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Read Me | Chen Gang: My "Color" is a "bright color"

Article source:Shanghai Alliance

Release time:Jan 17, 2018Page view:136

Not long ago, Li Qianuang, member of China Federation Literary Party Committee and vice chairman and his party made a special trip to Shanghai Conservatory of Music and presented "Lifetime Achievement Music Artist" to Chen Gang, 82 year-old famous composer and one of the creators of the violin concerto "Butterfly Lovers".

Chen Gang regards the award as a gift to the 90th birthday of the Shanghai Conservatory of Music. "The artist must have an innocence, the arts will never cease, inherit the Toshin tradition, inherit the Shanghai culture, keep up with the new era, maintain a young heart and make new contributions," he said in the award-winning testimony. Forever young Son of the Son, which may be regarded as a key word to interpret Chen Gang, but also Chen Gang's music to bring the greatest feeling - so bright, so warm, so romantic, then up, with the China Music Association Honorary Chairman Zhao Ji-ping's words, "Chen Gang's youthful atmosphere always infected with all the people."

What makes Chen Gang become Chen Gang? The composer writes in his dream pen - My "color" is a "bright color"

Composers often have his favorite color and tone. Like Rachmaninoff, he said: "I am biased in melancholy and joyful." Mozart's life is always happy and innocent despite all sorts of different ups and downs. This is the tone of each composer's life, his "dominant color" or "true color." My "color" is a "bright color." You look at my piano room, my decoration, my decorations, my lights are not very warm and bright? I will not play deep, do not love to get the concept, do not like to use mahogany furniture to create a depressing, "antique" atmosphere. I think my "natural" is very modern, very bright, very progressive, it is my birthright background of life.

"Ocean" and "mixed" is my gene

When we talk about life, we need to talk about genes, speaking of blood and anthropology. While many of us theorists often analyze the writers and works only from the perspective of history and sociology, this interpretation often falls into the mud of mechanical materialism and vulgar sociology in a particular political context in. Few people study the writer and the work from the life individual, that is, from an anthropological point of view. However, it is very important for artistic creation to study its gene of life and its cultural genetics. Because, from the genes can be found in the blood and context heritage, which is I always my creation and my father's creation as the same blood and context of the child's sake.

Over the years, I have gradually noticed an unavoidable phenomenon: why is my father and my own work very different from the music written by contemporary composers on the same subjects, genres and materials? Is it because of the difference between life genes and cultural genes? Take my father, his genes in addition to the Han lineage there are Indian descent. My great-grandfather was an Indian. He was like an alien drift-bottle. He moved from India to Shanghai, married my great-grandmother, a Shanghai Pudong, and then came to fruition and gave birth to a mixed-race grandfather. The grandfather, after marrying her grandmother, one of the four beautiful women in Hangzhou, gave birth to my father, a fourth-Indian father. My father married a Hui girl, gave birth to a more mixed me. This is my life gene. Shanghai's Shanghai style culture. It is essentially a kind of immigrant culture, mixed culture. Because the "gene mutation" that took place since the opening of Shanghai and the influx of foreign cultures and the integration with the original Wu and Yue cultures essentially changed the farming civilization of China for thousands of years and created a new culture That is urban culture. Shanghai is the earliest birthplace of Chinese urban culture. One of the most obvious features of Shanghai-style culture rooted in the peculiar soil of the "Ten Mile Western Market" is that it is a common feature shared by my father and my work One word - "foreign"! If you want to add a word, that is "mixed." Mixed, mix and match, mixed ...... "Ocean" and "mixed" is the "sea culture" of the two characteristics. "Foreign" is not a foreign language, blindly Westernization, but to stand in the forefront of the times, with a large international perspective to review and reorganization of our traditional culture based on farming civilization. "Mix" is not a rigid patchwork and matchmaking, but an organic combination of two. This constitutes my cultural gene. Looking at my father and my work, many of these features.

People always yearn for what they want

People often ask me a few questions.

The first question is: "Chen Gang, why do you write so many violin songs, is not a soft spot for the violin you?

