论文部分内容阅读
Huang Xiaohe(Professor of the Musicology Department,the Central Conservatory of Music):Wang Xiling’s Symphony No.4 is a comprehensive work of rich implications.I think the composer made a great leap by transcending his personal mentality and extending it to the whole globe in attempts to contemplate the fate of the entire mankind.What a bold move!So far very few Chinese composers have made such attempts.This one-movement symphony seems to cover all the natural disasters and man-made calamities,domestic and overseas,for the over 100 years since the beginning of the 20th-century (such as wars,turmoil,slaughters,terrors,earthquakes and tsunamis),and discloses all kinds of hardship (such as poverty,diseases,perplexity,devastation,suffering and death) that are being suffered by the people of China and the world.The experience of all these hardship and human sufferings would encourage people to look back at the history and cry out for resistance,and would present a promising prospect which can only be realized by the later generations. Li Jiti(Professor of the Composition Department, the Central Conservatory of Music):To Mr.Wang Xiling himself,Symphony No.4 is another of his forward leaps in comparison with his past compositions.One who has never experienced frustrating fate would never be able to write such good works.Many of the kind-hearted ones have such experience of catastrophe that may arouse resonance among everyone.This is a striking work with Chinese national characteristics.In my view,one who tries to find a good solution to the Chinese symphonic music must deal with the combination between the Chinese and the Western,between the ancient and the present,and between the classic and the popular.If the music were too academic,the public would not be able to understand it;but if too traditional,it would seem too out-of-dated.So the only solution to the Chinese symphonies is to well handle these few intertwining points.I think the works that I heard yesterday are not only of academic features,but also acceptable to the general public,or in other words,are the ones that truly solve the question of the above-mentioned intertwining points. Egidius Streiff(Swiss violinist):I met Wang Xiling in 1999,when I asked him to write a concerto for me.My last visit to Beijing was in 2000,when I was ready to perform the Violin Concerto.But I didn’t make it.This time,I must first say thanks to Wang Xiling for his full trust in me,and also to conductor Tan Lihua and the China National Symphonic Orchestra for their really professional cooperation.Although I am a foreigner,this is not my first time to play works by Chinese composers.In many of the international music festivals, and in music festivals in Switzerland,I got and read quite a few Chinese works,and even played the work by Chinese composer Deqing Wen. I studied the style of Wang Xiling’s Violin Concerto.Though I like Schubert,I like Wang Xiling’s works as well.I hope Wang Xiling’s works and his Violin Concerto in particular be further performed,and be promoted and publicized.
Huang Xiaohe (Professor of the Musicology Department, the Central Conservatory of Music): Wang Xiling’s Symphony No. 4 is a comprehensive work of rich implications. I think the composer made a great leap by transcending his personal mentality and extends it to the whole globe. in attempts to contemplate the fate of the entire mankind.What a bold move! So far very few Chinese composers have made such attempts.This one-movement symphony seems to cover all the natural disasters and man-made calamities, domestic and overseas, for the over 100 years since the beginning of the 20th-century (such as wars, turmoil, slaughters, terrors, earthquakes and tsunamis), and discloses all kinds of hardship (such as poverty, diseases, perplexity, devastation, suffering and death) that are being by the people of China and the world. The experience of all these hardship and human sufferings would encourage people to look back at the history and cry out for resistance, and would present a promising prospect which c an only be realized by the later generations. Li Jiti (Professor of the Composition Department, the Central Conservatory of Music): To Mr. Wang Xiling himself, Symphony No. 4 is another of his forward leaps in comparison with his past compositions. One who has never experienced frustrating fate would never be able to write such good works. Many of the kind-hearted ones have such such experience of catastrophe that may arouse resonance among everyone. This is a striking work with Chinese national characteristics.In my view, one who tries to find a good solution to the Chinese symphonic music must deal with the combination between the Chinese and the Western, between the ancient and the present, and between the classic and the popular .If the music were too academic, the public would not be able to understand it; but if too traditional, it would seem too out-of-dated.So the only solution to the Chinese symphonies is to well handle these few intertwining points. I think the works that I heard yesterday are not only of academic features, but also acceptable to the general public, or in other words, are the ones that truly solve the question of the above-mentioned intertwining points. Egidius Streiff (Swiss violinist): I met Wang Xiling in 1999, when I asked him to write a concerto for me.My last visit to Beijing was in 2000, when I was ready to perform the Violin Concerto.But I did not make it.This time, I must first say thanks to Wang Xiling for his full trust in me, and also to conductor Tan Lihua and the China National Symphonic Orchestra for their really professional cooperation. Though I am a foreigner, this is not my first time to play works by Chinese composers. many of the international music festivals, and in music festivals in Switzerland, I got and read quite a few Chinese works, and even played the work by Chinese composer Deqing Wen. I studied the style of Wang Xiling’s Violin Concerto.Though I like Schubert, I like Wang Xiling’s works as well .I hope Wang Xiling’s works and his Violin Con certo in particular be further performed, and be promoted and publicized.