This, the 14th meetingof theLondon Youlan Qin
Society, was held during the Chinese Music Summer School at the Royal
Academy of Music, London.
Programme
Zeng Chengwei: talk - "The Shu (Sichuan) Style of Qin Playing"; Kongzi Du Yi
(Confucius Reads the Book of Changes), Liu
Shui (Flowing Water)
Julian Joseph: Yu Nü Yi
(Prelude to Jade Lady Mode), Huan
Pei Ying Feng (Heavenly Jade Jangling in the Breeze)
Stephen Dydo: Pu'an Zhou
(Incantation of Pu'an)
Charlie Huang: Meihua San Nong
(Three Variations on the Plum Blosson Theme)
Christopher Evans: Jiu Kuang (Drunken
Ecstasy)
Tsai Tsan-Huang: Guanshan Yue (Moon Over the Mountain
Pass) [sung]
Introduction
Cheng Yu began the proceedings by introducing our guest speaker, qin master Professor Zeng
Chengwei. She also
introduced our other guests, including qin scholar Xiao Mei from
Shanghai and composer Peter Ferguson.
The Shu (Sichuan) Style of Qin
Playing
by Zeng Chengwei, interpretation by Marnix Wells.
There are a number
of different schools of qin music,
generally separated by
region. That of Sichuan is one of the most important. The old name for
the northern part of the province was Ba; the western part (in which
Chengdu is located) was called Shu. During the Three Kingdoms period,
Liu Bei established the kingdom of Shu. The name Sichuan came into use
about 1000 years ago during the Song Dynasty. The Sichuan school of qin playing is usually referred to
as Shupai, but can also be called Chuanpai, preference being given to
the older name. It is closely associated with the culture of the
region. many famous literary figures, such as Sima Xiangru and the Tang
poet Li Bai. The qin has a
history of at least 2000 years in Sichuan.
In the Western Han Dynasty (206 BC-24 AD), Sima Xiangru wooed his
bride by playing the piece Feng Qiu
Huang (The Phoenix Seeks His Mate), which he composed. As she had
already been married but widowed, this went against the Confucian
morals
of the time, but perhaps because of his exceptional talent for qin playing, he got away with it.
He wrote an essay which mentioned several famous qin pieces - such as You Lan (The Solitary Orchid) and Bai Xue(White Snow). He mentioned various
playing techniques that could be used to convey different feelings,
from serious to more free playing styles. He held a high position in
both qin and literary
circles. He had a famous qin called
Lu Yi (Green Silk). It was so
famous that Lu Yi became a
generic term for a qin. Li
Bai used the expression in several of his poems.
Pottery figures and paintings found in graves from the Han Dynasty
often depicted qin players.
In the Tang Dynasty (618-907 AD), Li Bai was both a great lover of the qin and a frequent visitor to
Sichuan.
He wrote many poems about qin.
In this way he made friends, whom he would meet and play qin with under the moonlight. In
one
poem, he says farewell to his friend and asks him to return the
following night with his qin.
In another famous poem, he celebrates the qin playing of a monk: listening to
him was like hearing waterfalls on Mt Emei. In 700 AD a prime minister
of Empress Wu Zetian was banished to Sichuan, where he met a number of
famous
qin players.
Not only did playing techniques become very highly developed during the
Tang Dynasty, so also did the art of qin
construction. By the Tang
Dynasty, qin making had
become popular. The main materials (zimu
- purple sandalwood, tongmu -
parasol tree/pawlonia, and silk) were all to be found in Sichuan, so it
was ideal as a centre of qin manufacture.
The leading qin making
family of the period, the Lei family, was in
Sichuan. The famous Chun Lei
(Spring Thunder) qin was the
favourite qin of emperor
Huizong, a great patron the the arts, who was
said to have 10000 qins (in
his Hall of 10000 Qins). When
the Jin overthrew the Northern Song, the emperor had this qin put into
his tomb.
There is a close connection between the making of qins and playing technique. The
famous poet, writer and politician Su Shi said strings very close to
the
soundboard, make the instrument very easy to play. Someone gave him a qin
as a family heirloom. He was a connoisseur of qins who once criticised a friend
for playing too fast. A qin must
be played; it won't sound if it is just put into a box. Qin is the interaction between a
person's mind and the instrument.
There were a number of famous players during the Ming Dynasty (1368-164
AD).
The Qing Dynasty (1644-1911 AD) was generally considered a period of
decadence, but
for the qin in Sichuan it
was a time of great develoment. It was during this period that Zhang
Kongshan
published his great work, the Tianwenge
Qinpu, which contained some 80 qin
pieces he had edited. The most
famous of these are Liu Shui
and Zui Yu Chang Wan (Evening Song
of the Drunken Fishermen). He
greatly enhanced the Shu style of qin
playing and did much to propagate it. In a Tang Dynasty description of
other schools, one was described as being like a beautiful woman,
another as strong and martial. The Shu school is strong and fast. In
the Yuan Dynasty (1261-1368 AD), there was a famous prime minister
called Chu Sai, who said the Shu style was fast and beautiful to listen
to. Many people still say this today. You can hear the strength in the
playing. This style has been preserved, and Liu Shui is a classic example.
Zhang Kongshan developed his Liu Shui
by direct contact with nature. Sichuan is full of mountains and
torrents of water. He developed several new techniques, which Professor
Zeng demonstrated:
Da dayuan ("large striking circle") - differs
from a normal dayuan in that
the tiao are played across
3 strings, not just a single one. This is
much more expressive of flowing water. Other schools use a normal dayuan in Liu Shui.
72 gunfu ("rolls")
- starts with the index finger, then uses the middle finger. Normal gunfu as used by other players in Liu Shui use the ring finger and
not the middle finger.
Slides across all 7 strings
simultaneously
Bairou -
Most players use a normal rou.
The piece caused a sensation when it appeared, and spread across the
whole of China. It is powerful, yet tranquil.
In addition to inventing new techniques, Zhang Kongshan also used
existing techniques in new ways which could describe people's character
and attitudes. For example in Zui Yu
Chang Wan, the peresonality of a drunken man comes across
clearly. When listening to Kongzi Du
Yi, you can almost see the old man poring over his book. In his
later years, Confucius became fascinated by the Yi Jing (Book of Changes), and
would spend hours poring over it.
Professor Zeng then played Kongzi Du
Yi and Liu Shui. After
that, members of the London Youlan Qin
Society and guests played.
Stephen
Dydo playing Pu'an Zhou
Christopher
Evans playing Jiu Kuang
Copyright the London Youlan Qin Society,
2005. All
rights reserved.