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16,95 €

El arte del Qin

REF.: C561001
EAN 13: 3415820000111
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el viernes 05/06/2020

Escuchar la cítara china qin tocada por Li Xiangting es como descubrir al mismo tiempo el violonchelo, Bach y Pablo Casals: refinamiento extremo, composiciones suntuosas y contrastadas, una atmósfera recogida al servicio de un repertorio milenario. 


Li Xiangting, qin

01 • Meihua san nong (Three Variations on the Plum-Flower) “Plum-Flower” was a poetic name given to the flute and this piece was reputedly adapted from a flute melody. The oldest known version appears in the Secret and Marvellous Music (Shenqi mi pu) of 1425. This version is however based on the 1820 volume, Qinpu xiesheng. The piece is in ten sections: prelude, Al, B1, A2, B2, A3, B3, B4, B5, coda, which explains the “three variations”.

02 • Youlan (The Solitary Orchid)
Just as sublime and fragile as the solitary orchid, this music has had quite a chequered history: discovered in manuscript form in Japan, it was published in 1886 in Li Shuchang’s Gu yi cong shu. The manuscript would seem to date from the Tang Dynasty (no later than the 10th century) but to be a copy of a work lost a lot earlier: Qiu Ming’s Music for qin of 586. The great master Guan Pinghu (1891-1976) was probably the first to have played it since then. The score is not yet written in the style of a tablature: just a series of phrases with fingering for right and left hands. So it has yet to be interpreted with absolute certainty, which makes it one of the pieces offering the most license to the performer.

03 • Ainai (The Fisherman’s Song)
This rare Chinese expression is an onomatopoeia describing “the squeaking of oars stroking against the boat” (French Dictionary of the Chinese Language, Ricci Institute). The piece appeared in the 1589 volume Yu wu qinpu, and would have been composed to a poem by Mao Minzhong or Liu Zongyuan. Li Xiangting is one of the few performers to have put it in his repertoire.

04 • Qiu sai yin (Autumn Declaiming on the Great Wall)
Inspired by the famous sad story of Wang Zhaojun, the princess sold to the barbaric king, this piece is also associated with Bo Ya, antiquity’s paragon of the qin performer. The oldest version is that of the Taiyin buyi of 1557, but the Wu zhi zai qinpu of 1722 states that “the melody is a new one”.

05 • Liushui (Flowing Waters)
One of the most celebrated pieces of the repertoire and an opportunity to compare the “modern” performance of Li Xiangting with the standard performance of Guan Pinghu, reedited in the CD China - Classical Music. Easy to see how inane certain cutting criticisms of contemporary performers can be, when they are accused of downright compromise with demagogy in favour with Maoist aesthetics.  

06 • Yi guren (An Old Friend)
This piece is a very moving reminder that the essence of the qin is its art of conviviality, and yet it has no noble antecedent. It appeared in 1937 in The Qin Association of what is now called the Yu school (near Shanghai) which attracted the best performers of the time around Zha Fuxi, Zhang Ziqian and Peng Qinshou. The latter had studied with his father, Peng Jiaji (1850-1911).

07 • Xiao Xiang shui yun (Water and Clouds on the Xiao and Xiang Rivers)
One of the major pieces of the repertoire, it comes from two of the greatest sources: the 1425 Secret and Marvellous Music where it is attributed to Guo Chuwang (1127-1279), founder of the Zhejiang school and great master of the southern Song; and the 1722 Wu zhi zai qinpu of Xu Qi a successor of the Guangling school, the last of the great schools still alive today. The pieces is in eighteen sections: prelude, slow (2 to 4), moderate (5 to 8), fast (9 to 14), fast (15 to 17), coda.

08 • Changmen yan (Resentment in the Palace of Changmen)
Here Li Xiangting is paying homage to his master Wu Jinglüe. Zha Fuxi’s interpretation can be heard on the CD China - Classical Music.

09 • Guangling san
Perhaps the oldest, and certainly the longest and most difficult piece for qin, Guangling san is very seldom performed in its entirety with forty-five sections. Ji Kang (223-263) mentions it in his Poetic Stanzas on the Qin and it could be a product of the Chu school of the Han. Li Xiangting plays according to the realization of the piece made in 1957 by Guan Pinghu based on the oldest preserved version in Secret and Marvellous Music.

1 CD - DDD - 69:42

RESEÑA (La Quinta de Mahler)

Li Xiangting, qin seven-stringed zither
The visit to France in February/March 1990 of the greatest living interpreter of that most beautiful of Chinese instruments is the perfect occasion for us to add to the recent reissue of Ocora’s CD China - Classical Music (C 582039) a disc devoted entirely to the seven-stringed zither. We intend to continue building up in this way our anthology of great instrumental masters of the solo classical repertoire. The written classical repertoire demands a musical maturity reached only by a select few. It requires a culture and life-style said to be forever lost, which I know is not the case. Only the rarest musicians are capable of totally assimilating a tradition and being its most distinguished performer. Even rarer is the gift, possessed by Li Xiangting, of being able to communicate the musicality of his art to a public unfamiliar with his culture –and the qin is, of all Chinese instruments, the most typical.
The Music
Imagine discovering the cello, Bach and Pablo Casals at the same time. Hearing Li Xiangting play the qin is just that kind of experience: extremely refined compositions, both rich and contrasting, in a climate of total dedication to the service of this repertoire, over a thousand years old. What is so amazing with qin music, is the way it can be immediately and universally appreciated even beyond its very rich and specifically Chinese context. The sensuality of its sound is heightened by complex variations in which virtuosity is at all times for expressive effect.
The Instrument
The qin is, along with poetry and calligraphy, the emblem of literate China. But above all it is an extremely simple instrument with immense tonal capacities, from deep low notes to its luminous top register, from notes attacked with great violence to glissandi melting into silence. The sound-box, lacquered and set with grains of precious metal (making it a work of art often admired) is strung with seven strings corresponding to the fundamentals of the “Chinese scale”: C-D-F-G-A-C-D. Thirteen little heads of pearl indicate harmonic divisions along the string. Three different playing techniques can be used: open strings, strings held along the fingerboard which is smooth like a violin’s, and harmonics. The scores are written very specifically with precise fingering like Renaissance lute tablatures.

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