44th Orchestral Season

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Music About China - Festival Opening of the 49th Hong Kong Arts Festival (2021)

Date and Time
27/2/2021 (Sat) 8:00 pm
Venue
Hong Kong Cultural Centre Concert Hall
Ticket Fee
$200, $250, $320, $420
(Free Online Live Streaming)
Conductor
Yan Huichang
Performed by
Shakuhachi: Sun Yongzhi
Handpan: Luk Kin Bun
Percussion: Chau Chin-tung
Cello: Richard Bamping
(In order of appearance)

The Hong Kong Chinese Orchestra has always been committed to promoting the Chinese music while breaking new ground for the genre. Its high quality performance has been recognized in the international music arena.  It has also been a driving force behind the creation of new works, with a commissioned repertoire of over 2,400 works, new compositions and arrangements included. The ‘Music about China’ series, jointly launched by the HKCO and the Hong Kong Arts Festival in 2007, has premiered a considerable number of works by composers from Greater China and beyond, thus promoting Chinese culture and perpetuating the heritage of Chinese music. As the series enters its 15th year, it has been designated as the opening programme of the Hong Kong Arts Festival 2021.


The upcoming concert features a spectrum of highly imaginative music, such as Chan Ming-chi’s new original composition, It’s the East Wind Again from Tale of the Mahjong Heroes. By using alternative musical instruments, Chan captures vividly the many reactions of the players in the game.  Blue Notes by Golden Horse Award winner Leon Ko is an ingenious hybrid of the Cantonese nanyin and American blues. It carries the folksy yet graceful sounds of Chinese traditional music as well as the worldly-wise sensibilities of the life of common folks. The cello concerto Zhuang Zhou’s Dream, a tour de force that took Zhao Jiping ten years to complete and premiered in 2008 by the HKCO and cellist Yo-Yo Ma, is a philosophical dialogue between a cello and a Chinese ensemble. It has been taken on tour to top performing venues such as the Carnegie Hall in New York and the National Centre for the Performing Arts in Beijing. In this Hong Kong revival, it should inspire the audience to explore once again the wisdom of Zhuang Zhou.


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Programme

Symphonic Poem  Flowing Water    Chan Pui Fang


Blue Notes Leon Ko (Commissioned by the HKCO / World Premiere)


It’s the East Wind Again from Tale of the Mahjong Heroes Chan Ming-chi (Commissioned by the HKCO / World Premiere)

The first movement: The Strategic Battle for the Winning Tile

Shakuhachi: Sun Yongzhi
The second movement: When Luck Comes in Full Circle

Handpan: Luk Kin Bun
The third movement: For the Myriad Living Things on Earth

Percussion: Chau Chin-tung
The fourth movement: A Symphony of Clattering Tiles


Cello Concerto  Zhuang Zhou’s Dream Zhao Jiping

Cello: Richard Bamping

A Va Mountain (Excerpt from the first movement of Three Melodies of West Yunnan) Guo Wenjing

Music Views & Previews

From Philosophy to Music – A Picture in the Mind’s Eye


Chow Fan-fu


‘Music about China’ is a signature concert series of the Hong Kong Chinese Orchestra at the annual Hong Kong Arts Festival, where both orchestra and audience journey across the vast land of China through music, with the programming meticulously prepared to highlight unique features for each edition. The five pieces selected this year are all commissioned by the HKCO, including two new works specially created for the occasion and making their world premieres. The smooth and seamless programme allows the audience to ply the world of music from the ancient Central Plains to contemporary Hong Kong, or from primitive rusticity to modern dynamism. While listening to the music, the audience can not only visualize rich and changing scenes in the mind’s eye, but also imbibe the philosophical meaning behind the melodic notes.


Different traditional Chinese philosophies


Inspired by its ancient namesake piece for guqin, Flowing Water (1986) by Chan Pui Fang is an expression of the composer’s love for his motherland through the various visible forms of flowing water. The introduction and coda of the piece exude a serious, solemn and even grim ambiance, while referencing the ancient story of Boya meeting his soulmate while playing the guqin. Boya’s view that “people of selfless virtue enjoy the mountains; people of wisdom enjoy the waters” embodies the traditional wisdom and philosophy of the
Chinese people.


