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addition a local version of thepipa (a four~stringed lute), here " Approaching the dressing -table " (Bang zhuang

ng zhuang uii) is
CHINA narrower and played horizontally, the sanxian (a three-strin-
ged lute) and the viols erhu and erxian, the latter, with its bam ~
perform ed by the South River Chinese Music Association
(Jiangnan Guoyuehui). The term guoyue, literally" national
CHUIDA WIND AND PERCUSSIVE INSTRUMENTAL ENSEMBLES boo neck, typical of the So uth. The big oboes are replaced by music", does not refer in this case to the unitarian music of
the little aizi. The large gong and cymbals are replaced by the a united China, but at the turn of the century, it was one of
clappers paiban. As implied in the title, the same melo dy is the first epithets given t o local mus ic : after th e liberation,
We are becoming increasingly acquainted with so-called [I] " The Prince's Voyage" (Taizi you) then treated in succession as seven variations in different t it les were given making geograph ica l o rigins clearer. The
Chinese learned music, in other words professional kinds tones. "Dressing Pavilion " (Suzhou lou) and " the Prince's ensemble comprises strings: two-stringed viols (erh u),
of music, as well as" national" music arranged and orches - I]] " Incantation to Guanyin" (Guanyin zhou)
voyage" (Taizi you) use the same ensemble as the first piece. lutes (pipa, qinqin, and sanxian), a zither whose strings are
trated . Yet China forms an archipelago of communities de- The full title of" Prince's Voyage " is Taizi you Simen (" Prince struck (yangqin) ; wi nds : f lute (dizi), and blown -flutes
finable more by their languages than b y the land -a reas they These recordings were made in the headquarters of the visiting fan gates ") and its labelled melody is integrated in the (xiao), mouth -organ (sheng); and coordinating percussion
inhabit. Such local community groups, which are structu- Shanghai Musician's Associatio n, host to the Peartree Puxian opera. Tang Ming huang, this, one of the oldest labelled (guban') made up of a drum and a clapper played by the
red through ancestral religion, are guardians of treasures Orc hard opera troupe from Quanzhou (Fujia n) on tour at the melodies, has been found in the purely instrumental repertory. same musician, to which are added, to a more decorative,
that are quite unknown not only t o foreigners but also to the time. For many of the Shanghai musicians present, mostly ornamental end than a structural one, gongs and cymbals.
Chinese themselves beyond their provincial boundari es. specialists of Jiangnan sizhu, the local genre, this was their The last piece is part of the Shiyin ("ten sounds") genre,
" Approaching the dressing-table " also bears the na mes
This presentation offers to pierce the curtain of silence by first encounter with this music from the south. Most remar- more especia lly linked t o the Nan yin b allad repertoire. The
" B low~strike" (Chuida) or " Mi~re~do " (Gong-che-shang ).
publishing authentic music played by ensembles that are kable was the diversity of percussion instrument and the ensem ble comprises four viols, the two lutes, the drum, the
It' s an opening piece of paral iturg ica l orig in often used in
known for their excellence and recorded before an appre~ subtlety of the aizi oboe's sonority. I was th ere by invitation little gong and the clappers. The oboes are replaced by two
opera : a written version dates back to 1600.
