City: Paris (France) / Montreal
State: Quebec
Country: CA
Signup Date: 4/6/2007
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Tuesday, August 18, 2009
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http://www.youtube.com/watch?v=b3aNiwCm7Ic
Company (Philip Glass, 1937-): Composed in 1983 for the dramatization of legendary Irish writer Samuel Beckett's prose poem 'Company', this four movement piece has since achieved huge popularity because of the composers gift for simple melodies and effective use of cross-rhythms. Glass has had an incredibly varied and prolific career, writing music for successful films such as 'The Hours' and 'Mishima' and being feted around the world as one of the truly original voices of contemporary music. (see http://www.philmultic.com/liufang/cds/duo3.html )
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Thursday, December 11, 2008
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Category: Music
About Chinese Traditional Music
(An brief introduction with stress on classical styles)
 Generally speaking, there are two kinds of traditions, namely classical and folk. Music from the "classical tradition" refers to art music or "sophisticated" music composed by scholars and literati in China's historical past. Chinese classical music often has thematic, poetic or philosophical classifications and is typically played solo, on instruments such as the guqin, a 7-string zither, with over 3000 years of well-documented history, or the pipa, a lute with over 2000 years of history. Traditional music in the classical sense is intimately linked to poetry and to various forms of lyric drama, and is more or less poetry without words. In the same manner as poetry, music sets out to express human feelings, soothe suffering and bring spiritual elevation. The instruments demand not only a mastery of technique but a high degree of sensitivity (and power) to evoke the subtle sonorities and deep emotional expression that rely on the left hand techniques (such as sliding, bending, pushing or crossing of the strings to produce typical singing effects and extreme dynamic ranges), where synchronized ensemble playing is virtually impossible. This type of music has come down to us as an oral tradition from masters to students, although written scores that combine numbers and symbols representing pitch and finger techniques respectively, have been in use for nearly two thousand years. For instance, the earliest scores for guqin we still have today were from the third century. However it is almost impossible to play directly from the score without first having learnt from a master.
In traditional China, most of the well–educated people and monks could play classical music as a means of personal meditation, self-purification and self-perfection, union with nature, identification with the values of sages and divine beings, or communication with friends and lovers. They would never perform in public, or for commercial purposes, as they would never allow themselves to be called "professional musicians". This is in part to keep a distance from the entertainment industry where performing artists used to be among the lowest in social status. In fact, masters of classical music had their own profession as scholars and officers, and would consider it shameful if they had to make a living from music. They played music for themselves, or for their friends and students, and they discovered friends or even lovers through music appreciation (there are plenty of romantic stories about music in Chinese literature). Up to the beginning of the twentieth century, classical music had always belonged to elite society and it was not popular among ordinary people. Today it is really for everybody who enjoys it, and professional musicians playing Chinese classical music are as common as elsewhere in the world. However, it is still rare to hear classical music in concert halls due to the influence of the so-called "Cultural Revolution" (1966 - 1976), when all classical music was deemed to be "bourgeois" and outlawed. As well, the influence of modern pop culture since the 1980s has had a negative impact on the popularity of classical music performances. The above is a painting from the "Five Dynasty" (907-960 AD) depicting pipa playing
While the classical tradition was more associated with elite society throughout Chinese history, the resources for folk traditions are many and varied. Apart from the Han Chinese, there are many ethnic minorities living in every corner of China, each with its own traditional folk music. Unlike classical music, folk traditions are often vocal (such as love songs and story telling etc), or for instrumental ensembles (such as the “silk and bamboo” group and music for folk dances, and regional operas). The various folk melodies have become a major source of inspiration for the growing repertoire of contemporary music. In fact, in many contemporary compositions, existing folk melodies were simply modified, enriched (creatively through advanced playing techniques and the use of harmonies), and extended. Some were transcribed so successfully that they may be regarded as an important part of the growing classical repertoire; for instance the famous "Dance of Yi People" composed by Wang Hui-Ran for solo pipa. The repertoire is further extended by pieces composed or arranged for multi-instrument ensembles. Needless to say, most contemporary works are quite westernized, particularly those for ensembles and orchestras (set up after the models of the orchestras in the West), which are easily accessible to the general public, yet diverge further away from the classical traditions. As well, there are a growing number of performers and listeners who have begun to seriously rethink the spiritual side of the classical tradition, such that there seems to be a revival of traditional culture as part of a growing interest in Chinese classical philosophy, literature, traditional medicine, Taiji and Qigong. On the one hand, it goes without saying that some of today’s excellent creations will become tomorrow’s traditions; on the other hand, great masters from various musical traditions all over the world have never failed to support the famous statement: “Authentic traditional music remains forever contemporary”.
