Basic information of Zhu Jianer.

Zhu Jianer (1922 ~) is a composer in China. Formerly known as Zhu Rongshi. People from Jingxian County, Anhui Province. 1922 65438+1October 18 was born in Tianjin and moved to Shanghai with his family since childhood. With regard to Mr. Zhu Jianer's lineage, according to Zhu's genealogy data and the memory of local people, he, his grandfather Zhu Hongdu and his father Zhu Rongchu (a famous mirror) are both descendants of the fourth house (word Kuncai) in Huangtian Village, Langqiao Town, Jingxian County, Anhui Province. According to the Zhu School, Jian 'er is called "Spectrum", formerly known as Rong's. His ancestral home is in Huangtian Village, Langqiao Town, Jingxian County, which is called "Jingxiutang".

I was interested in music when I was in middle school.

Zhu Jianer, a composer who started to write symphonies at the age of 60, has written 10 symphonies belonging to China people in just 22 years. These figures can be regarded as a miracle. Since 1949, he has worked in Shanghai Film, Northern Film, New Film and Shanghai Opera House.

Shanghai Symphony Orchestra and other places are full-time composers. 1955, they went to the Soviet union and studied composition at Pyotr Il'yich Tchaikovsky Conservatory of Music. 1960 returned to China after graduation and worked as a composer in Shanghai Experimental Opera House. 1975 transferred to Shanghai Symphony Orchestra to compose. 1985 was elected as the fourth executive director of China Musicians Association. Teach yourself the piano and other musical instruments. In the late 1930s, he studied harmony with Qian Renkang, and then went to a training class run by Si Tong Wang Man to learn the button accordion. From 65438 to 0945, he went to the liberated area in northern Jiangsu, and worked in the front-line troupe of the Suzhong Military Region and the cultural and art troupe of the East China Military Region. 1947 after the battle of Laiwu, it was compiled into a song "well played", which was widely sung by the military and civilians in the liberated areas. 1949- 1953 has composed music in Shanghai Film Studio, Beijing Film Studio and Central News Recording Film Studio, and has provided music for films such as Heavy Light on the Earth and Storm at Sea. /kloc-went to the Soviet union in 0/955, and studied composition with Professor balasa from Moscow Pyotr Il'yich Tchaikovsky Conservatory of Music. Piano overture. 1 "Tell You" and "Running Water" No.2 made during studying abroad, with concise colors and meticulous brushwork; The narrative poem of piano solo (written for the one-act drama Fan Zhisi), its theme and variation have strict logic and rich harmony techniques in the development of musical thought. The former uses symphonic techniques and sonata forms, with sharp conflicts and unrestrained feelings, depicting the process of a young nun breaking away from religious pressure and moving towards life. 1960' s symphony, the chorus "Poems of Heroes" (the lyrics are selected from Mao Zedong's poems), is magnificent and colorful, which also shows the author's proficiency in conception and techniques and has won high praise in the music industry.

1960 returned to China after studying, and worked as a full-time composer in Shanghai Experimental Opera House the following year. In the following years, his creations were mostly small vocal music genres, among which "Take Lei Feng's Gun" and "Sing a Folk Song for the Party" became popular songs at that time. 1975, worked in Shanghai symphony orchestra. The string ensemble Nostalgia composed by 1978 is his first attempt to touch on the theme of tragedy in symphonic music creation. The symphony fantasia "Fantasia-In Memory of the Warrior who Died for the Truth" completed in 1980 was brewed by him after two years under the inspiration of the tragic events of Zhang Zhixin martyrs. This song won the 198 1 year 1 National Symphony Music Award for Excellence. 1May, 982, the symphony suite Ganling Essays premiered at 10 Shanghai Spring Concert is a set of "monochrome woodcuts" carved with a musical carving knife. The handling of folk music materials and the use of tonality, Dong's special mode and non-triple overlapping chords in the whole song are both unconventional and strive to return to the original. Zhu Jianer's other works include orchestral Festival Overture, folk music ensemble The Day of Turning Over, two string quartets (including 1 with Shi Yongkang), Song of Spring for oboe and piano, Five Yunnan Folk Songs for piano, cappella Suite Green Water Town, solo Sailing and Clear Memory. For example, well played, singing a folk song for the party, taking Lei Feng's gun, clear memory and other songs. , folk music ensemble "The Day of Turning Over", piano overture 1 "Tell You", overture No.2 "Running Water", orchestral music festival overture, symphony chorus.

Representative works:

Music for film creation: Long live peace, Longxugou, land reform. Music Festival Orchestral Overture, Heroic Symphony Chorus, Symphony Fantasia "Red Bloody Flowers". The first orchestral work, Overture to the Music Festival, premiered in Moscow and was collected as a permanent recording by the national radio station of the former Soviet Union .4438+0959.199599998996 afterwards

Symphony orchestras from Cologne, Germany, Nagoya, Japan and Norway performed one after another.

Symphony1960-The chorus "Poems of Heroes" was recorded and collected as a permanent track by the former Soviet National Radio Station.

1983 Symphony Suite "Dry Ling Essays" was performed by Swiss Radio Symphony Orchestra in Stockholm.

1984 was invited to attend the second international music festival in Moscow. Symphonic Fantasia was played and recorded by the Ukrainian National Symphony Orchestra.