ciative public. of my teacher Lin Youren who was hopi ng, thanks the qua ~ f lutes (pinxiao). Behind " Incantation to Guanyin" (Guanyin
lity of m y equipment, that we could keep for the Conserva~ zhou) or. "Incantation of the doub le sou nd " (Shuangyin " Four in one" (Sihe ruyi), performed by the New Sound
In China, the art of combining percussive with melodic zhou) hides a transformation of the famous" Incantation of Chinese Music Association (Xinsheng Guoyue hui) is the
instruments (strings and winds) reached heights th at owe tory' s Resea rch Centre a precious recording of this encoun ~
ter. The programme that day comprised ba llads and Nanyin Pu'an " (Pu'an zhou). one of the most wide- spread Buddhist piece most often played with a percussion ensemble (luo~
nothing to Western influence : the mural paintings of Dun ~ melodies, versions of whic h can be found in all instrumen- gu); it is then ca lled Luogu sihe. Here percussion plays a
huang, dating from the first millenium, and th e music of the instrumental pieces, opera arias and fina lly airs for wind
and percuss ion of the Shiyin and Longchui type. tal genres from North to South, and which o riginated as an much more fundam ental role, a lternat ing with the melodic
Tang court. preserved in Japanese Gagaku, testify to this. incantation on the Sanskrit syllabary siddham. instruments . The structural nature of the piece as a sui te,
An art where tone ~co lours are blended and differing sono- Traditiona lly, the Longchui (literally "m usicians with hence" Four in one", is clearer t ha n in the version without
rities confronted, it is also an art of timing and , over and wicker-baskets ", errant musicians who carried their instru ~
Shanghai
South River Chinese Music Associat io n (Jiangnan Guoyue percuss ion, probably more recent. This alternation of two
above rhythm, of speed variation and dynamic contrasts. ments with them) is considered the direct descendant of opposi ng and complementary groups ca n be found in other
Ultimately, it is proof of the alertness of a tradition. open to hui) and New Sound Chinese Music Assoc iation (Xinsheng
professiona l orchestras of the court. In the Xllth century, closely related genres l ike Shi fanguand Sunan chuida. This
new influences and yet heir to ancient principles which un ~ Guoyue hui), recorded on April15 , 1987 in Shanghai.
certain musicians from the imperial court in Nankin, form has also influenced many instrumental solo pieces, be
derstood how to adopt numerous instruments imported via accompanying the retreat of the Song court before the me ~ [!) "Approaching the dress ing~table " (Bang zhuang tai) they for lute (pipa) or vio l (erhu), particu larly in the compo-
the Silk Route. Considered by some to be degenerate, popular nace o f Mongol invasion, had taken refuge in the Minnan []] " Four in one" (Luogu sihe) sitions of the famous musician Abi ng.
variants of music from the imperial court. they are authentic (south of Fujian). They are said to have formed military or~
traditio ns characteristic of the spirit proper to each place. ex~ chestras of up t o several hundred performers. Gradually Bainigan, Eastern Zhejiang
pressing different sensibilities and colours but using frame- These recordings were.- made in the temple of Confucius Ba inigan village orchestra, recorded o n January 15, 1987 in
the musicians must have " melted i nto the local
works and means which belong t o a common history. ( Wenmiao), Shanghai, during an important symposium orga. Ba iniga n.
population". Be there any truth in these orig ins, which for
nised by the Shanghai Associat ion for the study of Jiangnan
These genres are designated by many local terms: shifan, us is doubtful, the function of this type of music, its place in
sizhu which brought together several local groups. As a mem 1IJ "Th e Great Res idence of the Mandarin" (Da yuanmen)
shiyin, bayue, guyue, guchui; to all these we have here society, is q uite simply that of music performed by specia -
ber of this association, I was able to get invited to this private [!] "Beautiful flowers " (Duhua)
given preference to one of the most ancient of all, the lists (not necessa rily professionals) for the benefit of th e
gathering and record these exceptional pieces.
