On July 1, a symphony concert celebrating the 101st anniversary of the founding of the Communist Party of China was held in the History Exhibition Hall of the Communist Party of China. On the stage, all performers and chorus members sang the party, the motherland and the people with beautiful voices. Behind this voice is the perseverance and responsibility of all the creators, based on the perseverance and responsibility of literary and art workers, based on the study of party history, and the persistence and hard work of creating and polishing high-quality products.

▲ "Battle Typhoon"

At the concert, the song "Battle of the Typhoon" made the mutual contrast between the guzheng and the symphony appear particularly majestic and powerful. "This piece of music is an innovative work after the founding of New China, and it has become a classic today. It integrates the spirit of the times in poetry. Now, when we play this piece, we can truly feel the strength of the motherland and our hearts rise. Be proud and proud." For Yuan Sha, a guzheng player and a professor at the Central Conservatory of Music, the best face, the most beautiful sound, and the most powerful performance are the best gifts for the 101st anniversary of the founding of the Communist Party of China.

In previous performances, Yuan Sha showed more of the poetry and beauty of the guzheng. This concert highlights the rich expressiveness of the national musical instruments. Yuan Sha introduced that the creation of this concert was not easy. Chinese music has a lot of blank space, while Western music is often played very strictly according to the score. Therefore, in order to achieve better results this time, Yuan Sha and the symphony orchestra have been constantly running in to achieve the effect of seeking common ground while reserving differences. “Under a relatively unified rhythm, we will be very neat and tacit. When the performance is violent, the guzheng will switch to free expression in an instant, giving full play to its artistic expression. While we closely follow the conductor, we put The strings on the left side of the guzheng are used to combine the traditional sense of 'dissonance' and 'concordance' to describe the scene of workers fighting against a typhoon in the stormy sea, and to demonstrate the heroic spirit and spiritual attitude of our Chinese Communists." Yuan Sha said.

Or aesthetic, or inspiring, or high-spirited, or profound artistic expression interprets the preservation and change of national musical instruments, and this is the long-standing charm of Chinese traditional culture. Through the concert, Yuan Sha was also gratified to learn that many people had a new understanding of the guzheng, an ancient musical instrument that has been passed down for thousands of years. "Every one of us who is engaged in music performance can inspire and inspire people with musical instruments in our hands. It is a mission and a responsibility, a glory and a happiness. On the new century journey, my biggest mission is to carry forward the Chinese musical instruments. Carry forward the excellent traditional Chinese culture, let more people open a door to understand the excellent traditional Chinese culture through national musical instruments, and enhance cultural self-confidence." Yuan Sha said.

Hou Changqing, chief of the Dizi Department of the China Broadcasting Chinese Orchestra, regarded the ensemble of Chinese and Western musical instruments in this concert as a cultural exchange. "The sound of the national instrumental xiao is relatively simple, and it is used just right in the music "Heavenly Edge". The music is played with the xiao at the beginning and the end, which gives people a very peaceful hearing. The bamboo flute is used to play "Xinjiang Spring". It is more cheerful, showing the scene of the Uyghur people in Xinjiang singing and dancing. During the performance, the violin and the bamboo flute come and go, forming a kind of shuttle and dialogue, conveying the touching style of concentrating and going forward together, which is very infectious. " Hou Changqing said.

To achieve the goal of the second century of struggle, take a new road to take the test, and stand at this new historical starting point, literary and art workers are full of pride and confidence.

"As an artist, no matter what kind of job you are engaged in, you should quickly transform, adapt and take responsibility as long as you need it." Fan Zhibo, a first-class actor of the National Theatre of China, one of the hosts of the concert, said frankly. The transition from actor to host is no small challenge. The last time she was engaged in hosting work was at the 20th anniversary of Macau's return to the motherland, and she was on the same stage as 4 hosts. In this concert, there are two hosts, and the relative weight is heavier. While feeling the pressure, Fan Zhibo took it as a particularly good opportunity to exercise. He practiced the script repeatedly during rehearsal intervals and communicated closely with his partners. Fan Zhibo said: "I am proud to be an actor of the National Theatre, and I am fortunate to have the platform and stage experience of the National Theatre. It is with such professional accumulation that I can stand on different stages and do my best. Go ahead and play different roles.”

Fan Zhibo, who has shaped the image of many outstanding Communist Party members, believes that every time in the process of shaping a role, the theme of "deepening life and rooting in the people" has a profound impact on actors. "The mission of literary and art workers is to use artistic creation to reflect the voices of the times and the people. Only when one is true, good and beautiful can the true, good and beautiful be conveyed. For this reason, as a literary and art worker, improving cultural accomplishment should become a habit, and more A good understanding of the characters created can better convey the spiritual pursuit of works of art and heroes." Fan Zhibo said.