As a professional composer with a sense of mission, he always consciously or unconsciously links his creations with the motherland and the nation. Young composer Cui Bingyuan's pipa concerto "Ode to Strings" is a masterpiece with the connotation of celebrating the mountains and rivers of the motherland and showing the spirit of the nation. This large-scale folk instrumental work, once premiered at the "Xi'an International Music Festival", aroused the attention of industry insiders and the great interest of the audience; ” won the first prize in composition, and was well received in performances such as the 50th anniversary concert of the Xi’an Conservatory of Music.

For half a century, how to create national instrumental music works with Chinese characteristics, especially large-scale, symphonic, rich in connotation and far-reaching music, has always been a major problem for people of insight in the music industry to explore. The subject, Choi Byung-won is no exception. Judging from the "Ode to Strings" displayed in front of people today, the composer has undoubtedly made great efforts to maintain the national style while getting rid of the shackles of its traditional models; , and achieved gratifying success. As far as the expression method is concerned, "Xian Song" abandons the traditional habit of "storytelling" in national instrumental music, but adopts a freehand style to present and expand the theme; in terms of musical structure, it breaks the tradition to a great extent. The symmetry characteristics of national instrumental music, the use of non-square structure and the strengthening of internal contradictions and conflicts in the music greatly enhance the inner tension of the work. As a result, a large-scale folk instrumental work with elegant style and originality is presented in front of people.

The Pipa Concerto "Ode to Strings" consists of three movements. The first movement is based on the Dunhuang tones of Xi'an drum music "Weeping Willow", and adopts the "statement" method of traditional national instrumental music to form the theme and present it. Here, it does not inherit the traditional structure of Western multi-movement works that start with allegro, but ingeniously uses the "fade in" method, which naturally leads to the beautiful theme of the lute from the band's not too long, almost peaceful prelude. tone. When the elegant and beautiful pipa theme was "singed" at a small allegro speed, the audience was immediately attracted, and received the ideal effect of getting ahead. It can be seen that Cui Bingyuan put a lot of thought into the construction of the theme of the first movement of "Ode to Strings". It is worth pointing out that the "statement" type melody used to promote music thinking in the first movement is very characteristic of the pipa. In other words, the tunes of this nature are individualized and belong to the Pipa, which can be called a typical "Pipa vocabulary". This makes the concerto recognized as a lute work as soon as it came out, which is a crucial factor!

A sudden, explosive tone begins the second movement of the piece. Here the composer adopts the motive writing method to develop the music with split motives. The theme material is selected from the most typical "fourths" in Shaanxi local music, and the characteristic tones with a sense of vicissitudes are obviously the best choice for the composer for this movement. It should be particularly pointed out that the composer completed the second movement according to the national wind and percussion band, which greatly strengthened the dramatic conflict, inner tension and sound contrast, and the impact of percussion and wind instruments was well reflected. It achieves the sound quality that the composer wants, which is different from the first and third movements. The structure of this movement has the characteristics of sonata style. At the beginning, the whole performance of the band with fast speed and intensity "awakened" the contemplative audience, and the broken motives with a sense of indignation were superimposed, which produced a shocking effect; The increment of the percussion and the opposition to the band, as well as the rapid pipa tones interspersed in between, create an atmosphere of conflict; then the tempo suddenly slows down, and the pipa begins to sing and narrate... The reappearance of the voice part will gently break and then form a confrontational situation, forming a strong dramatic conflict in the music? The audience can feel the composer's questioning of history in the rhythm of the music and the strong spiritual impact. And thinking and facing up to the suffering of the nation.

The third movement is different from the first two movements, it appears to be open and unhurried. This is a relatively independent movement that celebrates. The music starts at a moderate speed and spreads out in a very elegant and peaceful tone, with a distinct vocal temperament, expressing people's praise for quiet life and love for peaceful years. In order to meet this requirement, the selection of tune materials is no longer limited to "Qin Sheng", but on the basis of the northwest style, it absorbs some tonal factors in the north and even in the south of the Yangtze River, and it is quite novel to break and crumple it. At the same time, it skillfully integrates the theme fragment of the first movement into it, making the movement a general summary of the whole piece. Here, all the unique and effective technical means included in the work—such as the alternation of simple and complex textures, the contrast of shades of harmony, the randomness of rhythms, the degree of rhythm, etc., have greatly enhanced the freshness of the work itself. Sensation and audibility... With the acceleration of the speed and the appearance of folk dance-like rhythms, the pipa's colorful section is introduced in the whole performance of the band, which constitutes a big "breath" before the climax of the whole piece. In the end, the music "sings loudly and loudly" with a majestic momentum, with a comprehensive reproduction of various elements of the theme of the pipa, and ends the whole piece with the sound of Huang Zhong Dalu and the orchestra.

Choi Byung-won is a diligent composer and a young man who is determined to innovate and keep making progress. The success of "Ode to Strings" is not only a reflection of his enthusiasm for loving the motherland and admiring the excellent traditional culture of the Chinese nation, but also a milestone marking the maturity of his national orchestra work and a new level.