chuida, literally " blow~ s trike ". Most of these genres, cha- community at times of family celebration and ritual calen- [!Q] " Summer rain " (Xi a yu)
racterised by the opposition between th e percussion group dar feast s. The repertoire consist of a fusion of local melo~ Performed mainly in tea houses and local clubs, the Jiangnan
and the principal winds, nowadays include strings t oo. dies from Nanqu and from the North. sizhu genre (literary : "silks and bamboos f rom south of the [ill "Celebrati on after a good ha rvest " (Qing feng shou)
Rather than making an imaginary voyage from South to river", "river" designating the river par excellence, the Yangzi
North, we have chosen a more Chinese-style graduation, The term longchui ca n be applied to a great variety of gen - jiang ) comprises essentially chamber music for a string and The Ba inigan village orchestra is located in the Shengxian
from "refined" (xi) to "rough" (cu). res and ensembles. It designated a category of itinerant wind ensemble. But music of local Taoist temples bears evi - d istrict of Zhejiang, a coastal provi nce t o the south of
musicians, especially wind ~ players (chui) who carried their dent repertoire and stylistic resemblances, at the same time Shanghai and to the north of Fuj ian. The occasion was a
Ouanzhou. Southern Fujian instru ments in wicker-baskets (long). : 'i it calls for a greater diversity of percussion. Throughout
The Peartree Orchard opera troupe (Uyuan xi) of Quanzhou, f ield-trip by Shanghai Conservatory m usic student_s led by
t his large gathering, each group tried t o stand out through ei Professor Li Minxiong, h imself a native of the regon.
recorded on Apri116, 1987 in Shangha i. The ensemble for the "Overture " (Yin tou) comprises two
ther a particular choice of rarely performed pieces or through
big oboes (suona), a barrelled drum fitted with two studded The art of drums and gongS"from the eastern Zhejiang (Zhe~
[I] "Overture" (Yin tou) an Original instrumentation. The two examples included here
skins and struck with two sti cks (gu), a pair of cymbals (bo), show less refinement than Shanghai concert music, which dong l uogu) is one of China's richest and least welt~kn own .
[1] "Seven modulations" (Qi guan fan) one large and one small gong (luo), and a small mounted traditionally comes closer t o its counterpart preserved in Passed on orally, this tradition was left unto uched by im ~
<~ gong, characteristic of the reg ion, th e xiang. ln the second
[!] "Dressing Pavilion" (Shuzhuang lou) rituals. 1 pr ovements sought by profess ionals in conservatories or
melody, "Seven modulations " (Qi guan fan) we have in

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orchestra. Nevertheless, like all living traditions, it has
evolved with time as confirmed by the presence in the or-
Recorded and presented by Fran9ois Picard and proposed by
CHIME, European Foundation for Chinese Music. CHINE
chestra of a viol from the Peking Opera (jinghu} and, even
more curiously, of a very original reed clarinet with a metal-
The recordings were carried out with a pair of electrostatic LES ENSEMBLES DE SONNEURS ET BATTEURS CHUIDA
microphones and a professional cassette recorder equipped
lic reed, made locally and called here" peace pipe" (heping with a dBx noise-reduction system.
guan} or" leading pipe" (touguan} because of its particular On commence a connaitre les musiques dites savantes de [!] " Le Voyage du prince" ( Taizi you}
role in playing the melodic line without any ornamentation. Chine, les musiques professionnelles, de m~me que Ia mu - [l] " Incantation a Guanyin" (Guanyin zhou}
Some musicians claim that in the thirties this instrument sique "nationale ", arrangee et arches tree . Mais Ia Chine

I
replaced the cylindrical oboe (guanzi} due to the fact that forme un archipel de communautes definies plus par leurs Ces enregistrements ant ete effectues dans les locaux de
good reeds were hard to come by. langues que par leurs territoires. Ces communautes loca - !'Association des musicians d13: Shanghai, qui recevait des
les. structu rees par Ia religion populaire, demeurent depo- membres de Ia troupe d'opera du Jardin des poiriers
Like any mainly oral tradition, even though eventually sitaires de tresors inconnus tant des etrangers que des Chi - (Liyuan xi} de Ouanzhou (Fujian), alors en tournee . Pour
passed on through manuscripts from master to pupil, the nois eux-m~mes au-dela de leurs provinces . On propose ici nombre des musicians shangha"iens presents, Ia plupart
art of drums and gongs from the east of Zhejiang is particu- de jeter un regard derriere ce mur du silence en publiant specialis tes du genre local Jiangnan sizhu, c'etait Ia pre -
larly hard to date. One notices a homogeneous style bet- des musiques authentiques jouees par des ensembles re - miere rencontre avec cette musique venue du sud . Les
ween classical pieces considered" very ancient " like" The connus com me etant de haut niveau, enregistres devant un grandes surprises furent Ia diversite des percussions et Ia
great residence of the Mandarin" or "Beautiful flowers" public de connaisseurs . subti lite duson du hautbois aizi. Je me trouvais ta a I' invita-
and others attributed to contemporary musicians like L'art de mitler les percussions aux instruments melodiques tion de man professeur Lin Youren, qui souhaitait que,
"Summer rain " by Wei Oiyuan. (cordes et vents) a attaint en Chine des sommets qui ne dol - grace a Ia qua lite de man materiel, nous puissions garder
vent rien a !'Occident : en temoignent les peintures murales pour le Centre de recherche du conservatoire un temoi -
The ensemble comprises a central player of large drums ; to gnage valable de cette rencontre. Le programme ce jour- la
de Dun huang, datant du premier miltEmaire, et Ia musique is-
his right, two players of wood-blocks, cymbals, gongs and comportait des ballades et des pieces instrumentales
sue de Ia cour des Tang, preservee dans le Gagaku japonais.
