The second movement begins with the melodious and singing melody of the first flute, followed by the addition of the triangle, which sounds very trivial and even unpromising. Fortunately, the triangle only lasted a dozen times and then stopped. In fact, the whole

The only percussion in this piece is the triangle except for the timpani, and the triangle only needs to be played for a few bars at the beginning of the second movement and at the end of the fourth movement. It is very relaxing and enjoyable, although the musicians still have to play a few times in the third movement.

Big cymbal.

Following the conductor's seemingly dignified gestures, the second violin section began to follow the musical color of the flute, but it only served as an embellishment and foreshadowing. Then the woodwinds and double bass also had the same function. After the multi-voice foreshadowing,

The cello group started working together, and the first note played in unison was loud and full of power. It felt like a heavyweight player suddenly appeared in the open space of small flowers and grass. It felt a bit extraordinary and wanted to announce something. It should be able to concentrate

The audience's attention arouses curiosity.

The cello section did not disappoint. In the next six measures, the other parts performed a very long phrase. This phrase was so clear, sonorous, smooth and sweet, and the performance was performed in one go without any interruption. Lian Li Xinhe

The orchestra's approach here is a fairly standard one, strictly following the score, and it seems that no personal interpretation has been added to the secondary creation. This interpretation can be considered correct, because the emotional color of this long phrase is originally very unclear, or

To put it mildly, the stable rhythm and gentle unique melody trend make the music appear more inclusive and broad. If we have to summarize it emotionally, it should be considered peaceful, and it seems to be a bit broad.

After the long sentence of the cello, the music came to a stop, and it sounded like it was over. The second movement was of course not so short. After a beat of silence, the trombone sounded, looking leisurely from far to near, and then followed the violin for a moment.

If you add it more vividly, the emotional color of the music will become brighter.

After being slightly active, the violin group stood still for the first time, allowed themselves to be clear and coherent, and then played a slightly longer ascending complete phrase. If the cello in the front was quite obscure and difficult to detect, then from the third movement of the second movement

At the beginning of a violin phrase, the composer's nouveau riche nature is fully revealed. At this time, the vertical harmonic orchestration of the music is mediocre without any skills, or the composer simply does not want the audience to pay attention to other instruments. At this time, all the parts

They all exist just to support the violins. This is a very smooth and lively melody, and the brisk bow jumping of the first violin section simply feels sudden, without being overly foreshadowed. This melody is very nice, but it is just because of this excessiveness.

A distinctive and pleasant sound may make people uncomfortable or even feel gaudy. In fact, composers should use this kind of melody in popular songs as a memorized chorus.

Fortunately, the violin unabashedly pleases the ears only once in the music. Next, the composer came up with something technical and theoretical. During the subsequent violin variations on this bright melody, the composer gradually

The voice expanded and became fuller, which also disguised the kitsch packaging of the violin, and improved the melody from the feeling of telling a vulgar joke to one that seemed to exude joy from the inside out.

After dozens of measures, the music sounded a lot more advanced, but the most basic form was still simple, with the wind instruments pushing the strings up again and again, and eventually it even had a bit of a waltz feel.

Not only was he happy, but he was even a little excited. Not only did the conductor’s movements become more lively, but the expressions of several leaders in the audience looked very energetic.

Suddenly, at a point that made people feel that there should be a higher wave of emotions next, Lian Lixin suddenly stretched out his palms on the stage, and all the musicians who were playing stopped and the music stopped abruptly, followed by the three-string group

The dulcimer and dulcimer group started working according to the conductor’s gestures.

They are all percussion instruments, but the timbres are very different, and the melodies played are also independent and there is no counterpoint, but they are quite simple at the beginning, and the composer does not show off his wealth.

The sudden change from a Western orchestra ensemble to two sets of ethnic instruments does feel very sudden and even abrupt. It is far from the natural feeling of being overly guided by musical clues in the first movement. This drastic change will certainly not have an impact on the audience.

It's small, but I don't know yet whether it has a positive or negative effect.

After a few measures of monotonous single-note playing, the melody of the dulcimer and the three-stringed instrument began to have a connection and echo. At the same time, the performance of the two groups of instruments also began to show some of their own traditional characteristics, although they were still relatively basic techniques.

But after getting rich suddenly, it seems that he can't help but start showing off again, but this time the composer is not kitschy, but step-by-step and even tolerant.

As the melody of the dulcimer and three-stringed instrument gradually became fuller, the cello group began to play its own bass role. After gaining confidence, the two groups of ethnic instruments took a further step, the melody became more distinct, and the technical performance was richer, unlike in the third group.

In Yiyue, it only serves music but has little room for expression.

Woodwinds and brass were added one after another, but it seemed that they were not there to serve as a foil like the cello, but to steal the audience's attention from the three-stringed strings and the dulcimer. The three-stringed strings and the dulcimer were also quickly realized, so the connection between the two

They are getting closer and closer, the music seems to be motivating each other, and they are becoming more positive and full.