1987 was invited to visit Japan. The "New Symphony Orchestra" played "A Strange Naxi Man", which was conducted by the famous Japanese composer Akutagawa Nomura.

1993 participated in the 6th China Composers Seminar and premiered the folk quintet Harmony in Taiwan Province Province.

1994 completed the sixth, seventh and eighth symphonies and symphony minor in America.

1996 participated in Radio France International Music Festival' 96 in Paris and played the quintet Harmony.

In 2000, he went to Yokohama, Japan to participate in the "Asian Modern Music Week" and performed the Eighth Symphony.

In 2002, he participated in the International Modern Music Festival held in Hong Kong and played the lute and string quartet Jade.

In 2003, the Shanghai Symphony Orchestra toured the United States 1 1 city to perform the Tenth Symphony (Jiang Xue). Won the "China Music Golden Bell Award" Lifetime Medal of Honor. Zhu Jianer's Orchestral Collection

Author: Zhu Jianer

Binding Project: Hardcover 8/864

Publication: Shanghai Music Publishing House/June 2006-1

Personal work

Keywords: Art and Photography-Music-Instrumental Music-Instrumental Ensemble Skills and Works

Book introduction: There are two works in this collection that need to be explained a little. One is a happy day. Originally named "The Day of Turning Over", 1953 was written for the film soundtrack. This is the only band work included by the author in his early years. In 2005, the author adapted it into a western orchestral version, keeping the original style as much as possible, only slightly dealing with harmony and orchestration, and changing the title of the film to Happy Days to make it conform to the characteristics of music. The original score 1953 is published as an "appendix", from which we can know the state of the author's initial creation. The other one is the "South China Sea Fishing Song" suite. It was originally written for 1965' s national dance drama The Great Wall of the South China Sea. Adapted in 2003, the melody kept its original appearance, and other aspects made bold breakthroughs. The serial number of some works still belongs to 1960, but the band technique belongs to the late stage of creation, which can be said to be a "mixture" in the middle and late stage. This is a special case.

Among Jiang Xue composers in China, Mr. Zhu Jianer is a very special example. This is not only because his symphonies began in his sixties, but what is more admirable is that as he grows older, his symphonies become more and more exciting: an 80-year-old is still writing symphonies, which is an extraordinary story, not to mention the so-called "avant-garde" technique that only young people usually dare to use. Zhu Jianer's symphonic works are related to heaven and earth, but pay attention to humanity, personality and human destiny, so his symphonic concert is called harmony between heaven and earth. I think it is in line with his artistic conception and pursuit. I once listened to Chen Xieyang conducting the Shanghai Symphony Orchestra to play his Tenth Symphony ("Jiang Xue"), which is Mr. Zhu Jianer's latest work so far, and of course he wrote it when he was the oldest. After listening to it, I really felt for a long time.

The theme of Jiang Xue is taken from Jiang Xue, a famous five-character quatrain written by Liu Zongyuan, a great poet in the Tang Dynasty: "There are no birds in a hundred mountains, but there are no footprints in a thousand paths. A boat, a bamboo cloak, an old man fishing in the cold river-snow. " When playing this symphony live, the conductor is required to lead the band to synchronize with the pre-recorded recordings of Shang singing and Gong Yiguqin playing. Among them, the free passage and the rocker are extremely difficult to be combined into one, and Chen Xieyang knows this very well. The whole song is integrated from beginning to end without showing any flaws, which is a must. The author was lucky enough to enjoy two performances of Shanghai Symphony Orchestra in Shanghai and Beijing. It seems that the performance in Beijing is more skillful and perfect, especially the sound synthesis is integrated. The transcendent, lofty and detached personality image depicted in music is very touching. Composers combine the national charm sung by Guqin and Peking Opera with modern composition techniques, atonality and pan-tonality, thus producing extraordinary artistic appeal. The works have both a simple and profound sense of solemnity and a novel and unique modern symphony style. Kenji Takahashi, a Japanese composer, has reservations about the combination of Japanese folk musical instruments such as shakuhachi and Sanxian with serious music. He believes that it is a continuation of the Western European Folk Music School, and he advocates that it should be more international and adopt abstract methods to break the local restrictions. Dan lkuma, on the other hand, advocates that modern composers should consider their own creations at the intersection of "vertical" (national music tradition) and "horizontal" (western music tradition). I don't object to "breaking local restrictions by abstract means", but I deeply appreciate the use of national musical instruments (including national singing) to enrich symphonies. This will not only promote the blending of eastern and western music cultures, but also improve the artistic level of national instrumental music performance and singing. "Jiang Xue" used the performance form of "karaoke" in the guqin part, and I felt a little embarrassed. This work undoubtedly challenges the performing artists of modern operas, symphonies and chamber music in China. Imagine that one day, "Jiang Xue" came to the music scene in the form of a live performance. What a fascinating scene it was!

Jiang Xue is more like a symphonic poem. The dynamic layout of the whole song is symmetrical olive-shaped, and the three-time singing of five-character quatrains constitutes the basic framework of the music. The head and tail are calm, subtle and deep, and the middle is desolate and solemn, magnificent. Vision-close-up (close-up)-vision is in sharp contrast. The beginning and the end of the music well describe the empty and lonely realm of "Qian Shan", "Wan Jing", "Jue" and "Jue". If the intensity of the first paragraph grows more calmly and the atmosphere at the end is longer, its artistic conception will be better.