Erhu(Two-string instrument or "chinese Violin)
This instrument, also called the
huqin, was known as the xiqin during the Song Dynasty. The huqin
described in Yuan Dynasty records was the real forerunner of the
modern erhu, having its stem, sound box and pegs made of wood. The sound box can be round,
hexagonal or octagonal, with one of its ends covered with snakeskin,
sometimes from a python, and the other end an ornamentally carved
sound vent. There are two strings, played with a bamboo bow with
horsetail hairs passing behind the strings. The range is normally
five octaves, and sometimes four in special cases. In modern times,
many people have made innovations to improve the tone color of the
erhu.
The most widespread piece of erhu
music in China is "reflecting" moonlight in the spring water
, composed by the Wuxi
folk artist A Bing in the mid-20th century. It was recorded by Yang
Yinliu and Cao Anhe in August 1950. This work has two themes, which
complement and intertwine, and finally melt into each other subtly
and smoothly. Step by step and variation upon variation, the two
themes rise and fall effortlessly. The crescendos especially show
the composer's steely and unyielding spirit. There is a profound
range of feeling in this piece, which incorporates a majestic spirit
within a tightly knit composition. Vigorous variations in bowing
technique make full use of the five hand positions, and the result
is a fiercely emotional coloring expressing of the composer's
suppressed grief at having tasted to the full the bitterness of life
in the old society. Two Springs Reflect the Moon is an exquisite
example of Chinese instrumental folk music stemming from the heart
of a small-town folk artist.
The leading erhu innovator of modern
times is Liu Tianhua, who composed 10, mostly excellent, pieces of
music for the erhu. His maiden work, Groaning in Illness, also
called Anshi or Hushi, portrays the mental world of China's
progressive intellectuals on the eve of the May 4th Movement of
1919, when they were sunk in gloom and despair; their spirit of
resistance seemed to be up against insuperable obstacles. Moonlit
Night is another fine piece by Liu, which was written to express his
emotions as he enjoyed the coolness of a moonlit summer night, and
his heart was stirred as he gazed at the moon riding high in the
sky. The composition was finalized six years after this experience.
The melody, after this experience. The melody, pure and understated,
unfolds softly and pleasingly. Ode to Dejection, also known as Joy
in Bitterness, is a direct exposition of Liu's thoughts and feelings
at a time when he was ambitious to make contributions to Chinese
music, but was struggling in adverse circumstances. This piece
represents the disappointment of intellectuals at that time, who
were wandering lost and could see no gleam of hope for the future.
His Song of Sadness, also known as In Difficulties, uses the
scattered clapper rhythm, and also successfully adapts elements of
Western music and applies a skillful bowing technique. The theme of
Song of Staying Idle is the short-lived happiness of moments when
things are going smoothly. The melody is lingering, and rich in
variations. The composer uses overtones for the first time, to
extend the power of expression of the instrument and broaden the
range of the tune. The Candle Flickers Red was the swan song created
by Liu in his short life. It is built on variations, and the
oscillations are fairly well pronounced. Its sprightly tune
expresses a mood of happiness, being enriched by dance rhythm.
Erhu works composed in recent years,
such as Ballad of Northern Henan, Musings at the Sanmen Gorge,
Random Thoughts at the Great Wall (arranged for erhu and orchestra
by Liu Wenjin), Thoughts on the Subjects of Shaanxi Opera (music by
Lu Rirong) and Orchid Ballad (music by Guan Ming) all give full play
to the erhu's potential and have successfully deepened the melodic
content of Chinese national music.
