On October 7, the concert of "National Music Chanting China" by the Sea National Orchestra was played consecutively in Shanghai Grand Theater on October 6, drawing artistic inspiration from 5000 years of Chinese civilization and singing about China's wonders with national music.

The concert is divided into five musical chapters. The first chapter, "Big Spring and Autumn", expresses the profound and brilliant Chinese civilization of 5000 years; The second chapter, "Drunken Mountains and Rivers", tells about the aesthetic spirit of "great joy and harmony" and "mountains and waters and common" in Chinese art; The third chapter, "Nabichuan", features more than ten kinds of musical instruments of different nationalities, such as Jiayaqin, Dongbula, Yi Sixian Qin, Lusheng, Satar, etc; The fourth chapter, "Heavenly Walk", three groups of duet concertos of bamboo flute, erhu and pipa, show the Chinese nation's strong and unyielding life power; The fifth chapter "Singing of China" expresses respect for Chinese civilization.

Compared with the version that premiered last year, this year, many chapters of "National Music Chants China" have been upgraded. For example, Drunken Mountains and Rivers was replaced by the chamber music version of seven performers, which highlighted the "elegance" of ancient scholars and refined temperament of music; The last chapter is a new national orchestral work "Singing China", which pays tribute to the national culture with the treasure of Chinese culture - national instrumental music. In "Bringing Hundreds of Rivers", the Shanghai National Orchestra also invited Yang Yu, a four stringed instrument player of the Yi nationality, Zhang Weiling, a Jiaya instrument player, and Tarantini Mulati, a Kazakh Dongbula instrument player, to present the unique ethnic customs of China with the orchestra.

"I remember that when I first saw Satar many years ago, I was attracted by its bright, thick, metal and hoarse timbre." Zhang Jiawei, the orchestra's Hu Qin performer, plays solo for Uygur Satar this time, "As the accompaniment instrument of the Twelve Muqam in Xinjiang, Satar's playing method is completely different from that of the Huqin family. Satar's body is very long, the finger distance is very wide, and the position of pressing the tone is basically beyond the visual range. It is a great challenge to control the intonation. Uygur folk music has absorbed and integrated the music styles of different regions. The melody of just two minutes, from slow to fast, takes the audience through the mysterious, romantic, cosmopolitan The ancient oriental country. "

In October, in Shencheng, a series of ethnic concerts with diverse styles and themes have been placed on the "watching schedule" of Shanghai audiences, presenting the historical heritage and fashion temperament of contemporary national music from different angles. On October 5, in the Silk and Bamboo Festival concert, young and middle-aged performers took turns to review many classic works of national music; Folk Music from the Sea, a national music scene, returned to Shanghai Concert Hall on the 14th. The modern integration of architecture, light and shadow and national music will show the rich artistic expression of contemporary national music

"Following the national music and elegant sound, we go upstream along the long river of Chinese civilization, travel through five thousand years of history, understand the natural landscape and humanistic spirit, and feel the blend of civilization and the echo of the times." Luo Xiaoci, head of the Shanghai National Orchestra, said that he hoped to use diversified and inclusive folk music to play the confidence and expectations of every Chinese. "The way is not far away. May Shanghai style folk music evoke the surging emotions deep in our hearts and seek solace and belonging in the vast world of Chinese culture."