[1] The ancient court music is also referred to as "classical music", however there is a distinct difference from the classical literati music discussed here. The court music was made by "professional musicians" whose lives and career very much depended on the personal interest (i.e., like or dislike) of their patron, the emperors. Those musicians (many of whom were great masters in history and made great contribution to the music culture of China) were appointed as music officers of the court, had certain degree of privilege in the society but never enjoyed the same freedom as the scholars who played music but not relied on music for living. The court music was often performed in ensembles or even big orchestras, often in association with dance and ceremonial performances. The concept of concert hall in the present sense didn't exist before the end of the last dynasty (beginning of the last century). Public places for music making were often associated with tea houses, restaurants etc. Classical type of music were often performed in private setting such as palaces or private maisons etc. The most miserable were the "professional musicians" in the entertainment industry, where musicians were either geishas (maybe little better than the situation of prostitutes) or quasi-slaves, and therefore among the lowest social status.
©2008 Philmultic - all rights reserved. Hello friends in music, The above text was prepared for the lecture at the Julliard School on November 19, 2008 in New York, and for several interviews (new papers and radio). I wish to take the chance to thank Dr. Annette Sanger for proof reading and improvement in English. I put the whole text here for exchanging ideas with friends in music who might be interested. In addition, you may check my previous blog entitled "Chinese classical music - its relation to philosopy, poetry, calligraphy and painting" for my personal experiences in performing traditional classical music. Any critics, comments and suggestions are warmly welcome. Wishing you all a very enjoyable holiday season, and happy New Year 2009. Liu Fang December 10, 2008, in Amsterdam  Examples of classical guqin music performed by the renowned master Guan Pinghu:
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Monday, July 28, 2008
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To the memory of a special friend
Few weeks ago I received the shocking news that Oliver Schroer, one of the greatest Canadian fiddler, passed away on July 3 this year. It was more or less expected, because I knew he had cancer and fought bravely, though I truly believed that he could win the battle. It was still a big shock to me when the sad news came. At the moment I wanted to write few words to the memory of this special friend and great soul, but I felt that words are so feeble ...
I knew Oliver at festivals in Canada around year 2002, when we had intensive collaboration at Collaborative Workshop of the Vancouver Folk Music Festival (a brilliant idea of Dugg Simpson, artistic director of the festival, who invited certain musicians to come to the festival three days earlier for pre-festival rehearsal, musicians who might never have had chance to meet before). I had great experience working with Oliver, and from there our friendship began. Late on we had a concert in Montreal in terms of "Silk and Steel Projects" in the Spring of 2003, and a cross-Canada tour in the Summer of the same year. It was a unforgettable experience that I cherish very much.
Oliver is not only a fantastic musician, but also great personality, always kind to every body around him. I was particularly impressed with his serious attitude toward music, his honesty and friendliness and wisdom. Even at the most difficult time when he was fighting with cancer, his thinking about life and death shows what a great mind he was. Here I cannot help but quote some lines he wrote to all his friends and music fans:
"... What I did not talk about in that first letter was how I feel about all of this… I guess I feel that life is not only about quantity. It is about quality as well in a big way. We all have to die some time. None of us will live on this planet forever. I think some people live very intensely and burn very brightly during their time here. I think I am one of those people. A shining star while I am here. So I look at my life as I have lived it, and I feel very satisfied with all I have achieved and gone through. As a musician and artist I have found my voice on my instrument of choice. That is what any artist wants to do; Whether you are a musician or a painter or a dancer or a writer, the bottom line as a creative person is to find that unique voice and express it in your art. I really did invent my own unique way of playing the fiddle, and that is a fantastic, beautiful and frankly, a lucky thing. ...."
I would like to dedicate the following poem (unfortunately I don't know who is the author) to Oliver:
A Butterfly Lights Beside Us
A butterfly lights beside us, like a sunbeam... and for a brief moment it's glory and beauty belong to our world... but then it flies on again, and although we wish it could have stayed, we are so thankful to have seen it at all.
