Liu Guanle, a flute player. His works have a wide range of subjects, rich content, unique characteristics and far-reaching influence. Before his death, he was a member of the Tianjin Municipal Committee of the Chinese People's Political Consultative Conference, a member of the Chinese Musicians Association, an honorary director of the Tianjin Branch of the Chinese Musicians Association, and a first-class actor of the Tianjin Song and Dance Theater.

Introduction

On January 24, 1918, Liu Guanle was born into a poor peasant family in Anguo County, Hebei Province. Under the nurturing of this hometown of singing, which is full of the sound of music, Liu Guanle has shown his love for music since childhood, especially his insight into national instrumental music, which often amazes the villagers. From the age of 10, Liu Guanle began to learn to play the flute under the guidance of his teacher. In just one year, he was able to play several sections of Kunqu Opera and "Down with the Powers" and other progressive songs that were widely circulated at that time. When he was 12 years old, because his family had no money for him to go to school, he had to drop out of school and go to Beijing to work as an apprentice in a small shop. But he could not forget his flute, so when he returned to his hometown two years later, he was introduced by a monk and continued to learn the flute, pipe, suona and other musical instruments. At the same time, together with the master, he lived a wandering life of running around and experiencing hardships as a group performer.

On the evening of May 27, 1990, Mr. Liu Guanle, who was 72 years old, passed away suddenly in Tianjin. Since then, China has lost another famous flute player. This sad news made the Chinese folk music circle cry for it. Old friends, colleagues and students from all over the motherland came in a hurry to say their final farewell to the master of flute art they love, respect and admire. In the deep sad music, people seem to see the handsome and slender figure on the stage again, and think of his whole life dedicated to Chinese flute art.

life

Under the nurturing of this hometown of singing, which is full of the sound of music, Liu Guanle has shown his love for music since childhood, especially his insight into national instrumental music, which often amazes the villagers. From the age of 10, Liu Guanle began to learn to play the flute under the guidance of his teacher. In just one year, he was able to play several sections of Kunqu Opera and "Down with the Powers" and other progressive songs that were widely circulated at that time. When he was 12 years old, he had to drop out of school to go to Beijing because his family had no money for him to go to school, and became an apprentice worker in a small shop. But he could not forget his flute, so when he returned to his hometown two years later, he was introduced by a monk and continued to learn the flute, pipe, suona and other musical instruments. At the same time, together with the master, he lived a wandering life of running around and experiencing hardships as a group performer.

The poverty of his family did not obliterate Liu Guanle's persistent pursuit of art, and the rough life further forged his upright and stubborn character. When the Japanese invaders wantonly trampled on China, he resolutely threw himself into the torrent of resisting Japan and saving the nation, and made contributions to resisting Japan and saving the nation.

resume

The founding of New China enabled Liu Guanle to accompany his most beloved flute day and night. He first studied at the Hebei Provincial Art School, and was later discovered by famous musicians Wang Xin and Cao Mars. Beginning in 1953, Liu Guanle began to specialize in flute performance, beginning his nearly 40-year professional flute playing career.

Achievement

In that era when conditions were still relatively difficult in all aspects, Liu Guanle was busy traveling back and forth in the country's industrial and mining, rural areas and troops, using his cheerful flute to reflect the spirit of the people's vigorous and hopeful spirit. At the same time, he also performed abroad several times as the cultural messenger of the Chinese people, allowing people around the world to appreciate the style of Chinese bamboo flute. In 1951, Liu Guanle went to Czechoslovakia with a delegation of Chinese musicians to perform at the first "Prague Spring" International Music Festival. In 1958, he went to the Soviet Union, Afghanistan, Egypt, Syria and other countries to perform visiting performances with Tianjin Song and Dance Theater. In 1961, the first National Dizi Professional Teaching Materials Conference of Higher Music and Art Colleges was held in Tianjin. Liu Guanle attended the conference as a special invitation, and participated in two special flute solo and ensemble concerts with the participating experts. success. It is in a large number of performance practices at home and abroad that Liu Guanle has established his outstanding position in the history of Chinese flute performance with his unique playing style, and has been unanimously approved and respected by experts and peers.

contribute

flute

Chinese flute playing art can be roughly divided into two schools: north and south. The Southern School wins by being delicate and euphemistic, while the Northern School is known for being hot and rough. Like Feng Zicun, Liu Guanle is recognized as an outstanding representative of the Northern School of flute art in the music industry. His flute is high-pitched, crisp, solid, and very glorious. In addition to focusing on the proficiency and close coordination of various techniques of qi, lips, fingers and tongue, he is especially proficient in the main acting skills of the northern style bangdi, such as portamento, chop, tonality, calendar, tongue and multi-finger tremolo. He is also good at imitating the singing of birds with flute sound, and the vivid scenes of bird competition with superb skills and subtle breath control have amazed the audience and colleagues.