bells, along with two sets of four tuned gongs; to his left, Nanyin, des arias d'opera et enfin des airs pour vents et
Art des timbres m~tes et des senoritas opposees, it figure aus -
the win"ds and strings: a clarinet. viols (three erhu and a si un art du temps. et. beaucoup plus que du rythme, de Ia va- percussions des genres Shiyin ou Longchui.
banhu), lutes {pips, sanxian and tKe little sanxian}, a flute, riation de vitesse et des cont rastes dynamiques. II constitue
two conical oboes (here called meihua) and finally the Peki - La tradition considere le Longchui(litteralement " sonneurs
enfin un temoignage de Ia vivacite d'une tradition non figee, aux panie res ") com me l' heritier des orchestras de cour
nese viol (jinghu}. The central percussionist with his very heritiere de principes antiques, ayant su adopter nombre
rich playing has a fundamental role. Most likely the only professionnels . Au Xlle siecle, certains des musicians de Ia
d'instruments importes par Ia Route de Ia soie. Con.siderees cour imperiale de Nankin auraient trouve refuge dans le
one controlling the ordering of all parts, without him coor- pa r certains comme des variantes populaires degenerees
dination is impossible: in this respect he is a real conductor. Minnan (sud du Fujian). accompagnant le repli de la cour
d'une musique venue de Ia cour imperiale, il s'agit de tradi - des Song menacee par !'invasion mongole. lis auraient
tio ns authentiques caracteristiques du genie pro pre a chaque forme des orchestras militaires pouvant com prendre plu-
"T he great residence of the Mandarin" (Da yuanmen} is in
lieu, exprimant des sensibilites et des couleurs differentes, sieurs centaines d 'edcutants . Les musicians se seraient
five sections organised in the following way: percussion-
dans des cadres generaux et avec des moyens qui appartien- petit a petit" fond us dans le peuple" Quoiqu'il en so it de
A-B-C-D-E-percussion, with repeats of B-C. It also has a nent a une histoire commune.
moderate-slow-moderate-fast form. A timbre (qupai} of cette origine, pour no us mythique, Ia fonction de ce type de
the diverse ballads (sanqu} of the Yuan had a similar name: De nombreux termes locaux designent ces genres: shifan, musique, sa place dans Ia societe est tout simplement celle
"The great visit of thanks" (Da Baimen}. shiyin, bayue, guyue, guchui; on leur preterera ici l'un des d'une musique executee par des specialistes (non neces -
p lus anciens, le c huida, litteralement "souffler -frapper " sairement professionnels) au benefice de Ia communaute
" Beautiful flowers" (Duhua}, also called "The Flowers' La plupart de ces genres, constitues de !'opposition entre eta !'occasion des celebrations des f&tes familiales et du
Jealousy" (Duhua}, is another classic of the repertoire . un groupe de percussions et des vents principaux, incluent calendrier rituel. Le repertoire est une fusion d'airs locaux

I deso rmais des cordes . du Nanqu et d'airs du Nord . Le terme longchui recouvre en
"Summer rain" (Xis yu} was written by Wei Qiyuan, the Pl utOt que de suivre un voyage imaginaire du sud au nord, fait une grande variate de genres et de formations . II desi -
greatest local percussion -playe r of the XXth century. The on a opte pour une graduation a Ia chi.n oise, du "raffine" gnait une categorie de musicians itinerants, essentielle-
second of four thematic pieces on the seasons. it has five (xi} au "rug ue " (cu}. ment sonneurs (chui}, qui transportaient leurs instruments
sections. dans les panieres d'osier (long}.
