Chinese Classical Music from Hong Kong

various artists compilation - Chinese Classical Music from Hong Kong

Musicians:

Lu Pei Yuen - Pipa (Balloon 4-Stringed Guitar)

Dr. C. K. Wong - Tung Hsiao (Vertical Flute)

Lau Chak - Waun Hsiao (Transverse Flute)

Chan Ching Chi - Kao-hwu & Erh-hwu (Soprano Two-Stringed Violin & Two-Stringed Violin)

Ng Dai Kong - Erh-hwu (Two-Stringed Violin)

Chu Ngai Kong - Erh-hwu (Two-Stringed Violin)

Ng Ka Fai - Erh-hwu (Two-Stringed Violin)

Lau Siu Yee - Chung-hwu (Two-Stringed Viola)

Tsang Han Geung - Da-hwu (Two-Stringed Cello)

Tang Chi Ming - Di-hwu & Shiang-sing (Two-Stringed Bass & 4-Stringed Bass (Guitar)

Chu Hing Cheung - Cheng & That (Harpsichord & Oboe)

Yit Sai - That (Oboe)

Siu Ming - Sheng (Bamboo Mouth-Organ)

Lau Siu Wing - Yang-chin (Dulcimer)

Sum Yung - Da-san Shsien (3-Stringed Tenor Guitar)

Chu Siu Cheung - Da-yuen (4-Stringed Baritone Guitar)

Leung Tung - Da-ku (Drum)

Yown Geung Yit - (Percussion)

Lee Yui Chung - (Percussion)

Luk Ying Kit - (Percussion)

Ho Tim Kei - (Percussion)

Some liner notes that explain the pieces:

The Plum Blossoms (In Three Movements) - Composed by Hang-i of the Chun Dynasty (A.D. 265-420). This ancient melody is one of the most well-known tunes of the Chinese. It was originally written for Yang-chin and Waun Hsiao, and was rearranged by Mr. Hsiao Po Shum for Pipa solo. Mr. Lu Pei-yuen has added the orchestra parts to accompany his own solo renderation. The notes of the solo lines seem to picturise the beautiful plum blossoms gently swaying in the wind. This piece is divided into ten sections: (1) The moon in the hills by the stream (2) The first development of calling to the moon (3) The second development of calling to the clouds (4) The cry of the blue birds (5) The third development of calling to the rivers and the sighing across the river (6) The blowing jade flutes (7) The winds arouse the jades (8) The iron flutes (9) The blossoms swaying in the wind (10) Grand Finale.

Moonlight Over Spring - This song is an ancient melody for pipa attributed to the great maestro Kong Kunlun of the Tang Dynasty. . . . This suite, in ten sections: (1) Bells and drums of the river fortress (2) The moonrise over the east hill (3) The wind round the bend (4) The shadows of the flower twigs (5) The river mist (6) The fisherman's evening song (7) The gentle waves (8) The masts down the river (9) The creaking of the oars (10) finale: describes the poetic scenery of a moonlit night of the rivers in Spring.

Temple Bells & Drums - A recent composition of the famous contemporary musician Mr. Chu Ngai Kong, originally for the Chinese opera "The Purple Hacipin." The melancholic and sad melody outlines the feelings of a maiden praying to the Buddha in the temple.

Acrobatics - Originally used to back acrobatic and Chinese Boxing performances. A happy and masculine composition, this composition dramatises the athletic perfections of the agile performers in their traditional display of classical boxing and acrobatics.

"Song of the Frontier" - Composed by Wong Cheung commonly known as Wong Chao-chun a national beauty and the most beloved imperial concubine of Emperor Yuen Ti of the Han Dynasty in China (about 40 B.C.) At that time the country suffered continuous disturbances and invasions from the Tartars in the north. To attain temporary peace Wong Chao-chun was given away by Yuen Ti as a tribute to appease the Tartar King called Shen Yi.

This suite, a classical Chinese song of considerable length, consists of five short pieces. The two pieces now selected to be played are entitled: "Chao-chun's Lament" and "The Sighs of Sheung Fei". These two pieces sought to describe her journey along the frontier, through the wilderness to the Tartar territory. They also depicted the deserted hills and rocky paths through which she travelled and the dusty sky and heavy clouds under which she rode. The horses neighed with sadness of departure and 'Chao-Chun' burst into tears while holding the 'Pi-Pa' in her arms. The atmosphere could not have been bitterer for she was fully aware that she would never return to her country and her beloved Emperor alive; though she could not help turning her constant thoughts to them. She thus sang of her nostalgia for Han.

All the Blessings - Another composition of the contemporary Chinese composer Mr. Chu Ngai Kong. This song tells the story of a newly elected governor after his success in the imperial examinations touring round his reigning territory and welcomed by the happy people of the town. Beautifully orchestrated, this piece of art has been widely used in this part of the world in festive celebrations.

Rippling Little Brook - A traditional folk song capturing the sentiments of a young maiden longing for her lover by the river.

Separation of the Wild Geese - A composition by Mr. Chu Ngai-kong which tells the sad story of the imperial concubine after her exile to the frontier was called back to the country by the emperor. During her stay with the barbaric prince she had given birth to a boy, but now the time had come for the eternal sorrow of parting, and with tears falling like a string of pearls she bade farewell to her husband and son.

Beating of "Kum-Chi" by Drunkard - Another operatic composition of Mr. Chu Ngai-kong. It tells the story of a spoiled princess who had been torturing her husband, and the poor henpacked royal spouse had after intoxication of wine decided to tame his wife. The composition is humorous and gay, and as usual has the outstanding artistic touches of Mr. Chu.

Tracklisting:

Side 1

1. Hang-i - The Plum Blossoms (In Three Movements) {4:12}

2. Kong Kunlun - Moonlight Over Spring {9:47}

3. Chu Ngai Kong - Temple Bells & Drums {3:51}

4. [uncredited artist] - Acrobatics {2:09}

Side 2

1. Wong Cheung - "Song of the Frontier" {4:44}

2. Chu Ngai Kong - All the Blessings {4:02}

3. Dr. C. K. Wong - Rippling Little Brook {3:22}

4. Chu Ngai Kong - Separation of the Wild Geese {4:34}

5. Chu Ngai Kong - Beating of "Kum-Chi" by Drunkard {3:47}

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