At this time, the overall color of the instrument is also very clear. Just like before, it is also joyful and joyful, but there are obvious differences.

As all the parts are functioning and symphony, the three-stringed instrument and the dulcimer are already flying together. The Yangqin is as light and agile as a flock of dancing birds, while the three-stringed instrument makes people feel calm and majestic but can fly freely without restraint. At this time,

, the composer’s intention to compare the two pieces of joyful music before and after has been very obvious, and the difference has been successfully expressed.

Under the dominance of dulcimer and sanxian, the music reached a high enough level of joy. The composer seemed to feel that enough was enough and wanted to bring this section to an end, so the music began to transition to the next stage, but just after dulcimer and sanxian

When the previous joy gradually began to settle down and even began to quiet down, the pipa group, which had been watching the excitement, suddenly exerted its strength and instantly combined the motives of the dulcimer and sanxian in this movement and performed it in a more sonorous form, and then continued

After the last two quick rounds of Ring Finger Kung Fu, he instantly regained his composure.

The pipa here is like a flashmob. It only takes two bars. It suddenly appears and disappears immediately, which makes people bewildered and stunned. However, if a teacher from the composition department comes to see it, he will definitely praise the pipa's lightning attack.

Teachers will say that it is the pipa that seems to be dispensable in these two measures that plays the finishing touch. It is the pipa in these two measures that settles the first section of the four-part second movement and makes the title clear.

The difference between the two kinds of joy. The joy dominated by Western musical instruments is lively and even a bit noisy, while the joy dominated by dulcimer and three-stringed instruments is more tolerant but also full of joy and joy.

The second movement of "Yang Jingxing's Second Symphony" does not have any theoretical breakthrough. It has an obvious four-section structure and has no academic contribution in terms of harmonic texture. However, the composer fully expressed his own talents in this movement.

Melodic creativity, the movement successively embodies the four musical colors of joy, sadness, calmness, and solemnity, and each color is expressed in two different ways.

After the joy, the music then uses a more expressive Western string melody to express the sad theme. It is much sadder than "Meditation" and much sadder than "Song of the Wanderer". And in Western string music

After that, the music unexpectedly did not use the erhu as the main character to compete, but used the pipa with string instruments and the dulcimer with wind instruments to sing rivalry. The two factions sometimes competed with each other on the stage and sometimes leaned against each other, but both

It's called a sad thing. This is also the first time that Yang Jingxing has composed serious music with such clear sad emotions. He did a good job. Not only did the audience look down, but the performers on the stage also felt heavy.

But we can’t always be sad, so after the sadness is enough, we transition to peace and tranquility. This time, we first perform folk music. The music uses the erhu and the sanxian to express the calmness and ease, and then uses the tolerance of Western music.

Contrast it with tranquility.

Solemnity is also an old label for serious music. The composer prominently used wind instruments in Western music, which fully demonstrated the grand and solemn feeling but also gave rise to a sense of splendor and surging. After folk music took the lead, Yang Jingxing chose to use erhu and pipa in the form of an ensemble.

Show a sense of dignity and even majesty.

Throughout the second movement, the composer is almost lavish in creating and using various beautiful melodies. No matter what kind of color is expressed, the music is full of fresh and moving musical ideas, especially in Western music.

The performance was particularly generous, seeming to have spared no effort and no means unscrupulous. However, it appeared to be restrained in folk music, but under the restraint, it seemed to reveal deeper emotions. Moreover, in the second movement, the connotative characteristics of several folk instruments were also revealed.

It is quite fully embodied, and many of the expressions are also done in great detail.

However, with the composer's various inspirations and technical means, the second movement did not achieve the fusion of folk music and Western music. Instead, it created some feelings of conflict and opposition, and even a sense of competition. It seemed a bit

It goes against one of the original intentions of creating this song.

The nearly twelve-minute second movement ended with several heavy beats of the timpani. The female sanxian player on the stage turned her eyes from the conductor to the composer in the audience, and was made to chuckle again.

Everyone on stage and off stage prepared quickly, and soon the third and fourth movements came in succession. President Wu adjusted his sitting posture and nodded, muttering to himself as if to adjust to the excessive silence in the audience: "Good try."

Wen Fujiang praised: "Director Yang has accumulated a lot of experience..."

Lian Lixin took a breath, and the third movement began, which was straight to the point. It started with a dazzling duel between the principal Pipa and the principal violin. Listening to it separately, it should feel like a high-level solo, so the two senior performers

It seemed that he was working hard without even looking at the conductor.

Just like a group fight, the two eldest brothers were already fighting with real swords, and of course the younger brothers followed, so it soon became four erhus versus four violins, and the melody of both parts was not very gentle. The third movement

The opening chapter is a bit impassioned.