The cello concerto Zhuang Zhou’s Dream by Zhao Jiping, as indicated in the title, makes reference to Taoist philosophy as expounded in Zhuang Zhou’s Butterfly Dream from Qiwulun (The Adjustment of Controversies), by the ancient philosopher, Zhuang Zhou (circa 369 - 286 BCE). The dialogue between the cello, an instrument of the West, and the Chinese orchestra in a concerto emulates a scene from the dream – “Was it Zhuang Zhou who became a butterfly in a dream, or was it a butterfly who became Zhuang Zhou in its dream?” The East-West fusion of musical instruments paints a picture of the dream that echoes questions asked in this philosophical rhetoric. And is the Taoist philosophical viewpoint a conundrum, or is it not?


As a foil to the traditional Taoist philosophy of the Chinese, Three Melodies of West Yunnan by Guo Wenjing depicts a scene of the simple and primitive culture of Yunnan ethnic minorities. Only the first movement of this piece, A Va Mountain completed in 1993, is performed in this concert. It depicts the primitive religious activities of the Va ethnic minority who inhabit the mountainous areas. The solemn and rather gloomy ambiance evokes the outlook on life for the people with a primitive faith.


Philosophical outlook on life in a modern metropolis


The music of the three pieces stemming from different traditional Chinese philosophies produces different musical images. But interpolated between them are two world premieres by Hong Kong composers which stand out in sharp contrast with their depiction of the Hong Kong culture, a fusion of East and West.


These two new compositions from Hong Kong are also markedly different. It’s the East Wind Again from Tale of the Mahjong Heroes by Chan Ming-chi has the quintessential Chinese gambling game – mahjong – as its theme. This common recreational activity among Hong Kong people is deeply entrenched in Chinese culture and is rich in everyday wisdoms and insights of life. The image-rich titles of the four movements show vividly through music different local cultures, approaches to and insights of life as seen during the process of the game. It also unravels the myriad mannerisms of the players, culminating in an age-old saying that a game of mahjong is the first and foremost character test for a prospective son-in-law.


Another Hong Kong work, Blue Notes by Leon Ko, merges directly the blues and nanyin (southern
tune) into one. The blues, with its origin in African tribal culture and a major element for jazz, is merged with Cantonese story-telling nanyin, an equally sad and poignant tune. Its title “Blue is the sound of the south. The blues has a southern ring to it” not only merges “blue” and “south”, it goes further to forge a
fusion between East and West, an apt metaphorical representation of the philosophical outlook of Hong Kong society.


This concert begins with Chan Pui Fang’s Flowing Water and ends with Guo Wenjing’s simple tribal interpretations of life in A Va Mountain - now is there a special meaning to such an arrangement, too?

Oh Mahjong

On Mahjong

(Information provided by Dr Chan Ming-chi)

Mahjong, a quintessential Chinese pastime sometimes referred to as Maque (sparrow), is a game of intelligence and skill with a history of a thousand years or longer. During the late Qing era, the game developed into a 144-tile version played with 13 tiles per player. In April 2017, the International Mind Sports Association formally recognized Mahjong as a mind sport.

Mahjong’s origins
One legend has it that the Mahjong game was invented by a man called Wan Bingtiao in the early 14th century. He drew inspiration from his favourite Chinese classic The Water Margin to develop the earliest form of the game, with the 108 outlaws in the story engraved on the mahjong tiles. The four cardinal points were added to denote the different directions whence the protagonists hailed, while the three dragons represented the diverse social stations of these heroes ranging from noblemen and officials to ordinary joes.

Another version traced Mahjong back to Taicang in Jiangsu where at one time inhabitants were encouraged to help control bird infestations which threatened their granaries. The ‘Circles’ suit of tiles came from the cross-section of a gun barrel, the ‘Bamboo’ suit indicated the sections of rope for tying the dead birds, and the ‘Characters’ suit represented the monetary rewards they got from ridding the birds.