Liu Guanyue's bangdi performance art was influenced by the "old bangzi" in Jizhong in the early days, and later on the basis of Jizhong's bang music, he integrated various flute arts. It is in the absorption of the nutrients of national folk music that Liu Guan Music finally formed his own unique playing style. His playing is free and easy, dexterous and simple. In some aspects, such as the use of rests to breathe, to make the breath full and full; unexpected but reasonable rhythm changes, etc., have their own uniqueness. It can be said that his playing art has greatly enriched the treasure house of Chinese flute art, and has had a far-reaching impact.

Liu Guanle is a prolific flute writer. His works have a wide range of subjects, rich content, unique characteristics and far-reaching influence. People's Music Publishing House has published two albums of his works: "Dizi Solo Collection" and "Liu Guanle Dizi Selection". Among them, the Dizi Solo Collection, published in November 1956, is the earliest personal flute album published in my country. His works have often been broadcast on central and local radio stations, and some have been made into records and cassettes. Among his works, "Birds in the Shade" and "Selling Vegetables" are the most famous. The music is vivid, emotional, witty, and has been popular all over the country. Because Liu Guanle has rich folk music literacy, his creations have a distinct local color and exude a strong local flavor. The tones of his works are mostly from Jizhong blowing songs, folk songs and operas. At the same time, he also pays attention to absorbing nutrients from minority tones and foreign tones. However, in the creation, he never stops at the "formation" simulation of the general meaning of folk material, but pays more attention to the careful observation and accurate grasp of the content, mood and artistic conception of the work, so as to give new vitality to the folk music material.

musical instrument reform

Liu Guanle is also a musical instrument reformer. He is well aware of the important role played by the improvement of the flute in the development of the art of flute playing. It has been widely used in the production of other ethnic musical instruments such as Xiao and Bawu. The seven-hole, eight-hole and nine-hole flutes he developed have also been widely praised.

Liu Guanle's life is a life inseparable from the flute. Even when he and the vast number of art workers were tortured during the ten years of turmoil, his flute piece "Selling Vegetables" was titled "Three Selfs and One Package". When criticizing, he never left his flute. His flute sound has given great inspiration and lessons to his contemporaries and descendants. Mr. Zhao Songting also asked him face-to-face for the method of chopping sound branches. He taught concurrently at the Central Conservatory of Music and Tianjin Conservatory of Music, and cultivated a large number of outstanding flute players for the country. Until his later years, at a meeting of the Tianjin Branch of the Chinese Musicians Association On, he also expressed a strong desire to train students. Just before his death, he also suffered a stroke due to the overworked transition of teaching.......

historical evaluation

Liu Guanle dedicated his life to the cause of flute art, and the motherland and people also gave him a lofty honor. During his lifetime, he was a member of the Tianjin Municipal Committee of the Chinese People's Political Consultative Conference, a member of the Chinese Musicians Association, an honorary director of the Tianjin Branch of the Chinese Musicians Association, and a first-class actor of the Tianjin Song and Dance Theater. Liu Guanle loves the cause of national music and is full of confidence in the future of the flute art. He once wrote in an article published before his death: "The generation of exquisite artistic charm first depends on the artist's love for his own art and the dedicated pursuit and exploration." "I firmly believe that among the new generation of flute players, that Criticizing the 'idiots' who love it whole-heartedly and are obsessed with it all their lives will eventually break the non-virtuous circle of 'the audience doesn't like to listen to it, and I don't want to act; if I don't act, the audience becomes stranger and alienated'. The performance will keep the dizi art forever young and conquer the hearts of more and more audiences of the new generation!" His words were touching.

Mr. Liu Guanle's last wish will surely come true!