I think I must have heard or read information about A Bing before. Why else do you know each other so well and take so long? As if waiting, waiting for the end. Or wait for another start.
Music is sometimes climax, sometimes slow, sometimes uneasy, sometimes calm, sometimes restless, sometimes feminine, or fleeting joy, as if listening to the aunt next door telling endless human joys and sorrows. Whenever the music plays, you look around every corner, and it seems that there are hopes of flowers and birds buried.
If you comment on Erquan reflecting the moon, you can't help talking about A Bing. When I was looking up this information, I came across this sentence: If A Bing was not blind, he would never have created such a work. In a way, this statement makes sense. But what is blindness? Visually speaking, A Bing is blind. But his heart is like a mirror and he looks at the world with his heart. The visual absence made him unable to see the hustle and bustle of the floating world, and also made him lose the desire to swim in the darkness and his own music world.
In his music "Two Springs Reflecting the Moon", there is no noise or desire. You can only hear one thing flowing into your heart, and then it is a kind of moving, inexplicable moving. In the noisy world, I have never really listened to my heart. I don't know what I want, so I just let it go. It seems that life is like this, and it should be like this. No, it's nothing.
Music can create the soul, and it is the portrait and oasis of the soul. Living as a busker is magnanimous. At this time, music is the tool for him to make a living, and it is also the only soul and soul that he can rely on. It is music that supports the belief of life. It is music that keeps the auditory judgment that can still see everything in the dark world. In A Bing's mind, there is enough, no need to shout, no need to rush, just a quiet mountain spring flowing, with an incredible power, spreading endlessly.
Music can also awaken the soul. People must be pursuing something when they come into the world. Love? Family? Or does life bring fame and fortune that death does not take away? It seems to have everything. Never stop and think carefully: what do you want? Never thought that college life could be different? Absenteeism, smoking, sleeping, surfing the Internet.
I have hardly heard of A Bing's works. But I know that he chose silence and silence in this song. He belongs to that troubled times and was swept down before sinking into the waves. He should be like the people of that era. But he is still struggling, just trying to breathe, in his music. I don't know how to carve the soul of China's music.
In contrast, it is difficult for modern people to appreciate the "quietness" in A Bing's mind, not because of lack of understanding, courage and self-confidence, but because of another kind of helplessness, life pressure and emotional impetuousness. How can I not be impetuous?
In order to fully understand my feelings, I listen to them again and again at night, as if I saw: in the silent night, in the art stalls, in the streets and lanes, people seemed to hear the moans of weeping blood coming from the distant lake. The dark and sparkling lake is strange and mysterious, and the story floating on the lake is unconscious and not disturbing, like dream a dream, but also like waking up. It turns out that in this world, you can have nothing. As long as you are really alive, feel it with your heart.
I know I can't fully understand the feelings on this string. The music played on his strings clearly printed his life and almost represented the joys and sorrows of people in an era. He groped silently for his hands with trembling chords, witnessing everything and printing everything, including himself. People and things that seem deep and dignified are calm, and eventually they are calm as time goes by, until people save their prosperity, take away their impetuousness, disappear their glory and dilute their suffering.
I think I can understand his feelings: listening is carefree, and only after putting it into it can I really feel its longer, more precious and long aftertaste. In this sad, smooth, euphemistic and far-reaching music, not only sad feelings and high-spirited indignation are revealed. It is also the author's love and yearning for life. At this time, the deep, sometimes agitated, sometimes sad, sometimes proud melody deeply shows the author's bitterness, pain, injustice and resentment. At the same time, it also expresses the author's openness and ignorance of life.
Thoughts on Listening to the Fourth Movement of Beethoven's Ninth Symphony
The Ninth Symphony is the pinnacle of Beethoven's later years. Until today, whenever we hear the familiar fourth movement (Ode to Joy), we will still be deeply moved by the magnificent music, and at the same time we will surrender to the moral concept that the master advocates human freedom revealed in the music.
Beethoven lived in the era of 17- 18, which was the seesaw era of bourgeois revolution and counter-revolution restoration in Europe. The ideal of heroism and the moral standard of pursuing freedom and liberation run through the master and most of his symphony works. Among them, the third symphony vividly expresses the master's infinite admiration for the hero; The fifth symphony is an indomitable narrative of the master's struggle with fate. The ninth symphony vividly depicts the master's beautiful vision of freedom.
Today, let's enjoy the fourth movement (Ode to Joy) of the Ninth Symphony, an extraordinary masterpiece of the master.
In the first three movements of the ninth symphony, the master expressed a more complicated emotional and psychological struggle process than the fifth symphony by highlighting the skills that major is superior to minor (human nature is suppressed and people strongly demand freedom and liberation). In the fourth movement, the master turned the symphony into a philosophical code and personal expression (Schiller's ode to joy almost represents Beethoven's own moral concept), and then sublimated from the idealized self level to embrace all mankind.
"Ode to Joy" was a drama recitation before, which first called the important themes of the first three movements one by one, and then new themes appeared, first played by cello and double bass, and then announced by the whole orchestra. Suddenly the baritone soloist exhorted loudly, "Oh, friends, don't make such a noise!" " "It seems to claim that although the orchestral interpretation of this theme is beautiful, it is still not enough. He began to sing Schiller's words with a new melody, and the chorus joined in.