I said: "No, that's what people write to me!" "Butterfly Lovers" asked me to write in the school. "The Red Violin" was written by Pan Yinlin. "Wang Zhaojun" "Dream of Red Mansions" is Xue Wei about me to write. Anyway, I was passive creation. "

In fact, too. Fate joke with people, you obviously want to open the door, but he opened another window for you. Life is a dream. When I was young, I love to do "literary dreams," and when I was thirteen, I even wrote a novel "Back of a Long Leg Comes." The revolution of 1949 brought me into a utopian "revolutionary dream" before I accidentally transferred to the art troupe and entered the music hall to start a "musical dream." Where can I think of this life even with violins will be so indissoluble bound!

The second question is: "Chen Gang, your violin must be pulled well?"

"Where! I will not play the violin, I really will not, even the string will not pull it!"

Then there is the third question:

"So, did you go to Miaoling when writing" Morning Miaoling? "" No. "(No, then later).

"Have you been to Tashkurgan in Xinjiang when you wrote the sun shining on Taxkorgan?" "No, it has not been done so far."

Often, there are signs of mechanical materialism and vulgar sociology in our thinking method, always thinking of "where to write where and experience what to write." In fact, Xian Xinghai wrote the "Yellow River" but never visited the Yellow River. What he wrote is not a river, but a spirit, a kind of misery and struggle spirit of the Chinese nation. He Linting wrote the song "Guerrillas," but he has not been to the guerrillas, but he has a wealth of combat experience, he can in the creation of "empathy" and "creative" it!

There is a fourth question.

"Chen Gang, how could you make such a bright voice in such a dark Cultural Revolution era?"

The "Cultural Revolution" is a ruthless era, but it is also a particularly emotional era. Because of ruthless, so in particular need lyric. Because of the darkness, I particularly look forward to bright colors and longing for "golden" "morning" and "sunshine" because this is the nature of human nature.

Shostakovitch made a very profound remark when he said: "Music is the last consolation and final refuge." He has lived with fear and will feel "taken away" one day. That was the case at that time, and at any moment could be "taken away" by doom, leaving us with only the music of our hearts - our "ultimate comfort" and "ultimate refuge."

However, for a composer, merely "comfort" and "asylum" are not enough. Because of the special power and beauty of music, it is more necessary and better to talk, vent and erupt. People always yearn for and write what they aspire to. In that era, because there is no gold, so special advocate of gold; because there is no morning, so look forward to the morning; because there is no sunshine, so the sun is very much needed. I think this may be the historical opportunity and psychological background of the birthplace of the Golden Stove, Morning Miao Ridge and the Sun Shines on the Taxoid, and why these works can bring hope and comfort to the people of that era. Ten years after the reason is still circulated in the Chinese and foreign music scene.

Here, I remembered Tagore's poem: "Your burden will become a gift, and your sufferings will light up your path."

Always burning, always dreaming

When I came to Hong Kong from the United States back to Shanghai in 1981, a British reporter from the South China Morning Post interviewed me and published a full-page report. After listening to my experience in the "Cultural Revolution", he said that I was like a phoenix flying out of the rubble, leaving no trace of wounds on him. This is something incomprehensible. In fact, sometimes I can not understand myself, why I can "without scar" to "fly"? Maybe because there is a fire in my life genes and cultural genes, I always want to burn, burn, and keep burning. Maybe it is because I am a "no-man's repentant" person, always dreaming, dreaming, a dream shattered, and then another dream, which may be called "endless dreams"!

"Dream of Literature" "Dream of Revolution" "Dream of Music", after three dreams, what I now want to do and are doing is the fourth dream - "Shanghai Dream". Because I am a child of Shanghai and a successor of Shanghai Culture. I should make due contributions to this city where I live and support my mother. History has given me a lot, I should be worthy of history. In the past two years, I organized a cultural salon called Koehler with friends from a number of cultural circles. I wanted to better sort out my thoughts through various cultural fields such as music, painting, film and drama And heritage Shanghai culture. A newspaper in Shanghai introduced his father in three pages in the column entitled "Sea Celebrities." The topic is very long and very special: "Chen Gexin, we have lost him 50 years, and now get it back a bit." What we are doing now is looking for Shanghai. We should retrieve the soul and taste of Shanghai a century ago and rejuvenate the earliest and most mature and brilliant urban culture in China - Shanghai Culture. This is our historical responsibility, that is, what Jacques Derrida said: "Evoke memory arouses responsibility." We can not forget the past, lose the fundamental, and only find history to find ourselves.