Author: Li
Everything has its development process, and the violin in our country is no exception. China's violin playing level is remarkable internationally, and our teaching methods are also recognized abroad. How did this road come from? This requires our violinists, educators, theorists and music masters to seriously think about and sort out their own research. I regret not caring about this for many years. I always thought this was something that many people experienced personally. I didn't expect many people to die in an instant, so I can't ask. Therefore, it is necessary to write down everything I know and hear. Because my memory is vague, the legend may be wrong, and mistakes are inevitable, for reference only.
Western musical instruments gradually spread in China after Yuan Shikai practiced in a small station in the late Qing Dynasty. From the imperial palace in the Qing Dynasty to the presidential palace in the early Republic of China, there were playing bands, including small bands dominated by violins.
As long as I can remember (about 1920), I saw the orchestra of the Grand Presidential Palace at the wedding of a senior official in Beijing, and I was deeply impressed by that set of stringed instruments (especially the big bass) of different sizes. I once listened to the band leader (Wang Hanqing, Zi Tingxuan) playing the piano. Besides some Beijing opera tunes he played, I was surprised by many strong chords and double tones he played.
At that time, the training for performers was to invite foreign teachers to teach, and select or gather some poor teenagers from poor Children's Home to start training. Like training new recruits, cultural courses and music theory courses are rarely managed and lack comprehensive training. People call them military musicians. I remember that Zhang Zongchang, a great warlord, once set up such an orchestra in Shandong, and invited Belarusian teachers to train. Later, when Zhang Zongchang fell, the Kuomintang government took over and moved to Nanjing, and changed its name to "Nanjing Municipal Government Military Band". The Belarusian teacher disappeared and the band was in pieces.
In the early years of the Republic of China, school music education rose and people became interested in foreign music. From the 1920s to 1930s, world-famous violin masters also performed in China. For example, 1923, Chrysler held several solo concerts in China, including Beethoven's Cretesel Sonata and Mendelssohn's Violin Concerto in E minor. Later, Hafez, Thibaugh, Goldberg, Tianjin, Barister and Sigetty performed in China. It is worth mentioning that Ma Sicong toured the whole country during this period. 1936 his first concert in Peiping was held in Beijing Hotel, accompanied by Professor Gupuka from Tsinghua University. At that time, music lovers in Beiping were proud that we China people had such a high-level violinist. Ai Erman was the last person to come to China before the Anti-Japanese War. I remember Ai Erman's performance in Beiping, which coincided with the "Xi Incident". After that, the anti-Japanese United front developed greatly. In the upsurge of uniting against Japan, Comrade Lu Ji went to Beiping to form the "Beiping Song Club", which set off a hot anti-Japanese singing climax. On the day of ellman's recital, Lv Ji and I both went, and we also met several comrades of "People First" and "Student Union". As soon as ellman took the stage, he blew his horn like a trumpet, which shocked and excited me. It's a broken chord in D major, starting with Mozart's violin concerto No.4 in D major.
During the ten years from 1923 to 1937, so many world-renowned violin masters performed in China, which inspired many young people who love music to learn violin. 1920, Beijing Women's Teachers College established the Music Department; 1922, Music Studio of the High School Attached to Peking University. Later, many universities in China set up music departments. Later, Shanghai Conservatory of Music, Guangzhou Conservatory of Music and Fujian Conservatory of Music were established one after another, requiring high-level teachers to train professional violinists. At this time, many high-level violinists came to work in China due to the turbulent situation of the European War and the Russian Revolution. In Beijing, there are: Tonov (he is a student of Orr, who has worked in China for nearly 40 years, and his students are all over the country, such as Liu Tianhua, Xian Xinghai and Zhao Niankui. Prolovsky (He worked in China for 40 years, and his early students were Li, Li, Li, Li, Li, Li, Li, Li, Li, Li, Li, etc. ), and Europa (he is also a student of Orr, who has worked in China for more than 20 years and has many students, and is famous in Jinghu. Chief and conductor of the band of the Ministry of Industry and Information Technology, working in China for 3 1 year. Most of the early graduates of "Music Major" came from his school, such as Chen Yuxin and Dai Huilun. ), Pu Dushka (worked in China for about 30 years, from the Kus Veschi Orchestra of the Tsar, and taught in the Changzhou Youth Class of the National Conservatory of Music in his later years. Until the founding of the People's Republic of China, many old members of the Central Orchestra were from his school. He has been in China for more than ten years, and he has also taught in Changzhou Children's Class of the National Conservatory of Music. At present, many key members of the Central Orchestra are from his school) and Li (from St. Petersburg, a member of the former Soviet Union without a conductor band, and have worked in China for nearly 30 years. He used to be a professor at Shanghai Conservatory of Music and the second violin chief of the Ministry of Industry and Information Technology. Among his students, there are many important influencers, such as Situ Xingcheng, Huajian Brothers and Dou. In Harbin, there are: Tlach Tienberg (once the chief of Zhongdong Road Orchestra, with many students. For example, M Stern, who later became the chief of Berlin Philharmonic, also came from his school. Techtenberg teaches in Beijing and has worked in China for about 30 years) and Sidlov (once a teacher of the famous North Korean violinist Bai Gaoshan).
