer and singer of folk songs. He used this art as a weapon against the Qing government. His popularity in Xinjiang aroused the fears of the Qing government and he was eventually killed. The Xinjiang folks deeply cherished the memories of Shadi'er and continue to sing his songs up to now. This music piece was composed in an easy to understand style using the traditional Xinjiang tune. |
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The General's Command |
An ancient pipa composition by origin, the work was first recorded in pipa scores collected by Hua Chiu Ping (1818). The tune is forceful and full of vitality of the ancient warriors. The composer took care to depict the majestic warriors and the brave and strong soldiers. The piece adopts lubato, lento, allegro, largo and other tempo techniques to strengthen tits expressiveness. The pipa characteristics in the rhythm are replaced by those of an orchestra. The composer strived to build up the grandeur of the work in the introduction, allegro and ending. In the preface, the composer used largo in the rhythm of the climax. He also extended the allegro. These alterations further strengthened the expressive powers and the logical flow of the composition. |