"Celebration after a good harvest " (Qing fengshou}, in five
sections, follows the classical form: introduction-develop-
J Ouanzhou, sud du Fujian
Tro upe d'opera du Jardin des poiriers (Liyuan xi} de
Ou anzhou, enregistree le 16 avril1987 a Shanghai .
La formation pour l"' Ouverture" (Yin tou} comprend deux
grands hautbois a pavilion suona, un tambour en tonneau a
deux peaux cloutees frappe avec deux baguettes gu, une
ment-transition-conclusion (qi-cheng-zhuan-he}. ITI " Ouverture" (Yin tou} paire de cymbales bo, un grand et un petit gongs luo et un
[!] "Sept modulations" (Qi guan fan} petit gong sur cadre. caract6ristique de Ia region , le xiang.
Franyois PICARD Le deu xieme air, "Sept modulations " (Qi guan fan}, voit
Translation : Jeffrey Grice [!] "Le Pavilion de Ia toilette" (Shuzhuang lou} l'a dj onction du luth a quatre cordes pips dans sa version

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locale, plus etroite et jouee h orizontalement, duluth a trois jouees ou par une instrumentation orig inale. Les d eux
exempl eo; retenus ici revelent un aspect moins police que Ia L'orchestre du village de Bainigan a ete enregistre a Bainigan, " Plui e d'ltt8 " (Xia yu) est due a Wei Qiyuan, le plus grand
cordes sanxian, des vi81es erhu et erxian, cette derniere.
musiqli ~ shanghaienne de concert, une musique dont Ia
district de Shengxian, dans le Zhejiang, province c6tiere au jou eu r local de percuss ions du XXe steele. Deuxieme des
avec son manche en bambou, typique du Sud. Les grands
tradition se trouve plus proche de cella preservlte dans les sud de Shanghai etau nord du Fujia n. a !'occasion d'un voyage quat re pieces themati ques sur les saisons, elle comprend
hautbois sont rem places par le petit aizi. Legrand gong et
rituals. d 'et ude des lttudiants du Conservatoire de musique de cinq sections .
les cymbales sqnt remplaces par les claquettes paiban.
Shanghai sous Ia direction du professeur Li Minxiong, lui -
Com me son nom l'indique, le m~me air estsuccessivement "Celebration d'une bonne recolte " (Ding feng shou), en cinq
" A I'approche de Ia coiffeuse" (Bang zhuang tai) est inter- mBme originaire de Ia region .
varie dans sept tonalites difterentes. " Le Pavilion de Ia toi sections. suit Ia forme classique introduction-dltveloppe-
lette " (Shuzhuang lou) et le" Voyage du prince" (Taiziyou), prete par !'Association de musique chi noise du s ud du Fleu- L'art des tambours et gongs de l'est du Zhejiang (Zhedong ment-transition-conclusion (qi-cheng-zhuan-he).
