Luo Shoucheng

Luo Shoucheng

Luo Shoucheng is a famous flute and flute player and a national first-class performer. Born in 1945, he entered the high school attached to Shanghai Conservatory of music at the age of 12, majoring in flute and piano. He studied under Jin Zuli, Lu Chunling and other well-known flute players of the older generation. In 1964, he entered the undergraduate course of Shanghai Conservatory Of Music, and began to study folk artists in various places, including South of Jiangsu blowing, northern duer, Jiangnan silky bamboo, Guangdong music, etc. At the same time, he also learned to integrate western music.

Profile

Luo Shoucheng: in July 1969, he graduated from Shanghai Conservatory of music with outstanding achievements and became a soloist of Shanghai Film Orchestra. His performance is sweet in tone and meaningful in charm. He is good at revealing the connotation of his works and shows a high artistic accomplishment. He is the soloist and leader of the films, such as "herdsman", "old story in the south of the city", "Bethune", "Queli family", etc "The old man and the dog", "Jigong", "Nezha making trouble in the sea" They all left an unforgettable impression on people.

After the merger, as the chief flute player of Shanghai Oriental Broadcasting National Orchestra, he cooperated with Shanghai Symphony Orchestra many times and recorded many records. He has visited Japan, the United States, North Korea, Singapore, Hong Kong and Macao several times. His name has been included in the contemporary celebrity list many times His name is also included in the list of contemporary Chinese youth celebrities.

Mr. Luo has been engaged in performing for decades. He not only has his own unique style and connotation in the performance of flute and flute, but also has made great achievements in the creation of flute and flute works. He has successively adapted and created such popular flute and flute music works as "three friends in the cold of the year", "Liu Bo Qu" and "memory of an old friend".

Character experience

At the age of 12, he entered the high school attached to Shanghai Conservatory of music, majoring in flute and piano. He studied under Jin Zuli, Lu Chunling and other well-known flute players of the older generation;

In 1964, he entered Shanghai Conservatory of music and began to learn from folk artists;

In July 1969, he graduated from Shanghai Conservatory of music with outstanding achievements and became a soloist of Shanghai Film Orchestra;

In December 2005, he and his favorite student Shen yingbiao jointly performed a special performance of "the sound of Xiao is easy to approach" in Zijingang Campus of Zhejiang University.

Performance works

There are 13 classic folk music pieces, including old stories in the south of the city, Bethune, Jigong, Nezha naohai, yueergao, liangxiao, high mountains and flowing water, ambush on all sides, three friends in cold weather, Liubo song and reminiscence of old friends.

Relevant evaluation

The charm of his performance is meaningful, atmospheric, elegant and touching, and it absorbs the essence and style of the northern and southern schools. The films that he played as soloist and leader, such as old stories in the south of the city, Bethune, Jigong and Nezha naohai, left a deep impression on the audience.

Wang Yue, a fine collection of flute and flute, was officially launched in 2005. "Wangyue" includes 17 pieces of music, such as "Autumn Moon in Han Palace", "Autumn Moon in Pinghu" and "saishangqu". Each piece is accompanied by a Tang poem and Song Ci to create artistic conception, which is elegant and smooth, or simple and natural, fully reflecting the profundity and richness of national music.

The main music in the collection of "looking at the moon" is composed by Zhao manqin, a zither master. It was originally composed by Zhang Jiuling, a poet of the Tang Dynasty. The poem "the moon comes from the sea, and the ends of the earth are at the same time". However, the music does not sound like Zhang Jiuling's poems in the realm of open, pure and sincere, but rather painstakingly in the memory of quite sentimental meaning: Lyric melody, quiet mood;

"Autumn Thoughts on makeup stage" is based on Sima Guang's "xijiangyue" (Xiao is Luo Shoucheng and Zheng is Luo Xiaoci) in the Northern Song Dynasty. This piece is adapted from a paragraph in Pipa's "saishangqu". The existing music score was first found in Hua Qiuping's "Pipa score" (before 1818). The melody of the music is euphemistic and moving, elegant and delicate, sad but not hurt, comfortable and smooth. Compared with the original music of pipa, Xiao has a quiet and melodious style, which is very touching.

The title of chushuilian adopts Ge Changgeng's "Manjianghong. Yongbailian (Part 2)" (Luo Shoucheng for Flute and Tu Weigang for Pipa). When it comes to lotus, we naturally regard it as a symbol of the quality of "out of the mud but not dyed, clean water but not demon". Taking "out of the water lotus" as the title, this kind of symbolic image should be more prominent. However, the solution of this piece in the original score "Qingyue diaopu Xuan" is called "covered with red lotus, which means the beginning of the music", indicating that the music is the introduction of a set of divertimento. The melody is elegant and graceful. It was originally a famous Hakka traditional Zheng music, but it has a unique flavor when transplanted to flute music.

