Chafuxi

Chafuxi

Cha Fuxi (1895-1976), male, was born in Xiushui, Jiangxi Province. Guqin player, music theorist and music educator. His music is deep and delicate, and his music is simple and elegant. He was the editor in chief of the collection of Guqin music.

Profile

Cha Fuxi (1895-1976), male, was born in Xiushui, Jiangxi Province. Guqin player, music theorist and music educator. At the age of 13, he learned to play Guqin. Later, he engaged in Qin learning activities in Changsha, Suzhou, Shanghai and other places. In the early 1930s, he initiated the organization of "Jinyu Qin club" in Shanghai, which has had a wide influence in the Qin industry for half a century. After the founding of the people's Republic of China, he served as vice chairman of the Chinese Musicians Association, director of the Department of national instrumental music of the Central Conservatory of music, and President of Beijing Guqin Research Association. Beijing Guqin Research Association was organized to carry out academic discussion and performance practice of Guqin music. His music is deep and delicate, and his music is simple and elegant. He has compiled a collection of Guqin music and edited a collection of Guqin music.

Life of the characters

In his early years, he founded and presided over Jinyu piano club in Suzhou and Shanghai, edited and published Jinyu piano magazine, contacted local players and exchanged their skills. Before the founding of the people's Republic of China, he did some revolutionary work under the leadership of the Communist Party of China; after the founding of the people's Republic of China, he served as a consultant of CAAC. In 1953, he was executive director of China Musicians Association and communication researcher of National Music Research Institute. In 1959, he was the director of the Department of folk music of the Central Conservatory of music. In 1969, he was elected vice chairman of the Chinese Musicians Association. In 1956, he led the Guqin investigation team organized by the Ministry of culture and the Chinese Musicians Association to visit 10 cities in China, collecting and sorting out a large number of historical materials on Guqin. Later, under the auspices of Beijing Guqin Research Association, he compiled and printed the collection of Guqin music (Volume 1, Volume 1, Zhonghua Book Company, 1963), the collection of QUPU of Cunjian Guqin (people's music publishing house, 1958), the collection of qufa and Puzi of Cunjian Guqin (1958), as well as the biography of Qin people of past dynasties (1961), the record of Youlan (1957) and the collection of Quxin of Qin Lun (1963) It has laid the foundation for learning. In addition, in order to promote the study of all kinds of ancient music, Cha Fuxi did a lot of work on the singing and performance of "Jiugong Dacheng North South CI Gong Pu" and "Zhihua temple music". Representative works: editor in chief of Qin Qu Ji Ji Ji

Character achievement

Chafuxi is a rare master of Guqin art in history. He has made admirable contributions to Guqin art research, teaching, creation, performance, as well as organizing and leading Guqin academic research and art activities. Guqin performance art is the foundation and starting point of all these. He loved music when he was young. He learned to play flute when he was very young. At the age of 13, he learned to play guqin, Guyin and Kechuang Yehua. Since then, he has also tried to score, compose and learn to sing Kunqu Opera, and studied the temperament of national music. In the 1920s, he studied instrumental music in Shanghai and Changsha. In the 1930s, he organized "Jinyu Qin society" and edited "Jinyu Qin journal". Through these activities, we contacted piano players all over the country and investigated them.

His music is deep and delicate, and his music is simple and elegant. In 1945, he was invited to give lectures on Guqin in several American universities, and found some precious ancient Qin scores in American libraries. In 1958, as a classical music consultant, he went to Japan to perform with the Chinese song and dance troupe. Later, he was invited to attend the international pentatonic academic conference held in the Soviet Union. Since 1953, Cha Fuxi has successively served as executive director and vice chairman of the National Music Association, communication researcher of China Music Research Institute, President of Beijing Guqin Research Association, and director of the Department of folk music of the Central Conservatory of music. In his later years, he concentrated on playing piano.

Character evaluation

Mr. Cha Fuxi is a rare master of Guqin art in history. He has made admirable contributions to Guqin art research, teaching, creation, performance, as well as organizing and leading Guqin academic research and art activities. Guqin performance art is the foundation and starting point of all these.

