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Introduction to Music Recorded Idyllic Tune Idyllic Tune was composed in 1928 by Liu Tian Hua and the music was intended to portray a vivid picture of leisurely life. For the first time, the composer, who was familiar with idiomatic violin technique, made use of both unusual harmonies and numerous violinistic techniques. The music begins with an adagio melody, succeeded by a series of variations; the second section returns to an adagio gently tinged by sadness. Born in Jiang Ying of the Jiang Su province of China, Liu Tianhua (b 1895-d 1932) was one of the few pioneers of contemporary Chinese composers as well as one of the founders of Chinese instrumental music notation. He was also an Erhu performing artist and music teacher. After learning to play the violin and becoming acquainted with western musical theory, Liu Tian Hua employed his knowledge of western music for the continued evolution of traditional Chinese instrumental music. Weeping River of Sorrow Weeping River of Sorrow was written for the Guanzi, a type of woodwind instrument similar to the western recorder and oboe. The melancholy sound of the Guanzi is similar to that of the human voice. This composition was later arranged as a very popular Erhu solo piece. The music begins in the Erhu’s low register, and then moves through a series of fourths, introducing a mournful theme suggestive of weeping and ultimately leading to an explosion of grief. The last section of the piece is extremely emotional.
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Out of my depth here, I can’t offer much insight into this music, other than to tell you that it’s delightful. The moods range from the exuberant to the sad, but all are appealing. The pieces, composed in the first three-fourths of the last century, probably bear little Western influence, yet fall comfortably on my Western ears. The composition of the ensemble varies from piece to piece, though Yu Hong Mei’s erhu, or Chinese violin, is the constant solo voice. The sound quality is up to Channel Classics standards and thus lets us clearly hear the distinctive instrumental voices. I particularly liked the interaction between the erhu and the yang qin (described as a “cembalo”) on A Bunch of Flowers. But for the not-quite-Western tonality, it reminded me of a Hungarian cimbalom-violin duo. Lovely stuff. “…delightful. The moods range from the exuberant to the sad, but all are appealing…Lovely stuff.”
deze bijzonder decoratieve en onderhoudende muziek verdient gehoord t worden ongestoord door wezensvreemde elementen. Zeker in de voortreffelijke meerkanaalsopname van Jared Sacks.
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