Russian and Chinese traditions in the piano piece by G. Ya. Ore “Fantasy of Southern China”

Jie Liu
{"title":"Russian and Chinese traditions in the piano piece by G. Ya. Ore “Fantasy of Southern China”","authors":"Jie Liu","doi":"10.7256/2454-0625.2023.7.43647","DOIUrl":null,"url":null,"abstract":"\n The subject of the research is the piece for piano solo \"Fantasy of Southern China: Lady and the Flower Seller\" (1931) by the Russian émigré composer Harry Yakovlevich Ore (Xia Like, 1885-1972), forgotten in his homeland. A graduate of the St. Petersburg Conservatory, he lived most of his life in China, where he distinguished himself as a pianist, teacher and composer. Ore left a notable mark on the history of Chinese music, including as the author of the first piano arrangement of typical qupai melodies of the traditional Cantonese opera yueju. The purpose of the study is to consider Fantasia through the prism of the refraction of the Russian traditions of the St. Petersburg school (primarily The Russian Five) and the Chinese operatic traditions yueju. The article uses comparative typological and analytical research methods to substantiate the uniqueness of the selected piece as the first sample in the history of Chinese academic music that combines the melodies of Cantonese opera with the traditions of “New Russian school”. Piano piece “Fantasy of Southern China” by G. Ya. Ore is considered in Russian-language musicology for the first time. The main conclusions of the study are as follows. In the presented composition, the composer arranged four well-known tunes of the Cantonese yueju opera - \"Ba Da Ban\", \"Toilet Table\", \"Product Sale\" and \" Narcissus flowers\". The composer organically combined the national opera melodies of the Guangdong province in pentatonic modes with the writing techniques characteristic of the representatives of the St. Petersburg \"New Russian School\" (especially N. A. Rimsky-Korsakov, M. P. Mussorgsky) and its followers (A. K. Lyadov): variability, trichords, parallel-variable modes, plagal harmonies, smooth voice leading, melodization of voices, \"singing\" piano texture.\n","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"33 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Культура и искусство","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7256/2454-0625.2023.7.43647","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

The subject of the research is the piece for piano solo "Fantasy of Southern China: Lady and the Flower Seller" (1931) by the Russian émigré composer Harry Yakovlevich Ore (Xia Like, 1885-1972), forgotten in his homeland. A graduate of the St. Petersburg Conservatory, he lived most of his life in China, where he distinguished himself as a pianist, teacher and composer. Ore left a notable mark on the history of Chinese music, including as the author of the first piano arrangement of typical qupai melodies of the traditional Cantonese opera yueju. The purpose of the study is to consider Fantasia through the prism of the refraction of the Russian traditions of the St. Petersburg school (primarily The Russian Five) and the Chinese operatic traditions yueju. The article uses comparative typological and analytical research methods to substantiate the uniqueness of the selected piece as the first sample in the history of Chinese academic music that combines the melodies of Cantonese opera with the traditions of “New Russian school”. Piano piece “Fantasy of Southern China” by G. Ya. Ore is considered in Russian-language musicology for the first time. The main conclusions of the study are as follows. In the presented composition, the composer arranged four well-known tunes of the Cantonese yueju opera - "Ba Da Ban", "Toilet Table", "Product Sale" and " Narcissus flowers". The composer organically combined the national opera melodies of the Guangdong province in pentatonic modes with the writing techniques characteristic of the representatives of the St. Petersburg "New Russian School" (especially N. A. Rimsky-Korsakov, M. P. Mussorgsky) and its followers (A. K. Lyadov): variability, trichords, parallel-variable modes, plagal harmonies, smooth voice leading, melodization of voices, "singing" piano texture.
俄罗斯和中国的传统在G. Ya的钢琴曲。《南中国幻想曲》
本研究的主题是被遗忘在祖国的俄罗斯青年作曲家哈里·雅可夫列维奇·奥尔(Harry Yakovlevich Ore, 1885-1972)的钢琴独奏《南中国幻想:卖花小姐》(1931)。他毕业于圣彼得堡音乐学院,大部分时间生活在中国,在那里他成为了一名杰出的钢琴家、教师和作曲家。他在中国音乐史上留下了显著的印记,包括作为传统粤剧越剧典型曲牌旋律的第一个钢琴编曲的作者。本研究的目的是通过折射俄罗斯圣彼得堡学派的传统(主要是俄罗斯五人)和中国戏曲传统越剧的棱镜来考虑幻想曲。本文采用比较类型学和分析研究的方法,论证了所选曲目作为中国学院派音乐史上首个粤剧旋律与“新俄罗斯派”传统相结合的样本的独特性。钢琴作品《南国幻境》。《Ore》首次被纳入俄语音乐学。本研究的主要结论如下:在这首作品中,作曲家改编了粤剧的四首著名曲调——“八大班”、“马桶桌”、“卖货”和“水仙花”。作曲家将广东民族歌剧五声调式的旋律与圣彼得堡“新俄罗斯派”代表人物(特别是里姆斯基-科萨科夫、穆索尔斯基)及其追随者(利亚多夫)的创作手法有机地结合起来:变奏、三和弦、平行变调式、哀歌和声、流畅的声部引导、人声的旋律化、“歌唱”的钢琴肌理。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信