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Wednesday, December 19, 2007
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Current mood:  thankful
Category: Life
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My Christmas Card and new year message
"Give you a rose" (track No. 6) - a joyous piece of music to dance, wishing every body a happy holiday season!
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Dear friends in music,
Please excuse me for not being able to send a Christmas card to every one of you. I wish to find words to express my pleasure to have you among my music friends and my thankfulness for your appreciation and support. All I can do is to put this feeling into the future music performance. Indeed I am so happy to know that there are many "Zhi Yin" (see my blog about music and friendship) around the world. This is a great source of inspiration for me to continue what I am doing. Thank you all with my whole heart!
For now I have just uploaded a new song called "give you a rose", originally composed by Wang Fandi for pipa solo based on a folk melody from Xinjiang (Northwest of China). In this version(the last track), I have performed with two fantastic musician friends - Oliver Schroer (fiddle) and Ziya Tabassian (percussion) on a partially arranged and partially improvised basis. This is one of the typical folk styles, as contrast to the other existing pieces of the classical styles on my space. The classical style music is quite often emotionally heavy. This folk piece is in a light-hearted mood, expressing the joy and happiness. With this I wish every friend a merry Christmas and happy new year 2008.
This piece is taken from a concert live recording by Radio-Canada (producer: Lorraine Chalifoux) in 2004 in Montreal. I wish to thank Radio-Canada for the permission to use this recording for demo purposes, and share my joy with my music friends. The original solo pipa recording can be found in my album "The Soul of Pipa" Vol. 3 (Chinese pipa music from various folk traditions).
May you all have a very enjoyable holiday season, and may the coming year bring much happiness and success to every body.
May there be more peace in the world in the coming years and may people of all kinds and all nations find a way to live peacefully and in harmony, with the sole purpose of mutual happiness and mutual prosperity.
Liu Fang
December 19, 2007, Montreal
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Friday, November 30, 2007
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Current mood:  inspired
Category: Life
Dear friends in music, I want to thank you all for your appreciation and comments that you have kindly put on the comment space. These give me great encouragement to continue my exploration into this music realm. But I dare not to take all the credit to myself, because this music comes from an ancient tradition - it is the work of many masters in the past centuries that shape the classical tradition as of today. There is still a vast territory that remain to be explored. Thank you for your kind support.
Meanwhile, I saw from the comment space that there is some confusion regarding my name (family name and given name), and I feel obliged to give a little explanation. To do this, I must explain a little bit about the very basic of Chinese language. Chinese language is based on written signs or symbols called "characters". Each character has one or more meanings according to the context; the pronunciation of one character is always one syllable. There is a whole phonetic system (pinyin) to help rememorizing the pronunciation of the characters (as in a dictionary), but phonetic pinyin can never replace the original character in actual writing. Otherwise, confusion is inevitable. There are four different ways (4 tones) to pronounce the same pronunciation in today's Mandarin - flat tone (1), glissando from low to high pitch(2), from high to low pitch(4), the combination(3, from higher to low and then back to high pitch). There is another one which pronounce short and non-stressed (0). The famous example would be (Ma1-Ma0-ma4-ma3) which stands for "The mother curses the horse". (Note that in ancient time, there were at least 9 tones). In Chinese, the family name is called Xing (the character consists of two parts - the left part is symbol for "female" or "women", the right part stand for "birth"), which implies that in the very remote past, people were recognized by their mothers. There are a few hundreds of commonly-used family name in China that remain the same from the very ancient time. However, there are a few tens of family names that are most wide-spread. For instance, the first 10 family names - Zhang, Wang, Li, Zhao, Chen, Yang, Wu, Liu, Zhou, Huang - cover 40% of the total population in China, and the first 45 family names covers 70% of the total population. The given name is totally free chosen, normally by the parents the the grand parents. However, one can change it when he (or she) becomes grown up. Normally a given name consists of one or two characters. Since each character has a certain meaning, one wouldn't choose the characters that have bad or unlucky meaning. Here one can normally tell the gender according to the given name - thus characters related to feminum characteristics such as flowers, fragrance, moon, beauty, grace, etc. are often chosen for girls' name whereas masculine characters such as strong (or will-strong), power, wisdom, solid, progress, etc. are often chosen for boys. However, there are many exceptions, because now-a-days, many men have female name and women have male name - which might be a good sign for equality. Of course there are also many people who choose characters that are quite neutral as their given name. Therefore, given a list of names, there