SeattleConcert西雅图中西合璧音乐会

1.秦腔穿越 by Austin Huang黄晓枫

Symphonic Poem "Qinqiang Crossing Time": Where Ancient Melody Meets Symphony

The symphonic poem " Qinqiang Crossing Time" is a bold and passionate work of musical exploration. It takes Qin Opera, one of China's oldest and most impassioned operatic forms, as its core material, and constructs a cross-temporal cultural dialogue through the universal language of symphony.

The piece employs an original and innovative approach that blends Chinese and Western music and combines classical and modern styles. Within a scientific compositional framework, the composer draws inspiration from the "top-down view" concept in engineering drawing, overlaying contrasting elements such as Qin Opera and symphony, classical and modern, to create a unique musical structure. Additionally, the piece achieves a significant breakthrough in performance technique: the glissando playing on brass and woodwinds is a first in Chinese musical works, greatly enriching the expressive capabilities of the orchestra. It precisely captures and amplifies the desolate timbre of the Qin Opera banhu, the unique charm of the free rhythm (sanban), and the heroic spirit of the Qin Opera artist's "roaring" vocal style.

This is not only an ode to ancient China but also a bold declaration for the future. It proves that China's cultural treasures can undoubtedly bloom with unprecedented radiance within the artistic paradigm of modern science, allowing the world to hear a Chinese voice that is both ancient and contemporary.

交响诗《秦腔穿越》：当古老秦腔与交响相遇

交响诗《秦腔穿越》是一部大胆而深情的音乐探索之作。它以中国最古老、最富激情的戏曲声腔 —— 秦腔为核心素材，通过交响乐这一世界性的音乐语言，构建了一场跨越时空的文化对话。

作品采用了原创的中西融合、古典与现代结合的全新方法。在科学的作曲框架下，作曲家借鉴工程制图中的 “俯视图” 思维，将秦腔与交响乐、古典与现代等对比元素进行交叉叠置，创造出独特的音乐结构。同时，乐曲在演奏技法上也实现了重大突破，铜管与木管的滑音演奏在中国音乐作品中尚属首次，极大地丰富了管弦乐队的表现力，精准捕捉并放大了秦腔板胡的苍凉、散板的独特韵味、以及秦腔艺人 “吼” 腔的豪迈气魄。

这不仅是一部献给古老中国的颂歌，更是一次面向未来的大胆宣言。它证明了中国的文化瑰宝，完全可以在现代科学的艺术范式中，绽放出前所未有的光彩，让世界听到一个既古老又现代的中国声音。

野草序《秋夜》 “Wild Grass — Prologue: Autumn Night” by Austin Huang黄晓枫

野草第一乐章《形与影》 “Wild Grass — Movement I: Form and Shadow” by Austin Huang黄晓枫

野草第三乐章《希望与虚妄》 “Wild Grass — Movement III： Hope and Delusion” by Austin Huang黄晓枫

野草第四乐章《战士》 “Wild Grass — Movement IV: Warrior” by Austin Huang黄晓枫

野草尾声《一觉》 “Wild Grass — Epilogue ： Awakening” by Austin Huang黄晓枫

野草第二乐章《恩与仇》 “Wild Grass — Movement II: Grace and Enmity by Austin Huang黄晓枫

The track was originated from a rural village in Northern Shaanxi. During the winter recession, when villagers, free from farm work, gathered together to sing Daoqing in celebration.

Daoqing music was originated from Daoqing Opera, which has its roots in the ancient Shao Music of Shaoshan, Hunan. In the mid-Qing dynasty, an official from Xiangtan, Hunan, was assigned to Northern Shaanxi. He arrived with an entourage that included chefs, opera troupes, and household servants, bringing Daoqing Opera to the region. Daoqing Opera, in essence, is a form of Shao Music. Confucius once famously said, "Upon hearing Shao Music, I lost my taste for meat for three months." Later, during the War of Resistance Against Japan, artists at the Lu Xun Academy of Arts in Yan’an rediscovered this musical form and, playing on the homophone, renamed it Daoqing, meaning "The spirit of the Dao."

I have always been eager to compose a symphony about Changbai Mountain. I was born in Huadian, Jilin Province, grew up in Changchun, and later lived in Tonghua, Ji’an, and Huinan—places all nestled at the foot of Changbai Mountain. To me, Changbai Mountain has long been an inseparable part of my soul.

While creating this piece, I was constantly contemplating the water ecology of our planet. When the work was completed, I felt a deep sense of fulfillment, as if it were a profound gift dedicated to Changbai Mountain. Although I did not follow the traditional approach of gathering local folk songs, I firmly believe that as someone who grew up in the embrace of Changbai Mountain, my experiences and emotions are deeply rooted in this land.

This symphony continues my established compositional style, built upon twelve-tone serialism, to create a work of pure music with a global resonance. I hope it conveys the majesty and sanctity of Changbai Mountain, expresses reverence for nature and life, and evokes profound and solemn emotions. Through this symphony, I wish listeners to feel the power of nature and its transcendent aura. This, I believe, is the true essence of Changbai Mountain as I envision it.

Movement I: Inception.

Movement II: Waterfalls and Infiltration.

Movement III: Impressions.