Mahjong and classical Chinese philosophy
The mahjong game incorporates elements of age-old Chinese philosophy. For instance, the cardinal directions in the game are associated with the Five Elements, as East is with Wood, West with Metal, South with Fire, North with Water, and the Centre with Earth. Likewise, the White Dragon represents the earth, the Green Dragon the sky, and the Red Dragon humanity. As such, the four directions together with the three Dragons constitute the cosmic circle.

Mahjong is also closely linked with traditional Chinese thinking about numbers. The number of suits and melds of Circles, Bamboo and Characters is influenced by the use of 3 as the base number and 9 as the supreme number commonly associated with the Chinese emperor. The number 5 refers to the Five Elements, the five flavours, the five internal organs, or the five colours. The number 12 is related to the 12 zodiac animals, the 12 Earthly Branches or the 12 months. The square of 12 is 144, while 108 is a multiple of 12. Additionally, each player has a hand of 13 tiles during play and 13 x 4 players gives 52 which points to the number of weeks in a year.

Moreover, a mahjong game is played with tiles faced down, invoking the mysteries of the Qimen Dunjia, China’s foremost method of divination and suggesting the mystical twists and turns of happenings.

Mahjong and gaming culture
Although Mahjong pitches the wit and strategy of (usually four) players against one another, the orderly drawing and discarding of tiles accords every player equal opportunity at the game.

Like wartime maneuvers, Mahjong techniques put the players’ foresight and judgement to the test. The game is also gratifying in its form, sound, colour and touch.

Mahjong in music
The new work featuring Mahjong commissioned by HKCO aims to express the human perceptions of meaning of life and order of time through gaming culture and ancient Chinese philosophy.

Mahjong and tonality
The main note in this piece of music is D, reflecting the first letter of Dong, the Chinese character ‘east’ in pinyin used in the title, as well as the frequent dong-dong-dong sound of drums being played. The D note also scaffolds the overall tonal construction of the piece, such as D pentatonic series, D major and minor tones, and Dorian mode.

The winning hand and orchestration
The goal of Mahjong is to be the first to achieve a legal winning hand, but that requires a high degree of strategy and perseverance. Therefore, in orchestrating this work of music, the movements borrowed different underlying concepts from three principles crucial for success in life and business, namely Bamboo Principle1, Lotus Principle2 and Cicada Principle3, to showcase the characteristic sounds of the different instruments of the Chinese Orchestra.

Notes
1 Bamboo Principle: In its first four years, a bamboo seedling only grows by 3cm; but from its fifth year onwards, the plant shoots up at the astounding rate of 30cm a day to reach a height of 15 meters in a matter of six weeks. In those four years, the plant has actually put out an extensive root system covering several hundred square meters. One length of bamboo may have to endure countless cuts to be made into a Chinese flute, dizi. Yet it only takes a single cut to render another length of bamboo into a very humble pole for hanging out laundry to dry. The life lesson here is therefore one needs to build reserves, withstand adversity, endure loneliness, shoulder responsibilities, and accomplish missions in order to succeed.

2 Lotus Principle: The flowers of a lotus colony in a pond bloom at the rate of two times of the previous day every day during the blossoming season. If half the flowers in the colony are in bloom on the 29th day of the month, then all would be in full bloom on the next. In other words, the highest number of flowers that bloom on the last day of that month would double the number open on the 29th day. The moral here is that success is accumulative and takes time to build. Just as with Mahjong – the true winner emerges only after the last game.

3 Cicada Principle: A cicada nymph must first live underground in complete darkness for three years or more, enduring all manner of loneliness and solitude, and surviving only on root sap to slowly mature. When the nymph is ready to leave, it quietly crawls up some tree branch on a summer’s night, where it discards its exoskeleton overnight and emerges as an adult cicada. When the sun rises and the wings of the fully grown insect have hardened sufficiently, it flies skywards and rushes towards freedom.