Qin Pengzhang (1919-2002), music conductor, from Wuxi, Jiangsu. Graduated from Shanghai Music College. In 1932, he participated in the Shanghai Datong Concert and learned pipa from his teacher. He used to be the conductor of Datong Concert and an associate professor of Shanghai Music College. After the founding of the People's Republic of China, he served as the conductor of the Central Song and Dance Troupe and the Central Chinese Orchestra, the fourth director of the China Music Association, and the vice president of the Chinese National Orchestra Society. He once directed the National Day Thousand People Band and large-scale singing and dancing. He has composed the pipa solo "House of Flying Daggers", the orchestral "Axi Jumping to the Moon", and the folk music ensemble "Spring River, Flowers and Moon Night", etc.

life experience

Mr. Qin was born in Shanghai in 1919. Because his father's letter shop has a set of "string gongs and drums" percussion that makes him self-taught. When I was in elementary school, I learned Erhu with a Chinese teacher; I learned Pipa and Guqin with Wei Zhongle; after graduating from elementary school, I joined the Chinese Music Group of the People's Education Center, playing Jiangnan Sizhu and Cantonese music.

In 1932, when he was 13 years old, he joined the "Datong Concert" in Shanghai, mainly engaged in playing the flute, pipa and Dahulei. Since the autumn of 1936, he has served as the music director of the "Datong Concert". In 1935, he was admitted to the National Band of EMI Company, and recorded, composed and played a large number of pieces for silent films and sound films. Such as: "Colorful Clouds Chasing the Moon", "Flowers and Full Moon", "Spring Dance" and so on.

In 1937, he was admitted to the Shanghai National Music College, where he studied theory and composition with Mr. Huang Zi, and participated in the performance of the student band. After the Japanese occupation of Shanghai, Mr. Qin transferred to the post office. During this period, he also participated in the performances of the Shanghai Philharmonic Orchestra by Xiao Youmei and Wu Bochao. He is also a member of the Shanghai International Amateur Ensemble, serving as the principal clarinetist. He also composed music for the play "Begonia" and formed a six-piece band with Fei Mu and others. He has traveled in almost every field of composition, arrangement, conduct, performance and so on.

After 1949, in order to form a Chinese national band, Mr. Qin came to Beijing from Shanghai in 1953 and participated in the formation of the Chinese Central Song and Dance Ensemble National Band. He deliberately trained and conducted the band, and transplanted and adapted a large number of works, such as: "Dancing of the Golden Snake", "Guangling San", "Spring Festival Overture", "Dance of the Yao Nationality" and so on.

Since 1962, he has been a member and director of the Folk Music Committee of the Chinese Musicians Association and the ensemble conductor of the Folk Music Department of the Central Conservatory of Music.

Since 1999, he has created the Zhonghua Hezhong for the country to welcome the new century, and served as the chief musician, responsible for the design and designation of the music part.

art achievement

Mr. Qin Pengzhang has been the conductor, composer and soloist of the Central Chinese Orchestra since 1960. He has conducted the dances "Lotus Dance", "Peacock Dance", "The Great Tea Mountain", the music of the movie "Wang Genghan", "Red Flag Score", as well as the national orchestra "Guangling San", "Erquan Reflecting the Moon", "Cuihu Spring Dawn" " and other works performances. His command is meticulous and simple, his handling is rigorous and passionate, and his movements are lively and vigorous. He also arranged and composed the orchestral music "Axi Jumping to the Moon" (cooperating with others), folk music "House of Flying Daggers", "Spring River Flower Moon Night", "Golden Snake Dance" and other works.

Qin Pengzhang conducts the Central Chinese Orchestra to accompany Fisherman's Song. The music is based on the music of ethnic minorities in Yunnan, and is played by the reed wind instrument-Bau, the local Yi, Hani, Miao and other brotherly nationalities.

Qin Pengzhang conducted the Central Chinese Orchestra to accompany Moonlight on the Lotus Pond. This is a xun solo piece adapted from the traditional piece of Chaozhou music "Water Lotus".

Qin Pengzhang conducts the Central Chinese Orchestra to accompany "Love Song on a Moonlit Night". Arranged according to the music materials of the Yi and Hani peoples in Yunnan. This piece of music uses a beautiful and stretched melody to describe the scene of young men and women expressing their heartfelt feelings to each other under the bright moonlight and in the shadowy woods.

Qin Pengzhang conducted the Central Chinese Orchestra to accompany "The Harmony of Jade Xiao". Nanyin is popular in Fujian Province, Taiwan and overseas Chinese settlements in Southeast Asia, etc. It is closely related to ancient song and dance music, lyric music and opera music. This piece is adapted from an ancient Nanyin tune. The melody is set against the steady rhythm of the clapper from beginning to end. It is unhurried, simple and elegant, and has its own characteristics.

Wang Tiechui performed Qin Pengzhang conducting the Central Chinese Orchestra to accompany "Enai".

