Zhu Jianer
Symphonic Fantasia: In Memory of Martyrs for Truth (1980)
Sketches in the Mountains of Guizhou, Symphonic Suite (1982)
Symphony No. 4 "6.4.2 - 1" (1990)
A native of the Jing district of Anhui, Zhu Jianer was born in Tianjin and brought up in Shanghai, teaching himself music
as a schoolboy. In 1940 he began to write songs, incidental music and music for
wind instruments, turning in 1949 to the composition of film scores. In 1955 he
went to the Soviet Union, where he was able to take an advanced course in
composition at the Moscow Conservatory, completing his studies in 1960, when he
returned to China, working successively at the Shanghai Film Studio and the
Shanghai Opera, Since 1975 he has served as resident composer to the Shanghai
Symphony Orchestra, concurrently holding a position as a professor of
composition at the Shanghai Conservatory.
Zhu has endeavoured in his work to combine organically Western
techniques of composition with Chinese musical thinking, idioms and style,
continuously developing and broadening the referential aspect of his music and
forming an individual musical language, He occupies a leading position in music
in China, with important works that include five symphonies, a symphonic
cantata Heroic Poems, music for piano, chamber music, compositions for
Chinese instruments and other music, His Symphonic Fantasia won a
distinguished award in the AII-China Symphonic Composition Appraisal in 1981
and his Symphony No, 4 won the Grand Prize in the Queen Marie Jose
Composition Competition in Switzerland in 1990, In 1991 he was awarded the
prize for Outstanding Contribution to Art and Literature, the highest prize in
the gift of the Shanghai municipal government.
Many of Zhu Jianer's works, in particular his symphonies, were first
performed and won awards at the Shanghai Spring Music Festivals, They have also
been performed in various countries, including the former Soviet Union, Japan,
Germany, Sweden, Romania, the United States of America and the Philippines and
have been well received in international musical circles.
Zhu Jianer's Symphonic Fantasia - In Memory of Martyrs for Truth
was completed in 1980 and is a profoundly philosophical composition. The theme of
the introduction sounds like a striking question or exclamation, suggesting a mood
of drama. The oboe announces a simple and meditative principal theme, later
developed by the whole orchestra. Suddenly the brass offer the secondary theme,
full of excitement and uneasiness. The ominous beats of the kettle-drums lead
to the development section in which the conflict becomes sharper and sharper.
At the climax the theme of the introduction returns strongly, but unexpectedly
the final cry is interrupted. To the accompaniment of drums the strings sing an
elegy. As the music grows calmer, the harp leads to the primary theme from the
solo violin, raising the mood to a level of sublimity from which the music
turns into a passionate paean of the whole orchestra. In the coda the theme of
the introduction can be faintly heard, symbolizing the watchfulness which will
remain in the minds of the people. The Symphonic Fantasia was first
performed at the Eighth Shanghai Spring Music Festival by the Shanghai Symphony
Orchestra under Huang Yijun and in 1981 was awarded the Excellent Composition
Prize at the AII-China Symphonic Composition Appraisal.
Sketches in the Mountains of Guizhou, a symphonic suite, was completed
in 1982 and first performed in May that year at the Tenth Shanghai Spring Music
Festival under Cao Peng by the Shanghai Symphony Orchestra, winning the Performance
Prize. It is a true record of the impression given the composer by a visit to
the Guizhou mountain areas where the
Miao and Dong people live and marks a turning-point in his style. The suite is
in four movements. The first of these, A Festive Match of Lusheng,
depicts a contest in which the lusheng, a reed-pipe wind instrument
popular among the Miao, Yao and Dong peoples, is used by Dong village bands. As the
instruments of the bands are tuned differently, the simultaneous playing of
hundreds of instruments provides a reverberation that is poly tonal in its
effect. In this movement the woodwind and brass represent the respective lusheng
bands, overlapping in key, melody and rhythm, with sounds that are rich and
colourful and vigorous in mood.
The second movement, The Old Sian-Player, suggests the music of
the sian, a kind of vertical flute popular among the Miao people. It has
a mellow, quiet sound like a low chant. In this movement the woodwind is used
to simulate the sound of the sian and to depict the old musician,
intoxicated by his own music and his memories. This is followed by a third
movement, Romance in a Moonlight Night, based on a pipa song, a
kind of Dong folk-song accompanied by the Dong pipa, a four- or five-string
plucked instrument. It is in a special yu mode which closes a melody
with the note la, with the third and fourth notes of the mode often
higher pitched than usual. The music is of peculiar serenity. The suite ends
with Festival. The fifteenth day of the eighth month in the Chinese
traditional lunar calendar is a Miao festival. On that day, the Miao people
taste the newly harvested rice and sing and dance happily to celebrate the
occasion. In the middle part of the movement, against the background of the lusheng
music in seven-four time, the orchestra plays a chiayang (flying song),
a kind of Miao folk-song.
Zhu Jianer's Symphony No.4: "6.4.2 - 1", a chamber
symphony for bamboo flute and 22 strings, was completed in May 1990 for the
Queen Marie Jose International Composition Competition in which it won the sole
Grand Prize. According to the rules of the competition, the orchestra consists
of six first violins, six seconds, four violas, four cellos, two double basses
and a solo wind instrument. The composer uses the Chinese bamboo flute as the
solo instrument, with the soloist using in turn three flutes of different
pitches, giving the symphony a very sharp and specific characteristic. With the
four numbers 6, 4, 2 and 1, the proportion of string instruments in the
orchestra, a twelve-tone series is devised, which is also used to control the
rhythm. Various traditional Chinese instrumental techniques are used in the
string writing, which also employs percussive effects, in the absence of
percussion instruments.
The chamber
symphony is an abstract work in a single movement, suggesting the Chinese
Taoist principle of developing from nothing and back to nothing. By presenting
different tone colours and even minute changes of colour on a single note, the richness
and profundity of the boundless universe is revealed.