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Structures such as the Great Wall or the Terracotta Army are static, unchanging; they are there, and you cannot do much with them. An art form such as the qin, on the other hand, can be exploited and developed. Old qin scores already represent fully developed artistic compositions. Nevertheless, they have been further developed over the centuries. For example when the piece Xiao Xiang Shui Yun (Mist over the Xiao and Xiang Rivers) was first published in 1425 it had 10 sections, which were expanded to 18 by the Qing Dynasty. This is a special feature of qin music - a score by Bach, for example, or Beethoven, is fixed, and does not change over time. This may explain why qin has had an unbroken history of 3000 years: the music is constantly developing. Nowadays, although we do not change the old qin scores, performances do keep changing. We need to appreciate what people have done for the qin in the past and not misinterpret or distort it. The music of Mozart and Beethoven has spread over the whole world, as have the poetry of Li Bai and Du Fu and the works of Confucius and Laozi. We would like to do the same for qin music. Now people from many nations - Britain, Germany, India have seen and heard the qin. Its future should be bright.
The piece Xiao Xiang Shui Yun (Mist and Clouds over the Xiao and Xiang Rivers) does not simply describe scenery, it also expresses the composer's love for his country. Liu Shui (Flowing Water), too, expresses strong feelings, and so should not be played too quietly, as some players do. Even the harmonics should be clear and loud.
We want to develop the qin for the benefit of future generations. We wish to keep the best from the past, but there is also a need for new pieces. Development occurs in two separate directions: (1) preserving the old pieces (2) composing new ones. New compositions for the qin are scarce. Every time Profesor Li performs, he is asked whether there are any new pieces for the qin. In every century, contemporary qin playing has reflected the styles and history of the period. If it doesn't do that now, then one might as well just listen to old recordings. All art forms must develop over time.
Some people think the more exclusive and intellectual the qin is, the better. In fact the opposite is true. It is important not to keep it on such a high intellectual plane, otherwise nobody will want to explore it.
Q: Was any music written for qin with other instruments?
A: Compositions were not written specifically for accompaniment.
However, qin could be played either for oneself (solo), or accompanied.
These were two distinct styles. When accompanied, the technique is simpler.
10 to 30 qins were at one time used in large orchestras, but the
instrument is most suited to solo playing. There have been many famous
qin
players in the past, some of them paid musicians teaching the qin
professionally in noble households.
Q: If it is too difficult to compose new pieces specifically
for the qin, can pieces be transcribed from other intruments?
A: Yes, but with limited success. Transcribed pieces lack depth.
Q: Is there a tradition of qin with vocal music?
A: There were many pieces specifically for qin and voice
in the Ming Dynasty. Many qin players had to be able to sing all
these pieces. Not many people can sing qin songs (qinge)
now, or even want to. 50 years ago, master Zha Fuxi (1895-1976; China's
first minister for aerospace) was the only person able to do this. Indeed,
he was the only person within the last 100 years who could do this. Li
Xiangting improvises qin songs "free style".
Q: How old are the youngest and oldest students of the qin?
A: The youngest is 7 years old; the oldest, during the 1980's,
was in his mid-60s.
Q: There are many old qin scores that are never played.
Commercial recordings are almost always the same few pieces. What is your
view on this?
A: The revival of the qin is just beginning. There has
not yet been time to learn all these forgotten pieces, so most of them
are never heard. When Professor Li performs, all the "core" pieces are
new to his audiences. So he sticks to these. Eventually, when everyone
has heaerd them, he will need to learn new pieces. In China, his concerts
are divided into two parts: in the first part, he plays the classic pieces;
in the second part, he asks the audience to suggest a theme for him to
improvise on. Often, people will come to the concerts to try to test him,
and find themes that are extremely difficult. At the same time, they are
exposed to the traditional repertoire. He started doing this in
the 1990s, in Taipei.
Professional players need to practise 2-3 hours per day. To reach an advanced amateur level, you need to practice for 1-2 hours a day for about 5 years. In addition, you need to listen to qin music by other players, as well as to other instuments, for example Chinese folk music, so as to broaden the scope of your musical knowledge, therby improving your understanding of qin music.
One thing that is unique to qin music is that some of the deepest and most profound pieces are among the technically simplest, e.g Qiu Feng Ci (Ode to the Autumn Wind), Yi Guren (Memories of an Old Friend), Yangguan San Die (Three Variations on the Yang Pass theme). These simple pieces can be played in a concert. In Western music, the most profound pieces are usually also the most difficult to play.
Q: Is it true that qin music has no beat, as some people
say?
A: No, this is a mistake. The qin is a very disciplined
instrument. Even "free rhythm" has a strict discipline. Some people just
know how to play but don't realise the importance of keeping to a rhythm.
Q: Is it true that there is a maximum age at which one can start
to learn the qin?
A: Even over 60 is not too late. Neither is it true that a player
is at his/her best at the age of 75.
To mark this special occasion, it was decided to take a vote on a theme
for Professor Li to improvise on. Four were suggested: English music, Jealousy,
English girls, and A Midsummer Night in London. Jealousy had the most votes.
The resulting piece of music was short (because jealousy should not be
felt for too long), jarring, and very apposite. He then played a second
improvisation on the theme of A Midsummer Night in London. This reminded
him of a Tang Dynasty poem, and he sang improvised words based on it while
he played. This was a beautiful, haunting piece. A fitting way to end a
most interesting, enjoyable and memorable meeting.
Copyright the London Youlan Qin Society, September
2004. All rights reserved.