Modern Qin: Mirroring the Past.
Last Sunday, November 17th, I organized the final Yaji Meeting of 2024, hosted by the New York Qin Society, entitled "Modern Qin: Mirroring the Past." We had a fruitful discussion on the evolving landscape of qin composition.
Nina Starostina (Нина Старостина / 載妮娜) shared her unique approach to blending Eastern and Western musical traditions, while Dominici Eckersley (隱嘯 Yin Xiao) offered new perspectives on the instrument's expressive potential. Hippocrates Ching Nam Cheng (鄭靖楠) presented an innovative composition, and Jin Yong Derek Oh explored the idea of a "compositional essay" inspired by classic pieces.
These presentations highlighted the diverse ways in which contemporary composers are reimagining the guqin. As we continue to explore the boundaries of this ancient instrument, perhaps, we must ask ourselves:
What defines a qin composer today?
I believe that composition for the qin can be seen as a form of musical commentary, similar to the philosophical commentaries on classical texts. By creating new works, inspired by old pieces, we enrich the tradition and provide future generations with valuable insights.
When guqin composition engages in self-reflexivity, it mirrors the medieval European tradition of musical commentary, where composers would appropriate and recontextualize the works of their predecessors. Jin seems to have intuitively adopted this approach in his adaptation of Chun Xiao Yin.
I find this intriguing, as it challenges the conventional notion of authorship. Rather than focusing on the composer's originality, this practice positions the musician as a historical interpreter, paying homage to the past through sonic reimagining. In the context of guqin performance, I believe it is more fruitful to explore the relationship between the performer and history, examining how they engage with past works and create new interpretations within the present moment.
Concert Notes
1. Nina Starostina, a guqin player from Moscow, will delve into the fascinating world of blending ancient Chinese music with contemporary Western ensembles.
In this captivating presentation, Starostina will discuss her innovative approach to composing for mixed ensembles featuring the guqin. She will analyze two of her significant arrangement works:
"Orchid and Wamwood": A quintet for guqin, flute, violin, viola, and cello, inspired by the Tang Dynasty poem 《兰与艾》by Bai Juyi 问友 （772-846). The piece pays homage to the classic melody "Lonely Orchid," seamlessly blending ancient Chinese music with Western instrumentation.
https://www.youtube.com/watch?v=mbIso6JkZh0
"Lisao": An octet featuring guqin, flute, oboe, clarinet, French horn, and strings. This composition is based on the melody of "Lisao" from the 1425 musical manuscript《神奇秘譜》Shenqi Mipu.
https://www.youtube.com/watch?v=0_vmwtG19SE
白居易
问友
种兰不种艾，兰生艾亦生。
根荄相交长，茎叶相附荣。
香茎与臭叶，日夜俱长大。
锄艾恐伤兰，溉兰恐滋艾。
兰亦未能溉，艾亦未能除。
沉吟意不决，问君合何如
Through her insightful analysis, Starostina will provide a unique perspective on the intersection of Eastern and Western musical traditions, illuminating the possibilities for contemporary interpretation of ancient Chinese music.
2. Dominici Eckersley, a German qin player now based in Vietnam, will present a performance that blends ancient Chinese musical traditions with contemporary sensibilities.
A highlight of the concert will be the world premiere of Eckersley's latest composition,《怅望黄河》 (Chàngwàng Huánghé) or "Looking Mournfully over the Yellow River". Inspired by his connection to the Yellow River, this piece pays homage to the Ming Dynasty style while incorporating subtle modern influences.
Eckersley will guide the audience through a sonic journey that evokes the vastness and power of the Yellow River, intertwining traditional finger techniques with innovative musical ideas. This performance promises to offer a unique perspective on the enduring appeal of the guqin and its ability to connect us to the past while inspiring us toward the future.
About the composition 《怅望黄河》 (Chàngwàng Huánghé) or "Looking Mournfully over the Yellow River".
"Recorded for presentation at the New York Guin Society meeting in November 2024, this is a composition of my own creation inspired by my second visit to the Yellow River with the instrument maker who made this instrument, Xu Yachong. The Yellow River, known as the mother river of China, has brought prosperity to the country due to the sealed which was able to be used in brickmaking et cetera. But it has also caused the loss of perhaps 13 million lives over the millennia due to flooding. The instrument used in this recording is 雁鸣. (On his YouTube page)
3. Ching Nam Cheng, a brilliant young composer, theorist, ethnomusicologist, and guqin performer, will share his insights into the world of guqin music composition, highlighting his recent work, "Serendipity". This innovative piece, premiered by renowned qin player Feng Chi in 2022, blends traditional Chinese musical aesthetics with contemporary influences.
The presentation will offer a unique opportunity to learn about the creative process behind this groundbreaking composition and appreciate the guqin's timeless beauty.
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