The lyrics are from the masterpiece Niannujiao Chibi Nostalgia by Su Shi, a great poet in the Song Dynasty. Written by Yuan Feng when he lived in Huangzhou in July in the fifth year (1082). He sang Red Cliff, Zhou Yu and ended up with his own feelings. Singing from the pen into the clouds, the momentum can be compared with "the water of the Yellow River comes from Tianshan Mountain". It can be said that Su Shi, who was politically frustrated, experienced ups and downs and was in a gloomy and complicated mood. Through the comparison between Zhou Yu and himself, he lamented that he had never met his master, his ambition was not paid, and his life was like a dream. His years have passed, so he can only raise a glass to the moon and get drunk to relieve his worries. However, there is no sense of sadness in the ci, but a kind of lofty sentiments and ambitions, which also reveals the author's love for the great rivers and mountains of the motherland.
Zhu Qing focused on expressing heroic momentum and lyrical nostalgia in the original words by means of simple notation. Influenced by Schubert, Wolff and other artistic songs, this work pays attention to the content and artistic conception of poetry, not to the rhyme of poetry, emphasizes the use of music to describe the artistic conception of poetry, and opposes using the rhyme of poetry as a chain to bind music. He thinks: "Rhyme is something that announces the death penalty of music." "The new method of composing music and songs is to play the meaning of that poem with music, not to match the rhyme of that poem with music." ③
On the back cover of the score of The River of No Return, there is an article written by Zhu Qing, the author's words, recalling the birth of The River of No Return:1In the summer of 920, Zhu Qing and his friends rowed to the lake in a thunderstorm for an adventure trip, and their spirit was greatly encouraged. When he returned to his residence, "while listening to the sound of wind and rain and the sound of pines outside, he suddenly had the motivation of this music song." I thought about it all night. After breakfast tomorrow, he sat in front of the piano, made up the motivation he got last night, and then wrote Su Dongpo's "The Great River Never Returns", which is the origin of this music song. " (4) The young master used the writing form of European art songs and opera arias, faithfully conveyed the spirit of the original words, expressed nostalgia by chanting historical sites, accurately grasped Su Dongpo's bold style of "going east, holding the iron plate and singing no return to the river", vividly expressed the artistic conception described in Su Dongpo's poems, and also expressed the composer's feelings of mourning for the past and hurting the present. It is the best embodiment of the theory of "scene blending" in China's classical poetry aesthetic theory since the Song and Yuan Dynasties, that is, "the scene is heartless and lifeless" and "the scene is in love". ⑥
The whole song is divided into two parts according to the format of the upper and lower parts of the original word, and it can also be regarded as a two-part musical form with an end. The first part is "solemn broadboard", which changes the tonality between G major and E minor. Starting with the melody with the singing style of Kunqu opera, using the recitation form of recitation, bold and vigorous melody appears from time to time in the narrative tone, basically one word at a time. Piano accompaniment is ups and downs, which appropriately reflects the bold spirit and emotional appeal of the original words. When singing, you should grasp the hero's heroic mentality, sing the big lines in the phrase, and don't die and lose music during the break. Supported by a solid and positive atmosphere, open the singing cavity of * * and make the voice full and powerful; Articulation should be clear and accurate, the prefix should be clear, the stomach should be full and the suffix should be put away. The line cavity should be round and smooth, so as to give full play to the sense of * * * in the language through the "vowel" in the vowel. Piano accompaniment should echo the singing melody, the keys should be strong and the pedals should be clean. In the interlude from the eighth to fourteenth verses, the composer vividly described the magnificent meaning of "throwing stones in the air, hitting the shore and rolling up thousands of piles of snow" with octaves and chords in an urgent and compact rhythm. Next, the piano accompaniment should be vigorous and dynamic in the "empty" and "cracked" places, and the two sentences of "rolling up a thousand piles of snow" should be sung and accompanied in one go, conveying the spectacular and heroic atmosphere in music.
The second paragraph is "vivid andante", which is basically stable in E major, adopts aria-style melody, has long breath, ups and downs, and is very lyrical and singing. The romantic lyrics depict the inner tenderness of the hero and express the author's yearning for the ancient heroes. The music is soft and elegant, accompanied by a vigorous and sad atmosphere. When singing, the tone should be soft and deep. Breath should be stretched evenly and melody should be coherent and smooth. Articulation should be clear and natural, pay attention to Chinese flavor, and the voice of * * * can be slightly darker than the upper part. Piano accompaniment is an arpeggio that scrolls up and down, full of flowing lyricism. The lyrical passage finally falls on e minor, and there is a long pause, which makes the music intermittent. Here, I want to sing the feeling of death. At the end of the song, "Life is like a dream", when my mood changes, I can't help sighing when I think of myself, and a confused atmosphere of being addicted to pursuit and missing spreads. Finally, I suddenly want to sing "A Bottle Return to the Yangtze River Moon" (ff) in a strong voice. Dramatically pull emotions back to the display and restore the true colors of pride. The singing here should make a strong contrast between the different emotional colors before and after, make full use of the voice of * * *, and pay attention to the strength of the voice and the change of music. This art song is often sung by baritone.
By analyzing the creative background and techniques of the lyricist and songwriter, we can help the singer correctly understand and master the artistic conception of the song "The River Gone forever", better complete the second creation of the song, and reflect the social and cultural value of the song.
Precautions:
(1) Wang Yuhe. History of modern music in China. People's Music Publishing House: Huale Publishing House, second revised edition. Page 20 1.
② Wang Zhenya. Youth song review. Journal of Shanghai Conservatory of Music, No.4, 199 1.
(3) (4) Liang Maochun China's first excellent art song-Zhu Qing's "Gone forever". Music Weekly. 2003. 1.35438+0.7 version.
⑤ Xia Chengtao. Appreciation of Tang and Song Ci. Beijing Publishing House, 2002,438+0. Version 1.
6 wear. On the Development of China's Song Creation in the First Half of 20th Century from the Evolution and Decline of Genre. Artistic exploration. 1995( 1)