This, the 33rd
meetingof theLondon Youlan Qin
Society, was held at the Royal Aademy of Music in London, during the
Chinese Music Summer School.
Introduction
Cheng Yu began the proceedings. We were honoured to be joined by Professor Zeng Chengwei, who once again taught the qin classes.
Professor Zeng then introduced
the first piece he was going to play, Gu Guan Yu Shen
孤馆逾神
(Meeting a Ghost in a Deserted House), which led to a short discussion.
It related to a story about Ji Kang 嵇康, one of the "Seven Sages
of the Bamboo Grove", who is more usually associated with Guangling San 广陵散.
Guangling is the name of a place, but is also a word meaning a wide
burial ground. Ji Kang was there one stormy night, with thunder and
lightning, when several ghosts appeared. They were the spirits of
musicians of the Zhou Dynasty. Gu Guan Yu Shen uses
some special techniques to illustrate the thunder and Ji Kang trying to
frighten away the ghosts.
Music
The following music was played:
Gu Guan Yu Shen
孤馆逾神
(Meeting a Ghost in a Deserted House), played by Zeng Chengwei
Kongzi Du Yi
孔子读易 (Confucius Reading the Book of Changes),
Played by Zeng
Chengwei
Jiu Kuang
酒狂 (Drunken Ecstasy),
played
by Joshua Petkovic
Liu Shui 流水
(Flowing Water), played by Cheng Yu
Xiang Fei Yuan
湘妃怨 (Lament of the Xiang Concubine) played by Charlie Huang
Tian Lai 天籁
(Sounds of Nature), played by Julian Joseph
Dongting Qiu Si 洞庭秋思
(Autumn
Thoughts by Dongting Lake), Played by Dan Nung Ing
Guan Shan Yue
关山月 (Moon over the Mountain Pass),
played by Kazumi Taguchi
Zui Weng Yin 醉翁引 (The
Drunken Old Man), played
by Marnix Wells
Meihua San Nong 梅花三弄
(Flowing Water), played by Brian Cox
Qiu Shui 秋水 (Autumn
Waters), played by Charlie Huang
Shishang Liu Quan石上流泉
(A Spring Flowing over Stones),
played by Julian Joseph
Liang Xiao Yin 良宵引
(Prelude for a Pleasant Evening), played by Brian Cox
Guangling San
广陵散 (Guangling Melody, 1st part), played by Marnix Wells
* All
pieces were played on a qin
made by Zeng Chengwei.
Discussion
The music was followed by a short
discussion and question and
answer session, which may be summarised as follows:
There are many different schools of playing. No matter which branch
of which school, for example Li Xiangting, the Northern qin master, or Gong Yi, Southern
qin master, or Professor Zeng
of the Sichuan Conservatory of Music, all play differently but all
have
good theory behind them.
There are two important things for a beginner to learn: the first is rhythm and pitch. The
correct pitch is important for all qin players, as it is for all instruments. Once you have learned to play the pitch and rhythm correctly,
the next step is to pay attention to the timbre of each note. It
is important to get the
basic technique right before you learn long, complex pieces. It is best
to start with simple pieces and move on to the next when you have
mastered them. One
should not start by learning difficult
pieces, it is important to master the basics first.
The same qin sounds different when played
by different
players. This is because they tackle each individual note in different
ways.
Attention to tone colour is very important.
Q: Old
score don't usually show the rhythm, so a lot of interpretation is
needed. We
now have recordings on CD and DVD of famous contemporary masters which
we can
follow. What is your opinion regarding interpretation?
A: The qin is different from
other musical instruments such as the violin. There are many
different versions of pieces, interpreted by various scholars and
players, each defining
the rhythm according
to their own interpretation and aesthetic
principles. If you like a particular style or
a
particular player's
version of a piece, it is best for you to follow that. But if you wish
to play differently you can: there are no fixed rules specifying the
length of time to play each individual note. However, there is a sense
of
rhythm. Many people think qin music
should be totally free rhythm,
without any structural framework. Marnix Wells commented that although
the rhythm is not free, there is room for interpretation. Cheng Yu
added her view that you follow your teacher strictly; if you want to
play differently, later on you can do your own interpretation (dapu) from the old score.
Q: Professor Zeng said he doesn't like playing with
accompaniment, such as piano.
A: Qin is mainly played
solo: you play for yourself. Which is why, if you want to play a
different version of a piece, you can.
Q: What do you think of silk strings?
A: Until 1972, all qin players
in China used silk strings. Then steel/nylon strings were introduced.
For musicians of Zeng Chengwei's generation, and that of Cheng Yu's
father (a pipa player), it
was strange to
start playing on steel/nylon strings. There are pros and cons for both
materials. For professional players, silk strings break too easily,
and on stage, the lights will cause the tuning to change. But silk
strings are good to use at home. Most players have 2 or more qins,
with different types of strings. Do
not mix strings made of different materials, such as
silk and steel/nylon. This does not produce a good sound.
Zeng Chengwei discussing Gu Guan Yu Shen
Charlie
Huang playing Xiang Fei Yuan
Joshua
Petkovic playing Jiu
Kuang
Copyright the London Youlan Qin Society, 2008. All
rights reserved.