This famous theme, with ordinary rhythm, is the kind of tune that women and children know. Perhaps this is the master's hint that the noblest and most beautiful things often appear in the most ordinary places (which is why future generations can't surpass the Ninth Symphony).
In Beethoven's mind, universal humanity is the most important; The highest moral truth-the joy of embracing brotherhood and the fear of the creator-is meaningful only on the basis of universal humanity. For this reason, the master specially arranged a tenor solo March here, accompanied by Turkish musical instruments, and performed a heroic and fearless heroism for the ideal.
What is most worth mentioning is that in the joyful finale of Ode to Joy, the master mixed all the instruments and sounds in the orchestra, which became a tribute to the freedom and liberation of human nature and love, and pushed the whole fourth movement and even the ninth symphony to the extreme and happy ocean!
< House of Flying Daggers' is a famous large-scale pipa with magnificent momentum and vivid artistic image. It is the pinnacle of Pipa Wu Qu. Its structure is complete, and it perfectly expresses the famous Chu-Han war in ancient and modern times in the way of musical narration. Pipa's playing skills are fully demonstrated in this song, and the gripping melody makes the listeners all excited and excited. Up to now, flying daggers is one of the most popular pipa music in various concerts. 1997, China held a large-scale literary evening "Ode to the Return" in the Great Hall of the People to welcome Hong Kong's return. Liu Dehai, a famous pipa player, played an excerpt of this pipa in the evening, showing the immortal charm of this classic.
Pipa music can be divided into two categories, namely, literary music and martial music. This is mainly divided according to the difference of spiritual temperament, similar to the difference between masculine beauty and feminine beauty. Ten Faces is Wu Qu's masterpiece.
This song is based on the fact that when Chu and Han fought a decisive battle in Gaixia (now southeast of Lingbi County, Anhui Province) in 202 BC, the Han army ambushed on all sides and completely defeated the Chu army, forcing Xiang Yu to commit suicide in Wujiang River.
Gaixia decisive battle is a famous battle in the history of our country. At the end of Qin Dynasty, Liu Bang's Han army and Xiang Yu's Chu army fought for the Central Plains and dominated the world. By 202 BC, Chu and Han had been at war for several years. At the decisive battle of Gaixia, Liu Bang surrounded Xiang Yu's10,000 people with the absolute advantage of 300,000 troops. In the middle of the night, Sean played the flute and the soldiers sang Chu songs, which made the Chu army feel cornered, forcing Xiang Yu to lead 800 cavalry to break through and flee overnight, while the Han army pursued them with 5,000 cavalry, and finally launched a duel on the Wujiang River. Xiang Yu committed suicide by drawing his sword because he was outnumbered, and the Han army won a great victory. Pipa's Ambush on Houses shows the fierce situation of this ancient war by means of music, which is a vivid and touching sound and picture of the ancient battlefield.
As early as the end of16th century, Wang Youding of Ming Dynasty recorded the vivid scene of Tang Ying, a famous pipa player, playing Chu and Han in Four Zhao Tang Ji. The article writes: "A Song of Chu and Han", the two armies dueled, the heavens and the earth moved, and the tile house flew down. Let's look at it, there are golden sounds, drums, swords and crossbows, and the sound of horses and chariots. Over time, those who have grievances are difficult to understand, and they are Chu Ci; Those who are sad and strong are Wang Xiang's elegy and generous voice, don't say goodbye; Trapped in daze, there is the sound of chasing horses; To Wujiang, there is the throat of the king; I rode my horse to fight for Wang Sheng, which made the listener feel excited at first, and sad at the same time, and finally cried. It's so touching. "This passage shows that the content, structure and musical image of House of Flying Daggers are generally consistent with those described in Chu Han, which proves that it has a very long history.
The House of Flying Daggers was first recorded in the book Pipa Music edited by Qiu Ping (a native of Wuxi, Jiangsu) published in 18 18, with the title of House of Flying Daggers and the title of Biography of Wang Junxi in Zhili. The whole song is divided into thirteen paragraphs, each of which is preceded by subtitles:
(1) open the door and shoot (2) blow (3) swing (4) array (5) ambush (6) skirmish (7) shout (8) war (9) defeat (10) Wujiang River (1/kloc-0)
Li Fangyuan edited, and in 1895 (the 21st year of Guangxu in Qing Dynasty), he published Thirteen New Proses of Daqu Pipa from North and South School, renamed Huaiyin Pingchu. Divided into eighteen sections. At present, the epidemic spectrum of house of flying daggers is divided into different segments, ranging from nine to twenty-four. But no matter how many songs there are, the music content is similar.
Pipa song "House of Flying Daggers" adopts the traditional large-scale divertimento structure in China. The popular whole song * * * has thirteen short paragraphs, and each short paragraph has a very general title. These titles are: 1. Camp; Second, blow; Third, key meetings; Fourth, formation; Fifth, go to the team; 6. ambush;