are almost always some names which one cannot guess their gender until you see the person. In the old times, names are also partially reflect their social status. For instance, intellectuals often have more poetic or philosophically-implied names, whereas common people often have more common names. Traditionally, choosing a name for a person is a very important and serious matter, because many people believe that wrong name can bring bad luck. There can be more complications if the family keep the tradition of a family tree. In this case, one can recognize to which generation a person belongs according his given name. In this case, the given name must consists two characters, where one of the characters is prescribed according to the family tree such that the same generation must have the same character. The other one character of the given name can be freely chosen for the individuel. So it is not rare to find in big families that a 60-year-old man calls a 3-year old boy uncle or newly born baby girl aunt, because they simply belong to different generations according to the family tree (thus their names). Needless to say, even today, it is a serious matter, because the name has a meaning, and is called so many times through one's life, such that it becomes part of oneself. Family name goes first according to the Chinese tradition, which is just the opposite of the west. That reminds me of another interesting difference: in China the address (for both receiver and sender) on an envelop always follows this order: Country - province - City - street - the house number and the receiver's name. This is just the opposite here in the west. Therefore, most Chinese people living in the west have changed the order of their names to void confusion. But I cannot. My name Liu Fang is written as  in Chinese, where Liu is the family name and Fang is the given name. Liu doesn't have particular meaning but sounds the same as another two characters also pronounce Liu, which means "spread" or "remain". Fang means "fragrance" of a flower. Together it can be interpreted as "fragrance remains, though the flower is gone", and when referring to music, "The music remains, though the sound is gone". I guess my parents chose this name for me as a good wish for my life as musician. If I would changed the order of my name, it would become "Fang Liu" which has totally different meaning, and doesn't sounds nice phonetically. As a compromise, I took the family name of my husband, Wang, when I immigrated to Canada. In this way, my official name (printed on all official documents) is Liu-Fang Wang such that Liu Fang becomes my given name (as well as artist name). My friends can call me Liu Fang or sometimes also Fang, but I preferred to be called "Liu Fang" together as given name. Thank you for your time in reading this. I hope this could be a little help when you happen to travel in China or meet Chinese friends. Liu Fang November 29, 2007 Montreal
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Saturday, May 19, 2007
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Category: Writing and Poetry
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Today I have kept on thinking of Marion, a very special friend and teacher of English literature. I write this to the memory of the beautiful time when I met her in Montreal in 1997.
"There will come a time, I know, when people will take delight in one another, when each will be like a star to the other, and when each will listen to his fellow as to music. The free men will walk upon the earth, men great in their freedom. They will walk with open hearts, and the heart of each will be pure of envy and greed, and therefore all mankind will be without malice, and there will be nothing to divorce the heart from reason. Then life will be one great service to man! His figure will be raised to lofty heights— for to free men all heights are attainable. Then we shall live in truth and freedom and in beauty, and those will be accounted the best who will the more widely embrace the world with their hearts, and whose love of it will be the profoundest; those will be the best who will be the freest; for in them is the greatest beauty. Then will life be great, and the people will be great who live that life." - in "Mother" by Maksim Gorky (1868-1936)
That is my favorite quotation taught by my beloved English teacher, Professor Marion Andersen, a retired professor of literature from California. She came to Montreal to spend a whole month with us for holidays in 1997, the second year after I settled in Montreal. At that time, I had plenty of time. She was very kind and patient. She taught me English and introduced me English literature, particularly poems. We had wonderful time - a lot of laughter's, cheerful moments and inspiring conversations. That was very beautiful and unforgettable one month for me. Unfortunately we lost contact several years later, and I don't know where she is now. She is remarkable human being with brilliant mind and special loving heart. I feel very fortunate to know her, but very unfortunate to lost contact with her. She encouraged me to do what I love to do. I wish to have chance to tell her personally how much I thank her, and how fortunate to be able to continue to do what I love. I hope she is well and lives healthy.
The following is one of the poems Marion taught me. She told me it's from a "Sufi" scholar in the ancient times.
Listen to the salutation of the dawn
Look to this day,
For it is the life, the very life of life.
In its brief course, lie all the verities and realities of our existence.
For every yesterday is already a dream,
And tomorrow only a vision,
But today well lived, makes every yesterday, a dream of happiness,
And tomorrow, a vision of hope.
So look well therefore to this day.
