"We are going upstream along the long river of Chinese civilization, hoping to play the confidence and expectation of every Chinese with diversified and inclusive national music." Luo Xiaoci, head of the Shanghai National Orchestra, said about the original intention of the creation of "National Music Chants China".

From October 6 to 8, "National Music Chants China" was played continuously in the National Day section of Shanghai Grand Theater. Tang Muhai, the specially invited conductor, and Yao Shenshen, the group commander, performed the concert respectively, and used five chapters of "Spring and Autumn Festival", "Drunken Mountains and Rivers", "Nabaichuan", "Heavenly Walk", and "Singing of China" to sing the praises of China.

Compared with the version that premiered last year, this year, many chapters of "National Music Chants China" have been upgraded. Composer Wang Yunfei introduced that the second chapter, "Drunken Mountains and Rivers", was replaced by the chamber music version of seven performers without the backing of the band, highlighting the "elegance" of ancient scholars and scholars, and also forming a strong contrast with the chapters performed by other bands; The fifth chapter, "Singing of China", which is a newly created national orchestral music with the intention of focusing on the topic, has a larger adjustment. The third chapter, "Nabichuan", has more than ten kinds of ethnic musical instruments at the same time, as if people are in a happy "rock scene". The composers of Suona and percussion music represent the Han nationality, and have dialogues with such ethnic minority instruments as Tulipi, Lusheng, Xianzi, Changgu, Handdrum, Jiayaqin, Dongbula, Sixian Qin, Satar, and Mashou to highlight national unity.

These colorful musical instruments vividly show the romantic, bold and unconstrained nature of the Chinese people. However, how to integrate these instruments with different personalities into a work is a challenge for composers and performers Wang Yunfei said.

At the performance site, the folk orchestra invited Yang Yu, a Yi four stringed zither player, Zhang Weiling, a Korean Gaya zither player, and Taranti Mulati, a Kazak Dongbula player to join in, presenting the ethnic customs together. Many performers of the folk orchestra made their debut to perform minority instruments. "As the accompaniment instrument of the Twelve Muqam in Xinjiang, Satar's playing method is completely different from that of the Huqin family." Hu Qin player Zhang Jiawei plays solo for Uygur Sattar. When he first met Sattar many years ago, he was attracted by the thick and raucous timbre.

Xianzi is a traditional stringed instrument. For Ling Meng, who is used to playing erhu, acting as the Tibetan Xianzi solo is a new challenge. "The strings look small, but actually the barrel is bigger than the erhu and the voice is lower and hoarse than the erhu, but it is precisely this tone that can bring people into the atmosphere of happy singing and dancing in Tibetan areas."

Hu Qin player Wang Xiaoben joined hands with Mongolian horse head qin player Agudamu to show the scene of thousands of horses galloping on the grassland with a double horse head qin

"Lusheng and Hansheng are similar instruments, but those who play Hansheng may not play well." For Zhao Zhen, the chief of the Sheng voice department, playing the Miao Lusheng is also a wonderful experience. "After the first day of practicing Lusheng, I felt that my little finger was almost broken. Dancing and Lusheng are inseparable. It's really easy to play and dance. It's either hands or legs that don't listen, and my mouth is often broken by the mouth when dancing."

This year marks the 70th anniversary of the founding of the Shanghai National Orchestra. In addition to the National Music Chanting China, the folk music group will also launch a series of national concerts with different themes, such as the national style music scene "Folk Music on the Sea", the national symphonic epic "Hero", and the multimedia music scene "Gardenia Blossoms", which will show the historical heritage and fashion temperament of contemporary national music.