reprennent Ia formation du premier air." Voyage du prince " ve (Jiangnan Guoyue hui). Le terme de guoyue, litterale- luogu) est un des plus riches et des plus mltconnus de
est l'abrege du titre" Le Prince se rend aux quatre portes " ment " musique nationale ", ne dltsigne pas ici Ia musique Chine. De tradition orale, il est reste a l'ltcart des amelio- Francois PICARD
(Taizi you simen), un timbre integrlt dans l'opltra de Puxian unitaire d'une Chine unie, mais futau dltbut du siecle un des rations voulues par les professionnels des conservatoires
" L'Empereur Minghuang des Tang" (Tang Minghuang). Ce premiers qualificatifs de Ia musique locale, avant qu'il ne ou des orchestras. II a cependant, com me toute tradition vi-
timbre, l' un des plus anciens, a ete recueilli dans le rltper cede le pas a pres Ia Liberation a une ap pellation mettant vante, evolue avec le temps, ainsi qu'en tltmoigne Ia pre- Musiques enregistr~es
et presentees p ar Fram;ois Picard et
toire purement instrumental. plus en evidence son origine gltographique. L'ensemble sence dans I'orchestra d 'une viele d 'opera de Pitkin (jinghu) propos~es par CHIME, European Fo undation for Chinese
comprend des cordes: vieles a deux cordes erhu, luths et, pl us cu rieusement. d ' une tres orig inale ci'arinette de ro- Music.
La derniere piece fait partie du genre " Dix sons" (Shiyin), pipa, qinqin et sanxisn, cithare a cordes f ra ppltes (yangqin), seau a anche metallique, de fabrication locale, appellte ici
plus specia lement lilt au repertoire de ballades Nanyin. les vents : flUtes traversiere (dizi) et droi te (xiao), argue a Les enregistrements ont ~te r~a lis~s avec uncouple de mi-
L'ensemble comprend quatre viE'lles, les deux luths, le tam - " tuyau de Ia paix " (heping guan) ou encore .. tuyau direc-
bouche (sheng), Ia perc ussion coord inatrice (guban) teur" (touguan) en raison du rOle particulier qu'il a de jouer crophones ~lectrostatiques et un magn~tophone iJ cassettes
bour, le petit gong et les claquettes. Deux flUtes traversie- composee d'un tambour et d'une claquette joues par le professionnel ~quip~ d 'un r~ducteur de bruit dBx.
le dessin mltlodique sans ornamentation. Cet instrument,
res (pinxiao) remplacent les hautbois. Derriere I"' Incanta- mltme musician, auxquels s'adjoignent des gongs et des
tiona Guanyin .. (Gusnyin zhou)ou I'" Incantation du double selon le temoignage des musicians, se serait substitue
cymbales, avec un rOle plut6t decoratif, ornamental que dans les annees 1930 au hautbois cylindrique (guanzi), d u
son " (Shuangyin zhou) se cache en fait un avatar de Ia cele- structural. " A I' approche de Ia coiffeuse " porte aussi les
bre" Incantation de Pu'a n " (Pu'an zhou), un des airs boud - fait de Ia difficultlt a se procurer de bonnes anches .
noms de " Souffler-frapper" (Chuida) ou de " Mi-r~-do "
dhiques les plus rltpandus, dOnt on trouve des versions (Gong-che-shang) ; c'est une piece d'ouverture, d 'origi ne Com me toute tradition d 'abord orale, relayee eventuelle-
dans to us las genres instrumentaux du Nord au Sud, et qui a paraliturg ique, tres utilislte dans les operas ; une versi on ment pa r les manuscrits transmis de maitre a disciple,l'art
pour origine une incantation sur le sylla baire sanskrit ecrite en remonte a 1600. d es tambours et gongs de l'estdu Zhej iang est particuliere-
siddhsm. ment difficile a dater. On remarquera l'homogltnltite de
" Union de quatre" (Siheruyi), interpretee par !'Association style entre des pieces classiques considerees com me " tres
Shanghai de musique chinoise du Son Nouveau (Xinsheng Guoyue anciennes " telles "La grande residence du mandarin" ou
Association de Ia musique chinoise du sud du Fleuve hui), est Ia piece Ia plus souvent jouee avec ensemble de " De belles fleurs" et d'autres attri bu8es a des musiciens
(Jiangnan Guoyue hui) et Association de musique chi noise
percussions (/uogu) ; elle prend alors le nom de Luogu sihe. contemporains. telle "Pluies d'ete ", due a Wei Qiyuan.