In addition, foreign violinists who have worked in China are particularly worth mentioning. They are: Ginzberg (1worked in Harbin, Shanghai and other places in the 1920s, and later served as the head of the American Philadelphia band and the director of the Juilliard School), wittenberg (a student of Iokhim, a famous professor at the Stern School of Music in Berlin), and1many famous violinists from China who were driven out of Germany by the Nazis and came to Shanghai in the 1930s. Worked in China 13, died in Shanghai 1952). Most of the older generation of violinists and educators in China came from these teachers. These teachers devoted the rest of their lives to the early violin teaching in China, and most of them buried their bones in our land.
Many early violinists in China came back from studying abroad, such as Ma Sicong, who is familiar to everyone, and Stuart Meng Yan, who returned to China on 19 15, are experts in shipbuilding. He is good at violin, playing and teaching. He first used the violin in Cantonese music and developed the erhu of Cantonese opera to Gao Hu. He is also the earliest violin manufacturer in China. Until War of Resistance against Japanese Aggression, there were few violinists in our country, and their skills were not very popular. The soloist Malik Sicong is only a minority. Most of the foreign teachers teach piano in colleges and universities, and there are also a few China people, such as Liu Tianhua (who once taught in the Music Department of Beijing Women's Normal University and Beijing Art Institute, mainly teaching China music and also teaching violin) and Ma Sicong (who once taught in the Music Department of Nanjing Central University). At that time, the concert performances were all amateurs, and the repertoire was mostly comprehensive (including vocal music, etc.). There is no violinist who plays the violin for a living. Professional bands, except those of Shanghai Industrial and Commercial Bureau, are all foreigners. From Qing Palace, Beiyang Government to Nanjing Municipal Government of Kuomintang Government, they are all ceremonial bands with military music as the mainstay, with few strings and extremely low pay. Musicians organized some amateur bands, but for a short time and at their own expense. Violinists can only make a living by private school students or finding other jobs.
During this period, two books were published, The Violin Playing Method written by Feng Zikai and Meng Meng and The Place where Bittorf Ski lives translated by Zhang Hongdao. They have given great help to violin lovers who are far away from big cities and can't find a teacher. In the 1920s and 1930s, violin manufacturers appeared in China. In addition to the above-mentioned Stuart (the piano he made is still in the hands of his children), there are also, Li Xinzheng, Tan and so on.
After the outbreak of War of Resistance against Japanese Aggression, a surging anti-Japanese singing movement was launched in urban and rural areas across the country, and the scale of instrumental music activities was relatively expanded. Therefore, the violin was also introduced to the rear and base areas. In conservatories of music, violin teachers in China undertake all the teaching tasks, while some colleges offer baby classes to train talents for the new era. In the rear area, a small-scale orchestra, the China Symphony Orchestra, appeared, and the violin was gradually used by propaganda teams and art groups in the base areas and even behind enemy lines. By the time of the Liberation War, the Central Orchestra was established in Yan 'an, the Lu Yi Music Troupe was established in the northeast, and the violin was also widely used in art troupes in various liberated areas.
It should be said that the real in-depth and extensive development of violin was after the founding of the People's Republic of China. At first, there were only three conservatories in China. After the founding of People's Republic of China (PRC), seven conservatories of music have been established successively, and the provinces have also set up art colleges and music departments and departments in normal universities. The Central Conservatory of Music also invited experienced violin teachers from the Soviet Union, such as Mish Kanski, makarenko and Belekin. The original teaching staff has been significantly improved in the process of communicating with Soviet experts, and the college has established new teaching methods, syllabus, systems and systems, which have changed the past teaching methods that lacked systems and were so-so. In addition, China also sent some overseas students to study in the Soviet Union, Hungary, Romania and other countries. After returning to China, these foreign students have enriched the teaching staff and improved the teaching quality. The original Shanghai Symphony Orchestra has more than doubled to become a complete symphony orchestra. A large central orchestra was established in Beijing, and German and Soviet experts were invited to help with the work. Orchestra has been established in Xi and Guangzhou, and song and dance troupes in all provinces and cities in China have orchestras of various sizes.
From the 1950s to the early 1960s after the founding of the People's Republic of China, world-famous violin masters performed in China: David Austera, Ke Gang, Nova Barry, kerimov, Pickering, Schmohl Zoyeva, Satulesky, voicu, Suk, etc. Since 1969, teachers such as Stern, Mei Niuyin, Xavier Stern, Yida Gandel, Jia Zhi, Moyer, Taylor Fu Sen and Trizi Iacov have performed in China successively, and their performances have spread all over the country. They not only hold recitals, but also perform concertos with bands from all over the country. The scale, scope and influence are far from those in the 1920s and 1930s.
Our violin artists have finally stepped onto the international music stage and won prizes in the most important competitions in the world (such as those named after Isiah, Karl Frazies, Paganini and Pyotr Il'yich Tchaikovsky). I remember 1985, when I was watching the Mei Niuyin violin competition in Paris, when I heard Zhao Xi of China playing the violin concerto "Butterfly Lovers", several judges narrowed their eyes and said "It's beautiful and charming" and gushed with admiration. Lv Siqing, a young violinist from China, and Luo Xiaofeng, a Soviet student, had the same reaction when playing this piece in Canada and the Soviet Union. This not only shows that our playing technique has developed to a high level, but also has our own playing style and characteristics. These achievements strongly show that after more than half a century of exploration and accumulation, we have finally embarked on the road of advancing side by side with high-level violinists from many countries in the world, and gradually formed our own teaching system.
It is necessary to analyze and summarize how the road of more than half a century has come, collect and sort out the historical materials of the past 60 or 70 years, find out the facts and reasons of its gains and losses, and sum up a set of teaching systems and methods with its own characteristics.
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