After more than ten measures, the pipa and the violin seemed to have no difference or did not admit defeat. The other parts of the watch were itchy. First the cello came out to call people to watch the fun, then the woodwind seemed to cheer the violin, and the three strings immediately became loyal.

He asked the pipa to play harder, the copper pipe raised his voice and pretended to say something fair, and the erhu immediately began to make innuendoes...

Things developed very quickly, and the third movement had only progressed to more than fifty measures. The first full performance of "Yang Jingxing's Second Symphony" finally appeared, with one mention and two mentions, viola, cello, double bass, woodwinds, brass, timpani,

Among the four folk instruments, no part is idle, and even the triathlon players are ready to play.

Although the whole performance was played, it sounded like chaos at first. The audience who could not bear the stalemate might not be able to hold on for long and would have to leave. Fortunately, the conductor was still so artistic. So some artists are just far away from the masses. In fact, the music here is not from the score

The analysis is not messy. The overall structural design, the counterpoint relationship between the voices, and the internal connection between the materials are all much higher in technical content than the first and second movements, and they can all withstand pioneering academic research.

, but it sounds like chaos.

The first thing that I couldn't stand was Da Zai. He loudly expressed his dissatisfaction in three different ways at three special nodes of the chaos. It was indeed very intimidating. The other voices, including the conductor, seemed to be immediately frightened. They followed the conductor one by one.

With the ugly posture of sticking out the buttocks, arching the upper body forward and raising the hands, the music seemed to pause for a while, and then each voice began to exit the chaos in an orderly manner, in a way that was similar to rewinding.

If "Yang Jingxing's Second Symphony" can still attract the attention of music critics, then those music critics who like to appear to be knowledgeable about technology will probably chuckle when listening to the first and second movements. It seems to be better than "Symphony No. 1"

It's simple, but when they heard the third and fourth movements, they were probably blinded. This is why He Hongchui is now opposed to studying Director Yang's works in the Puyin Composition Department. In his words, there is nothing to learn before a graduate student.

Yes, can you understand and clarify it? But Gong Xiaoling feels that it still needs to be learned, just like reading famous books. People of different ages and different insights can read it, and they can all gain different gains.

The third movement, which started out as a very melodious and competing solo, inexplicably turned into a mess after more than a minute. The audience was left to suffer in the chaos for less than half a minute. Maybe colleagues or senior music fans can already understand it.

After finding some clue in the chaos, the music began to be played in reverse, but it was not rewinding by reading the music backwards. It could be called technical rewinding.

Those materials that caused confusion were slightly modified or left unchanged as the tape was rewinded. Something wonderful happened. The music slowly began to have layers and priorities, and even began to sound a little better.

.

For more than three minutes, the music returned to the scene of four pipa and four violins competing. Then during the technical progress of the two parts, the composer cleverly overlapped the music materials on both sides for two measures, just like

The two straight lines got closer and closer and finally met at a point, but then the two voices did not continue to move in the direction of their own material, but changed paths at the intersection and walked into each other's path.

Taken together, all the details are so clever that they are almost coincidental. The exchange of melodies between the two parts does not feel abrupt and contrived, and even seems to come naturally. What follows is no longer chaos. The pipa and the violin seem to like each other's material.

, seem to understand each other, and gradually echo each other from afar.

As the pipa and the violin echo more and more closely, the viola and cello begin to enrich the bass with this new attitude and emotion. Then the clarinet and flute gradually begin to enrich the pipa part, and the three strings try to form a counterpoint with the violin...

At the seventh minute of the third movement, "Yang Jingxing's Second Symphony" was played in full for the second time. The material did not change much from the first time. It was just adjusted or exchanged, but the musical appearance was reversed from the previous time.

, all the parts are in order, the horns and the double bass are at the bottom, and the cellos and violas are willing to be green leaves. At this time, the music has a total of four lines that have formed a rigorous internal connection and closely cooperate with the well-defined main melody, with the first violin and the third string leading the way.

There is one line, the second violin and dulcimer lead one line, the woodwind and erhu lead one line, and the brass and pipa lead one line. The four melodies go hand in hand. Not only is there no disharmony, but it gradually shows a simple and pleasant trend. More importantly, there is no obvious difference between Western music and folk music.

There is collision and contrast, and it feels like the composer has successfully integrated them together, and they are all working together to serve the music.

In the past ten minutes, all the parts of the music seemed to go together so logically, and then the whole group started to play in unison. This was the first time that the whole piece of music seemed so brilliant and bright, and then the third movement was in this different style from the previous ones.

It ended with great splendor, with the conductor’s soul dancing and the conscientiousness of almost all the performers.

From the current point of view, the obvious academic difficulty of the third movement is that the composer connected serial music and accidental music with traditional creative forms. This requires solid technical theory and rich inspiration, both of which are indispensable.
To be continued...