Related information

Luo Shoucheng on the ensemble of Qin and Xiao

Luo Shoucheng's Xiao has a soft tone and a combination of virtual and real. He has many successful works in piano and Flute Ensemble. His albums such as yunshuiyin and qinxiaoyin are deeply loved by the majority of piano and flute lovers. Recently, the author was able to meet Mr. Luo Shoucheng and ask Mr. Luo Shoucheng and Mr. Shen yingbiao for some advice on the ensemble of Qin and Xiao. With some experience, the author compiled the text for the reference of Qin friends and Xiao friends.

Tacit understanding is the key

The key to the ensemble of Qin and Xiao is the tacit understanding between Qin and Xiao, that is, the tacit understanding between them. Mr. Luo and Mr. Shen improvised the repertoire of Xiao variation, such as "Yangguan Sandie" and "GuanShanYue". Because of their familiarity with melody and with each other. In the process of playing, no matter how to add and subtract paragraphs or change the rhythm, the cooperation between the two Xiao can be seamless. Even if you want to change the tune suddenly or end it, you can understand it in a note or a look. The same is true in Qin Xiao ensemble. Only when Qin and Xiao have a tacit understanding of each other and cooperate with each other, can they have a subtle and meticulous treatment when playing. Only in this way can they play their own solo level and achieve the effect of one plus one greater than two. For example, if there is a temporary cooperation between Qin and Xiao in the regular gatherings, we can only rely on our own playing experience. It is difficult to have a tacit understanding, and it is difficult to play effectively. We can often only rely on two people's daily playing experience to explore.

Complementarity is the essence

Guqin and Xiao are totally different from each other in structure and principle: Qin is a plucked string instrument, each sound of which is similar to the decaying sound of nail head and mouse tail, while Xiao, as a wind instrument, has a continuous sound; Qin is more likely to have a large number of gliding sounds, while Xiao is often a long sound with constant pitch; Qin is very rich in Xu, while Xiao is more likely to have a large number of gliding sounds There are also Qi vibration, finger trembling and other similar techniques, but they are far less abundant than the Yin she in Guqin Mr. Luo mentioned that the two instruments should learn from each other and complement each other. There is no need to make the melody of Guqin and Xiao exactly the same, and there is no need to "imitate Qin with Xiao" in the way of expression. The key lies in "complementation" and "harmony" in the ensemble. If the two instruments can cooperate in this way, it can be regarded as understanding the true meaning of Qin Xiao ensemble. Mr. Shen said that he had heard the music of Qin and Xiao in the form of short interludes and felt very good. For example, these interludes, which have not been arranged by composers, are interwoven with the characteristics of the two instruments, which can be said to be the most primitive and simple mode of complementation.

Xiao Sheng should have connotation

When Xiao is playing, it is very important to be expressive and connotative. In short, when you play, you should be aware of what you are expressing, or what you want to say, rather than just playing according to the score. For some beginners, when they relax and play silently, the sound of Xiao is often energetic. When they are nervous or just watch the music, the sound of Xiao will be rigid. It's important to relax. Xiao Sheng should not only have vitality, but also have artistic conception and connotation. It's the same with Qin. It's the same with all musical instruments.

The one who plays the piano expresses a connotation, and the one who plays the flute also expresses a connotation. Sometimes they may not be consistent, but they must be unified, that is to say, they should be coordinated.

Requirements of Guqin for Xiao

We also talked about the influence of Guqin's personality on Xiao in Qin Xiao ensemble. Due to thousands of years of inheritance, there are many schools of guqin, with different versions of the same piece. However, there are also different styles of Guqin players, who have different understandings of Guqin music and use different ways of handling and expression,

Even every pianist plays a different tune. It can be said that Guqin is a very personalized musical instrument, which has certain difficulties for Xiao ensemble. If you don't work hard in coordination, it's really difficult to get along well with Guqin. Mr. Luo said that learning Qin and Xiao can't always be with the same Qin player. It's easy to become a mere formality. Even though Guqin is full of personality, it is still necessary to try to cooperate with people of different styles. This is of great benefit to the study of Qin and Xiao.

The relationship between Qin and Xiao ensemble

Finally, we talked about the relationship between Xiao and Qin in ensemble. Many people think that Qin is the main part of Qin and Xiao, and Xiao is only the auxiliary part. Any expression of Xiao is to highlight Guqin. We talked about that Qin is not necessarily the main instrument. In the ensemble of Qin and Xiao, guqin and Xiao can have equal status. According to its timbre characteristics, Qin and Xiao can be said to be the relationship between bone and flesh. Qin is the bone and Xiao is the flesh. The overall image of ensemble is a fresh posture formed by the integration of the two. One of them is biased, so it is easy to stay rigid.

In the past, due to the relatively small volume of guqin, the sound of Xiao often overshadowed the sound of Qin in the ensemble of Qin and Xiao. Some people think that the volume of Xiao must be lowered,

Chinese PinYin : Luo Shou Cheng