du Son Nouveau (Xinsheng Guoyue hui), enregistrees le
lei les percussions jouent un rOle nettement plus fonda-
15 avril1987 a Shanghai. La formation comprend un joueur de grands tambours, au
mentaL en alternance avec les instruments mltlodiques. La
[!] " A I'approche de Ia coiffeuse " (Bang zhuang tai) structure en suite de Ia piece, qui en tire son nom de" Union centre; a sa droite, des joueurs de c laves, de cymbales, de
de quatre ", apparait alors plus clairement que dans Ia ver- gongs et de c lochettes, puis deux j eux de quatre gongs ac-
[I) " Union de quatre " (Luogu sihe) coufes; a sa gauche, les vents et les cordes : Ia clarinette,
sion sans p ercussion, sa ns doute plus tard ive. On retrouve
c ette alternance entre deux groupes opposes et compllt- les vieles (trois erhu et un bsnhu ), les l uths (pipa, sanxian et
Ces enregistrements ont ete effectues a Shanghai, au temple pet it sanxian ), une flUte traversiere, deux hautbois coni-
mentaires dans d'autres genres voisins. tels les Shifanguet
de Confucius (Wenmiao) lors d'une grande rencontre organi- ques (ici appellts meihua) et enfin Ia viele pltkinoise
Sunan chui da. Cette forme a ltgalement influence de nom-
see par !'Association shangha'ienne d 'etude du Jiangnan sizhu (jinghu). Le rOle du percussioniste central. au jeu tres riche,
breuses pieces instrumentales en solo, que ce so it pour le
et rassemblant de nombreux groupes locaux. En tant que est fondamental. Sans tu i, aucune coordination ne peut se
luth pipa ou Ia viele erhu, en particulier dans les creations
membre de cette association, j'ai pu lttre invite a cette rencon-
du fameu x musician Abing. faire, il est vraisemblablement le seul a maitriser tout
tre privee et enregistrer ces pieces exceptionnelles. l'agencement des parties, faisant ai ns i office de veritable
Principalement joue dans les maisons de thlt et les clubs de Bainigan, est du Zhejiang chef d'orch estre.
quartier, le genre Jiangnan sizhu (littltralement "soies et Orchestra du village de Bainigan, enregistre le 15 janvier La " Grande residence du mandarin" (Da Yuanmenf
bambous du sud du Fleuve ", " Fleuve " dltsignant ici le fleu- 198 7 a Ba inigan. comporte ci nq sections. organ isees salon le schema
ve par excellence, le Yangzi jiang) consiste essentiellement II] " La grande residence du mandarin " (Da yusnmen) percussions -A-B -C- D-E-percussions, avec repetitions de
en un rltpertoire de musique de chambre reunissant cordes 8 -C et selon une forme medium-lent-medium - rapid e. Un
et vents. Mais Ia musique des temples tao'i stes locaux mon- []] " De belles fleurs " (Duhua) ti mbre (qupai) des ba llades diverses (sanqu) des Yua n
tre une evidente parente de repertoire et de style, tout en porta it un nom semblable : Ia "Grande Vi site de remercie-
faisant beaucoup plus appel a une diversite de percussions. ., [@ "Pluie d'ete " (Xia yu/ ment" (Da Raiment.
Lors de cette grande rencontre, c;:ha~ue groupe a tentlt de se
singulariser par un choix part1culler de p1eces rarement [ill "celebration d'une bonne recolte " (Qing feng shou) " De belles fleurs" (Duhua), appellt aussi " Jalousie des
fl eurs" (Duhua). est un autre classique du repertoire.
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D 8209

Photos : Collection Fran~ois PICARD .

lmprim ' en Franc . Imp. Glorv . 926(12 Aonitr