Qin Pengzhang conducts the Central Chinese Orchestra to accompany "Water Dragon" (Xun). This piece is also known as "The Big Door", or simply "Fa Dian". Xun Solo is processed and created based on ancient music. The whole piece is divided into two parts, Adagio and Allegro. The Adagio part is solemn, peaceful and upright. However, when the allegro turned, it was bustling and bustling, like flowers and brocades, which made people feel overwhelmed.

Qin Pengzhang conducted the Central Chinese Orchestra to accompany "The Song of the Valley". This piece of music is adapted from Yunnan folk music material and tells a touching love legend. 

playing style

Qin Pengzhang's common performance techniques in pipa martial arts are strumming, fast clip sweeping, evil sound, twisting strings, pushing and paralleling double strings, beat, lifting, full round, etc. In "House of Flying Daggers", in order to highlight the momentum and tragic atmosphere of the whole song, the wheel brush technique is used at the beginning of the introduction, and the artistic treatment of the weak before the strong, and the release when it is desired is emphasized. In "Jiming Mountain Small Battle", the Shaxian technique was used. In the "Battle of Jiuli Mountain", the use of techniques such as twisting, pushing, pulling, and double-stringing is a true depiction of the fierce battle scene where weapons are handed over and knives and guns are fired in unison. Another example is "Hai Qing Takes the Swan", in order to express the fierce fighting scene when Hai Qing captures the swan, techniques such as picking the wheel, rolling, rolling double, paralleling four strings, rolling four strings, etc., and free and unstable rhythm patterns, Continuously advancing tones, the music adopts the method of advancing, and the techniques of pipa long round, round double, hooking, clip sweeping, sweeping, and stringing have been brought into full play.

Mr. Qin Pengzhang summed up his pipa performance: "'Lun' is the most important skill in playing martial arts", and also pointed out that when making various 'Wheels', the stress is stored in the hands and the shape is not exposed, and it does not depend on playing. The previous preparatory actions are used to exert force or change the force. The whole song uses various "wheels" as the main skills.

founder

After the founding of New China in 1949, how to establish its own national band so that it can better represent real life and major themes, and become the thoughts and thoughts of people who are interested in this. Mr. Qin is exactly such a person. His foundation, his dedication to Chinese folk music, made him have this kind of thinking and put it into action. In 1953, Mr. Qin came to Beijing from Shanghai, at the beginning of the establishment of the Central Song and Dance Troupe. Mr. Qin overcame unimaginable difficulties for the establishment of the National Orchestra of the Central Song and Dance Ensemble. Mr. Qin believes that this band can not only accompany the dance, but also perform alone. To this end, he deliberately trained and directed the band, and transplanted and adapted repertoires suitable for the band's performance, such as "Dancing of the Golden Snake", "Guangling San", "Spring Festival Overture", "Dance of the Yao Nationality", etc. All these make China The overall level of the first band has been rapidly improved, which also laid the foundation for the independence of the Central Chinese Orchestra, laid the foundation for the construction of a new type of national orchestra, and made pioneering and practical work.

Although Qin Lao is very old, he is still in good spirits. He cares about the growth of young performers, and he cares about and participates in the examination of ethnic musical instruments, and he cares about the construction of ethnic bands. As the main member of the formation of the Chinese National Orchestra Society, for the formation of the Society. development has made a great contribution. People respected him and called him "Old Qin", but he called me "Little Qin". What a humble gentleman!

Character evaluation

Qin Pengzhang's performance is enthusiastic and unrestrained, beautiful in tone, skilled in technique, and is good at delicate performance, so it has a long-lasting charm. "People's Music" commented in an article titled "A generation of national players is being conceived": "His performance is delicate but not pretentious, passionate but not wild, deep understanding, delicate expression, abundant emotion, personality It has established a new look for the art of pipa performance." An overseas magazine said that his performance "has already surpassed the stage of only focusing on pipa playing skills and beautiful melody, and has entered the core of pipa tune, exploring the inner world of the protagonist in the piece. , and then use excellent and ingenious pipa playing skills to perfectly interpret that emotion, every time the listener is moved and unforgettable." He actively participated in cultural exchange activities between China and foreign countries, and continued to make useful explorations in promoting folk music to the world. , he was also welcomed and praised by local audiences and Chinese in his performances in Europe and Africa. Qin Pengzhang takes it as his duty to lead more people to enter the music hall, enjoy music and happiness, and is busy for the inheritance, innovation and development of national music. Out of his sense of responsibility to promote national music, he has held dozens of popular concerts, and "Opening the Door to Music", which aims at popularizing music education, has been around for nearly ten years. Qin Pengzhang said: "The life of art lies in continuous innovation, and the meaning of life lies in continuous improvement."

On March 26, 1999, the China National Orchestra Society and the Central Chinese Orchestra jointly hosted the "Celebration of Mr. Qin Pengzhang's 80th Birthday and Artistic Achievement Seminar". The outstanding contributions and artistic achievements made by the participants gave a very high evaluation.