Such is the salutation of the dawn.
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Sunday, May 06, 2007
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Category: Music
Chinese Classical music
Chinese music from the classical tradition - its philosophy and its relation to Chinese calligraphy and painting
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Interview with Liu Fang
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Paula: What are some defining characteristics of Chinese classical music that you convey in your music?
Liu Fang: First, Chinese music is somehow related to the Chinese language. Unlike the western languages, Chinese language has tonality: the same pronunciation with different tones represents different meaning, depending on whether it is a flat tone, or sliding from a lower to higher pitch or from the higher to the lower, or a combination. The same thing for music, except that there are more possibilities in tonality which is more sensitive and subtle. Thus, it is very important to master the technique for both left and right hands: the right hand produces the sound by plucking the strings while the left hand gets the right tonality by acting on the string, such pressing, pushing or several other actions that are difficult to translate into English. Without having properly mastered these skills, it is impossible to interpret classical Chinese pipa music. Just as Prof. Tran Van Khe put it: "The right hand gives the sound, but the left hand gives the soul to the music". Therefore, one phrase in Chinese classical music is not simply a string of notes, but each note has its own life and meaning, depending on how you play it in the context.
Secondly, Classical Chinese music refers to the art music closely related with Chinese poetry. Therefore, it is not surprising that most of the classical pieces have very poetic and sometimes philosophical titles. Traditional classical music in this sense is intimately linked to poetry and to various forms of lyric drama and is more or less poetry without words. In the same manner as poetry, music sets out to express human feelings, soothe suffering and bring spiritual elevation. Therefore, it is very important to understand the meaning and set the mind and the heart in the right mood that is "in tune" with the music, particularly when playing the repertoire of the "literary style" or civil style, which are mostly slow and meditating (For example, the "Sai Shang Qu", the last track in my Myspace demo) . It can be very dull when just giving the sound without a meaning.
Thirdly, Classical Chinese music and traditional Chinese painting are twin sisters. Take, for instance, the traditional painting for landscapes: there is no obvious focus in the picture, but each part seems to have its own focus in such a manner that the variety of local character is in harmony with the whole picture, including the empty parts. In traditional Chinese painting, the empty parts are very important too in order to give the whole painting life. If everywhere were painted, there would be less freedom of imagination for the viewers in appreciating the painting. In another words, the appreciating of painting is an interactive and dynamic process between the viewers and the painting. The same is true with classical Chinese music. Each phrase is one sentence followed by a certain silence in such a way that the variety of pipa sounds and the silences (and sometimes noises too) are combined harmoniously in forming the sound poetry, creating a kind of dynamic link between the performer and the audience. A good performer can create such a link so that the listeners can experience the power and the beauty of the music in a way like enjoying a beautiful poem and painting. To achieve this, only the perfection of playing technique is not enough. One has to undertand the spirit of the music, and pass that spirit to the listeners. The best result can be achieved with the purest heart one can keep. That is, one must free the mind, and be humble such that the performer becomes the instrument. This is the goal that I always pursuit, because I often have this experience of "up" and "down". In a live concert, if most of the time I am in such a state, I am very happy. This happens often when the concert hall has very good accoustic and the audience are very special (i.e. attentive and sensitve to the sound). There were times that I play almost the whole concert in such a state. I felt very happy, and very satified after the concert. There were other times that it was difficult to control, and I was often aware about the music notes in order to diliver it correctly. In this case, I felt very tired after concert, and not so happy, even when I didn't make mistakes. I can also feel the audience's reaction, and I know exactly how much I have passed the spirit of the music to the audience, even without listening how long they would applaude. It is a dynamical and heart-to-heart process.
Regarding live performance of Chinese classical music, I would say that the closest relative is Chinese calligraphy. I have always been interested in calligraphy, and indeed, appreciation of great calligraphy gives me immense inspiration to my music playing. I don't practice calligraphy myself, but I love this traditional art. And I understand the basic idea of calligraphy and its esthetic principles. Chinese calligraphy has been regarded as the highest art among all arts in China. Through the study of master calligraphies, I understand that the spirit in writing calligraphy is very much comparable to playing music. The energy, the feeling, and the breath that gives life to the calligraphy are in a sense the same as playing classical Chinese music, although they belong to totally different arts. The dynamics and movement of strokes of the brush, the line and the points, and the whole structure, they are all comparable to playing the music. This is one of the major sources of inspiration for my music playing.
