Zhoushan Gong and Drum Music　The Fishermen’s Triumphant Song　Zhu Liangkai, Gu Shengan, Jiang Shuilin, Zhang Quanfu　Transcribed and Arr. by Chen Xiaodong based on Liu Wenjin's Arrangement

Performed by: Hong Kong Chinese Orchestra and the Chinese Orchestra of the Zhejiang Conservatory of Music

Sheng Concerto　Rainbow (Excerpts)　Liu Wenjing

The second movement: Wind and Rain

The third movement: Rainbow

Sheng: Chen Yi-wei

Performed by: Hong Kong Chinese Orchestra

Pipa Concerto　Dress of Clouds, Face of Flowers　Wang Danhong

Pipa: Zhang Ying

Performed by: Hong Kong Chinese Orchestra

Symphonic Poem in Chinese Music　Seeking Dreams on West Lake　Qian Zhaoxi

The first movement: The Moon and the Water

The second movement: Fish Frolic

Performed by: Hong Kong Chinese Orchestra and the Chinese Orchestra of the Zhejiang Conservatory of Music

Dizi and Orchestra　The Broken Bridge in the Snow　Liu Xijin

Dizi: Du Rusong

Performed by: Hong Kong Chinese Orchestra

Piano solo　My Motherland　Liu Chi　Arr. by Wu Muye

Piano: Wu Muye

Piano Concerto　The Yellow River (Excerpts)　Arr. by Yin Chengzong, Chu Wanghua, Sheng Lihong and Liu Zhuang based on The Yellow River Cantata by Xian Xinghai　Instrumentation for Chinese orchestra by Liu Wenjin

The third movement: Anger of the Yellow River

The fourth movement: Defend the Yellow River

Piano: Wu MuyePerformed by: Hong Kong Chinese Orchestra

Communicating through Music for Enhanced, Effective Exchange

‘The Lustrous Pearl - In Celebration of the 20th Anniversary of the Establishment of the HKSAR’ is a special two-show concert series dedicated to the captioned occasion. By ‘special’, I do not mean that all seven pieces picked for performance are programme music, with titles to guide the audience to understand and appreciate the musical content. (On a side note, abstract ‘non-programme’ music is indeed relatively uncommon in Chinese music). Instead I am referring to the ‘collaborative elements’ in the performances: that between the Hong Kong Chinese Orchestra and the Chinese Orchestra of the Zhejiang Conservatory of Music, and between soloists from Hong Kong and the Mainland. We have Zhang Ying and Chen Yi-wei from the HKCO, pianist Wu Muye and dizi virtuoso and leader of the Chinese Orchestra of ZJCM, Du Rusong from the Mainland. 

The seven works selected all focus on lyrical depiction of scenery and landscapes. Expressive, emotion-driven, they exude positive energy that is associated with the dynamic growth of Hong Kong in the twenty years after its reunification with China. But let me point out one thing that might have been easily overlooked, which is positive results engineered through the collaboration between Hong Kong and Mainland musicians, such as communication and enhanced standards through the artistic exchange. 

The HKCO has formed its own distinct and unique culture, developed over the 40 years since its inception. The orchestra of ZJCM, by comparison, is very new. In addition, there are the different social backgrounds and team cultures engrained in the two ensembles. If they are to perform on the same stage, there has to be a ‘breaking in’ process to blend the orchestral voice. It means the visiting artists and the host musicians need to be able to communicate through their music so that the orchestral culture of one blends with that of the other. Such ‘cultural exchanges’ often bring about new stimuli which broaden their respective cultural outlook and raise performing standards. This leads to a successful performance and provides a new feel to ‘classics’ that have become rather worn at the edges after numerous repeated performances. The Zhejiang Zhoushan gong and drum piece The Fishermen’s Triumphant Song and Qian Zhaoxi’s Seeking Dreams on West Lake are examples. I am sure with the ZJCM Orchestra joining in, these perennial favourites would have a whole new look.

By the same token, when an orchestra performs the same piece of music with different soloists, the variations in cultural background and artistic interpretation often produce very different results - or even sparks - when both sides are technically adept and culturally informed. This should apply to the sheng concerto Rainbow, pipa concerto Dress of Clouds, Face of Flowers, dizi and orchestra piece The Broken Bridge in the Snow, and piano concerto The Yellow River played at this concert, and the audience are in for a treat from these stimulating flashes of brilliance.

The same idea of communicative exchange applies to the performers on stage and the audience in the auditorium. Even if both are of the same ethnicity and speak the same language, different upbringing and life experiences would create different cultural backgrounds. But when the music can link the musicians’ interpretation and the audience’s appreciation together, a communicative state ensues. This channel facilitates interactive exchanges between the two sides that can bridge any cultural gap. The reciprocal influence, such as the musicians’ inspired efforts and the warmth of the audience’s response, will have a reiterative effect on the overall standard of the musical performance. Given that this celebration concert features distinctly energetic pieces and the ‘mixed’ orchestra has undergone its ‘break in’ process, one can expect a highly successful interactive exchange.