Among the late Guqin masters, the most successful and influential are Mr. Cha Fuxi, Mr. Wu JINGLUE and Mr. Guan Pinghu. The three pianists embody three distinct artistic styles. Mr. Cha Fuxi's Guqin performance art is in the category of literati guqin, so he is a literati Guqin artist. He reflected the literati's spiritual outlook and ideological interest by the artistic quality of guqin, and also influenced the artistic quality of Guqin performance by the literati's spiritual outlook and ideological interest. He is a passionate leader of the piano world, a scholar with traditional culture, and a scholar with new ideas and the spirit of the times. Guqin music art is a kind of artistic hobby and cultural accomplishment that permeates his life since his youth, and then becomes his lifelong career. In his decades of Guqin art practice, the performance style clearly reflects the literati temperament. His Guqin performance has a leisurely, relaxed and sincere spirit, not like the artist's passionate, strong, or gorgeous, romantic, deep, red hot. At the same time, his life style and way of thinking are still traditional literati. For example, his interest and taste in traditional art are casual in his collection of traditional Chinese paintings, rigorous in his study of Kunqu Opera, and exquisite in his poetry writing. He did not set foot in the ballroom card table for entertainment of photography. He had insight for pleasure of reading and even wrote books with a writing brush. As late as the 1950s, he once rejected the performance because he didn't regard piano as his profession.

artistic value

However, Mr. Cha Fuxi did not regard the Qin as the instrument of sages, nor as the instrument of cultivating one's moral character in order to be lofty and detached, but clearly put forward that guqin music should be used as an art to benefit the stability and development of the country and the ideological education of the society.

Therefore, he wrote in the narration of the collection of Cunjian guqin music scores published in 1957 that the musicians should not only perform well to introduce and promote the national form of music, but also "make the discovered things as Sima Qian said, which is a fine tradition of" mending the shortcomings, transforming and helping the flow of politics and religion ", and" correct the cultural life of the broad masses of people, and promote the development of social democracy " It is necessary to build the "Yi" as soon as possible. He also wrote in the first draft of the publication speech of Guqin research: "the contribution of art to society is to stimulate the people's enthusiasm for struggle, labor and production, so as to promote the development of society." Guqin is a fine art tradition in China, and should also stimulate the people's patriotic enthusiasm. ".

Scholars have always played the piano as literature and philosophy, which is a kind of sustenance of the ancient ideal society and ideal life, in order to cultivate self-cultivation and return to its innocence. Mr. Cha Fuxi regards Guqin as a musical art and pays attention to the music content, thoughts and feelings, the background of the times, and the artistry of performance skills and forms.

First of all, Mr. Cha Fuxi attaches great importance to the background of the times, the author's ideological situation, the title and interpretation of the music. For example, in his treatise on Xiaoxiang Shuiyun in the book "the collection of Western Qin studies in Chafu" (P. 431), he clearly pointed out that the author of the song was "a very outstanding Guqin player and performer in the late Southern Song Dynasty, named Guo Mian, also known as Guo Chuwang", which showed that Mr. Cha paid attention to the investigation of the identity of the composer and affirmed the nature of the artist. In order to clarify the relevant issues at that time, Mr Then it discusses Mao Minzhong's thought and personality, and Han Zhuzhou, who was executed in the battle between the main battle and the main peacemaker in the Southern Song Dynasty.

The technique is strict

Mr. Cha attached great importance to the mastery and application of Guqin performance skills. His performance not only had strict intonation rhythm, but also had distinct ups and downs. In the process of singing and discussing the art of Qin song, he is meticulous about the problems of enunciation and intonation. In his article, when it comes to the piano player's performance, he clearly judges the level of performance. When he wrote about the Qin people in feudal times in Guqin for a hundred years, he pointed out: "at that time, guqin music was composed of some" fallen scholars "," off-season craftsmen "and" winter leisure farmers ". After mastering Guqin art, they degenerated into Qin players, Qin Qingke or Qin Daizhao according to their level, so that they became professional Qin players in feudal society." When talking about Wang binlu, a zither player in the middle of the 20th century, he wrote in a fully positive attitude: "Wang binlu's performance is full of regional folk style, with strong appeal." And when he wrote about a young zither player at that time, he also clearly pointed out that "the technique was even". When he talked about Yu Shaoze, a zither player in Sichuan, he also affirmed: "according to my personal impression, in Luhe zither club, the skill should be put first, and the" flowing water "played by him is exactly Zhang Kongshan school. It is the most flexible and flexible way to use a section of "Jiu Zhong Juan Fu". Today, there is no better way to play "Liu Shui" of Zhang school

Deeply artistic

Mr. Cha Fuxi's Guqin performance is not only strict in technique, but also artistic. It is not "indifferent" or even tasteless, and it is not just for the self-cultivation of the individual's inner detachment from reality. He thinks that "a lot of music with good content has been distorted in different times and backgrounds", and points out: "according to Xunqing's records, the effect of Gaoshan is" majestic ", which clearly implies the content that he wants to express but does not know. In the Qing Dynasty, however, the Qin score and the Qin family described the title of the qin tune as the expression of "tranquility" and "benevolence and longevity", which became the ideological content of Taoist mysticism. " As a musical art

Chinese PinYin : Cha Fu Xi