.(Original interview in 2001, revised on May 6, 2007. Click here for the whole article.) |
Click on the language icon for some remarks on Chinese pipa music.
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(Note: This article represents Liu Fang's personal view about performing classical Chinese music from her own experience. There is not meant to be scholarly approach. All right reserved.)
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Wednesday, May 02, 2007
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Category: Friends
 A story about music and friends
In Chinese classical repertoire, there is a famous piece called "High mountain and flowing water" – derived from the ancient story of how the guqin master Boya met his good friend Ziqi who is a woodcutter. Boya lived in the "Spring and Autumn" era (around 600 BC) in the Kingdom of Chu (during that time China was temporarily divided into several Kingdoms when the central Empire of Zhou became weak). Boya's art was always inspired by the beautiful nature, and he did much traveling around. One day he traveled to the south mountain and played his guqin (seven stringed zither) in a hut. Suddenly one of his string was broken. He felt that at the moment the energy was so strong, that there must be somebody else listening and the spirit resonating with his. So he open the door, and to his surprise, he found a woodcutter standing outside, apparently moved to tears by his music. His name is Ziqi. Boya invited him in, and played one tune for him. Ziqin said softly that he saw this "lofty spirit in the mountain" and this "vast spirit in the flowing water". Boya expresses surprise saying: "your heart is the same as mine". They become good friends. Some years later, when Boya traveled to this place again, but only found that his friend Ziqi was died a while ago. Boya went to play in front of his tomb for the last time and smashed his instrument, saying "now that my zhi-yin (two Chinese characters that literally mean "know" and "music" respectively) has passed away, what is the purpose of my playing the guqin?" From that time on, the two Chinese characters "zhi-yin( ) has been meant as "good friend" or "soul mate".
To this theme there are classical pieces from the ancient traditions for guqin, guzheng as well as pipa of various versions originated from different schools. The styles of playing are also different, however, they all have the same title "High mountain and flowing water". In Liu Fang's guzheng solo album(track No. 4), she has used the version from Zhejiang province, south-east China. In her first pipa solo album The soul of Pipa Vol. 1(track No. 3), Liu Fang took the version derived from Hennan Province. Traditionally, when musicians meet for the first time, they often play this tune to show respect and appreciation to each other.

Click on the following sound icon to hear "High Mountain and flowing water" interpreted by Liu Fang guzheng solo.

Link: Friendship and Happiness - a beautiful essay by an anonymous author.
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Monday, April 30, 2007
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Category: Music
Pipa concerto - Pipa and orchestra Traditionally pipa is mainly a solo instrument, some time played in folk ensembles such as traditional silk and bamboo ensembles that are common found in South-East China, or used to accompany story telling, or local opera. Nowadays, the pipa is more and more used in contemporary compositions for ensemble, orchestra, and various combinations with both Chinese and western instruments. The most outstanding works are pipa concertos with western orchestra. Due to its special sound color and great potentials, it works very beautifully with orchestra as is demonstrated in the following sound sample. There are about 20 pieces of excellent works available for pipa and orchestra.
The sound sample here is extracted from the concert on January 31, 2006 in Winnipeg where Liu Fang performed with with Manitoba Chamber Orchestra the celebrated Tan Dun's composition, conducted by Scott Yoo. The concert was recorded live by CBC Radio. The total length of this whole concerto is about 20 minutes. 
The following information is taken from the official website of Manitoba Chamber Orchestra: http://www.manitobachamberorchestra.org/0506/p31jan06.html. Manitoba Chamber Orchestra Karl Stobbe, Concertmaster Westminster United Church 31 January 2006 Scott Yoo, conductor Liu Fang, pipa; Valdine Anderson, soprano Karl Stobbe, violin; Yuri Hooker, cello Fubuki Daiko Donald SUR (1935-1999) Berceuse, for violin and piano (arr. for strings) Mr. Stobbe CHAN Ka Nin (b. 1949) Soulmate, for cello & strings Mr. Hooker
TAN Dun (b. 1957) Concerto for pipa and strings (1999) 1. Andante molto 2. Allegro 3. Adagio 4. Allegro vivace Miss Liu Fang
Intermission
Refreshments are available upstairs in the concert hall. Wolfgang Amadeus MOZART (1756-1791) Violin concerto, no. 5, in a (k219)

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