When Western architects were shocked by the architectural beauty of Chinese classical tradition, and expressed their deep regret that among the huge Lujiazui buildings in Pudong, only one Jinmao Building had a Chinese atmosphere, and Chinese erhu music also showed The obvious tendency of violinization, that is, the emphasis on Western technology and the neglect of Chinese charm, which is really regrettable and helpless.

In the early 20th century, a generation of folk music master Liu Tianhua introduced the erhu into the concert hall and made it a solo instrument for concerts. Over the past 100 years, after several generations of painstaking cultivation, the erhu has grown from a simple musical instrument in our country to one of the most important professional categories in our country's national instrumental music, and has produced an international influence. Today, whether it is the exquisite craftsmanship of musical instruments, the purity of the sound quality of the erhu, the formation of the teaching system, the formation of the theoretical team, especially the emergence of new works and performing talents, it all shows that my country's erhu music has entered a historical period of development. new era. Since the 1980s, the erhu has borrowed the art of violin in its performance, and has continuously transplanted the classic works of violin dazzling skills, which has made breakthroughs in the technical skills of the erhu and produced a leap. "Carmen", "Chaldas", "Gypsy Song", "Flying Bumblebee" and "Infinite Movement", etc., the violin dazzles on four strings. Gotta slip! Erhu has indeed been "played in the palm of the hand", and technically it seems to have entered a barrier-free situation.

Under the circumstance of "I don't worry if I can't pull it out, I'm afraid you can't write it", what kind of vocabulary the erhu should have has also become an important topic. Back then, when the erhu first came into existence, it was known as "China's Fan Yuling (violin)", which may be a bit of a blessing, because at that time the art of violin had already entered its peak of glory. But today, the erhu can really compete with the violin. This is because, in addition to the improvement of technology, erhu does have an incomparable "rhyme". Because the violin is made of wood, the fretboard under the strings and the straight bow make the violin's gorgeous brilliance have a rigid beauty of Western "hard pen versus hard paper". Unlike the erhu, there is no fingerboard under the strings, the soft python skin and the flexible bamboo bow make the erhu euphemistic and graceful and have a soft beauty of Chinese "writing brush versus rice paper". For thousands of years, my country's traditional writing tools, pen, ink, paper, and inkstone have basically remained unchanged, and these are the common Chinese characters. In sex, endless fun can be born. This is reminiscent of the vocal art of traditional Chinese opera and quyi. The melody of the banqu and qupai is roughly fixed, but when singing, there are various genres and different charms. In this melody that can be recorded with musical scores, but is difficult to express with symbols, there is a lasting charm hidden. The change in the constant, the uncertainty in the certainty, and the freshness in the familiar are exactly what makes the art of calligraphy and vocal art ecstasy! This is also the place where the soft and beautiful Erhu music is connected with the art of calligraphy and vocal art. The subtle changes of the erhu can be said to be infinite when it goes to the rhythm. It is the flowers, plants, insects and shrimps written by Qi Baishi, and the wood, stone and landscape at the bottom of the wrist of the Song and Yuan Dynasties. Its expressiveness and implication are difficult to surpass. Therefore, Min Huifen's erhu-la Peking Opera singing can get a strange effect of cheering for a while, and the Layue Opera singing "Baoyu Crying Spirit" even attracted the audience to sing along. If this kind of music is played by the violin, its masters can completely pull the melody into a round and beautiful, but what about the unique charm of Chinese music? Is the ink and wash in the cartoon "Little Tadpoles Looking for Mother" comparable to any Western painting? Therefore, in the West, where violin music, which is also a string instrument, is highly developed, when the Chinese erhu was discovered, it was deeply moved. In Japan, where Western music is quite developed, the erhu fever has been set off, and my country's performance-grade high-end erhu was once sold out. This is the charm of the erhu, which wins with its soft beauty, and the violin with its rigid beauty, which have become two extraordinary musical instruments that cannot be replaced by each other.

However, when Western architects were shocked by discovering the beauty of traditional Chinese architecture, and expressed their deep regret at the huge Lujiazui building complex in Pudong, only one Jinmao Building had a Chinese atmosphere, and the Chinese erhu music It also shows an obvious tendency of violinization, that is, it emphasizes Western technology and ignores Chinese charm. This corresponds to a pair of idioms in our country. Regarding the extensive and profound Chinese culture, the former is "turn a blind eye", and the latter is "heard without hearing". This is really regrettable and helpless.

Perhaps this is another inevitable cycle: when the erhu has acquired the technique and skills of the violin, he will go back (in fact, it should be a combination of both) and learn from the rich soil of ethnic and folk music, especially opera and folk art. Nurturing, erhu music will certainly be able to blossom and bear fruit in the new century.