This concerto is
the second part in a serial of three orchestra works the composer composed
under the title “Symphonic Concert #2”. The first part in this serial is an
Overture and the third part is a Symphony.
(The composer‘s earlier serial, Symphonic Concert #1, was written in the
1980’s, also in the Overture/Concerto/Symphony format).
This concerto was
completed and world premiered by Lu Si-qing, whom the concerto dedicated to, in
1996. The music represents the
composer‘s deep affection for the musical idiom of the Northern Chinese area (
although no folk tunes are incorporated into the music). This part of China is situated north of the
Great Wall, where its music is a mix of both the ethnic Han and Mongolian,
characterized by its unbounded and untamed rustic quality and the dramatic
leaps in musical intervals.
The first movement
is full of vitality, written in sonata form. The main theme is in 5/4 and intermixed
with a broad and slow second theme, and includes a brilliant musical
section. The orchestral climax reflects
the mountain ranges in China‘s north.
The second movement
shows the violin in a solid theme of freshness and depth. It closes in an unusual series of overtones,
bring the movement to haunting end.
The third movement
uses the traditional wind/percussion style of China’s North to bring a rhythmic theme to a climax. The main theme uses the mode of 角“Jiao” , one of the five typical Chinese modes,
then interchanges with the other four, which are in a same tone centre, they
are宮“Gong”, 商
“Shang”, 徵“Zhi” and 羽“Yu ”.
If the first note
is C, the Chinese modes system will be line up in a pentatonic scale. Each note could be a tonic of a certain mode:
C D
E G
A
宮 商 角 徵 羽
Gong Shang Jiao
Zhi Yu
The theme is built
on the Tonic B, and the concerto is in B, rather than B major or B minor. Chinese
music has often been mistaken to be all pentatonic. The themes of this concerto use the
seven-note scales. It creates an
interesting harmonic quality that is uniquely Chinese. The composer makes use
of harmonic techniques of Western music so that the different voices can
function toward the tonic center as a base, and by using the rich contrapuntal
method, build a great momentum for the music.
In addition, atonal techniques are used effectively for the cadenza of
the first movement. The form of the third movement uses an interesting
combination of the sonata form and the traditional wind/percussion style of the
China‘s North. The characteristics of
the latter is : after each tutti interlude, the soloist must use the theme to
create a deferent variation and develop on it.
This gives the soloist a generous space to shine. This concerto is
intended to show that if traditional music can be combined with the universal
musical language rules, some very interesting new development may result.
A CD of the music
has been released by ROI, a Hong Kong based Company. It was performed by Lu,Si-qing and the
Russian Philharmonic of Moscow, conducted by Canadian conductor Tak-ng Lai in
1996. After many performances in China, the critical acclaims it as “the finest
violin concerto of our time.” The Toronto premiere, violinist Lu Si-qing with
the Canadian-Chinese Philharmonic Orchestra of Toronto conducted by Tak Ng-lai,
was in 1998.
Technically, both of An-li Huang and Si-qing Lu gave the
assistant for the completion of this concerto.
Duration: 35'
Orchestration:
2222, 42, 1 and Strings
Score Order => 
look inside
