1 Hong Xiangtang

PERFORMING THE YELLOW RIVER CANTATA
BY
XIANGTANG HONG
DISSERTATION
Submitted in partial fulfillment of the requirements

for the degree of Doctor of Musical Arts in Music
in the Graduate College of the
University of Illinois at Urbana-Champaign, 2009
Urbana, Illinois
Doctoral Committee:
Associate Professor Chester L. Alwes, Chair and Director of Research

Professor Poshek Fu
Assistant Professor Katherine Syer
Assistant Professor Philipp Blume
ii
ABSTRACT
Since its composition in 1939, Xian Xinghai’s (1905-1945) Yellow River Cantata
has nearly exclusively remained the province of Chinese choral groups. In large measure,
the failure of the work to make significant inroads into the world of Western choral music
stems from the daunting challenges posed by the Mandarin text, as well as the ethnic
musical elements and folk instruments present in even the most “Western” adaptations of
the piece. Given that only one commercially available edition exists in Chinese, the focus
of this dissertation has been the removal of all potential obstacles to Western
performance.
To that end, the author has produced a phonetic, Romanized version of the
original Mandarin text by Guang Weiran (1913-2002), as well as a carefully-crafted,
singable English translation that, nonetheless, remains as faithful to Xian’s original
musical conception as possible. A significant aspect of this work has been the
incorporation of the considerable, unwritten body of performance traditions that have
derived from the series of revisions that the work has undergone and the sizable body of
recorded performances. It is the author’s hope that, having undertaken these tasks, this
iconic Chinese choral work may become just as accessible and popular with Western
choirs and audiences.

iii
TABLE OF CONTENTS
TABLE OF ILLUSTRATIONS …………………………………………….. iv

PREFACE ....................................................................................................... v
CHAPTER 1: THE YELLOW RIVER AS A SYMBOL ............................... 1
CHAPTER 2: GENESIS OF THE TEXT AND MUSIC ................................ 3
CHAPTER 3: THE MEETING OF EAST AND WEST …………………… 25
3.1 The Composer ............................................................................... 25
3.2 The Composition ........................................................................... 41
3.3 Variants ......................................................................................... 50
CHAPTER 4: PRODUCING AN ENGLISH PERFORMING EDITION ….. 57
4.1 Textual and Musical Considerations ............................................. 57
4.2 Evolution and Transformation – The Unique Case of Movement
Three …………………………...................................................... 59
4.3 Performance Practice and Orchestration Options .......................... 65
CHAPTER 5: CHORAL SCORE ………………………………………….... 66
1. Song of the Yellow River Boatmen ….......................................... 67
2. Ode to the Yellow River ............................................................... 102
3. Yellow River’s Water from Heaven Descends …………………. 120
4. Yellow Water Ballad ..................................................................... 142
5. Musical Dialogue on the River Bank ………................................ 159
6. Yellow River Lament ………………………………………….... 175
7. Defend the Yellow River ……………………………………...... 191
8. Roar, Yellow River! …………………………………………….. 230
APPENDIX A: TRANSLATION ...…………………………………………. 272
APPENDIX B: TRANSLITERATION ……………………………………... 319
APPENDIX C: HOW THE YELLOW RIVER CANTATA WAS BORN …. 368
APPENDIX D: XIAN’S WRITINGS ………………………………….......... 373
APPENDIX E: PERFORMANCE HISTORY ……………………………..... 380
APPENDIX F: DISCOGRAPHY …………………………………………..... 388
BIBLIOGRAPHY ............................................................................................. 391
iv
TABLE OF ILLUSTRATIONS
Figure 1.1 Map of the Yellow River ............................................................ 2

Andrea Hsu, “Tourism Along the Yellow River Glorifies China’s Past,” NPR web article, 13 December 2007.
Photograph by Alice Kreit.
Figure 1.2 Mother River Statue in Lanzhou, China ..................................... 2

Public Domain.
Figure 2.1 Hukou Waterfall ……………..................................................... 5

Andrea Hsu, “Tourism Along the Yellow River Glorifies China’s Past,” NPR web article, 13 December 2007.
Photograph by Andrea Hsu.
Figure 2.2 View of the Yellow River .......................................................... 10

Public Domain.
Figure 2.3 Hukou Waterfall ……………..................................................... 14

Licensed under the Creative Commons Attribution ShareAlike 3.0 License.
Figure 2.4 Yellow River: Dykes and Canals ............................................... 16

Wei Huang, Conquering the Yellow River (Peiking: Foreign Language Press, 1978).
Figure 2.5 Human Suffering in the Sino-Japanese War .............................. 19

Public Domain.
Figure 2.6 Mass Grave at the Huangpo Massacre Site, Hubei Province ..... 20
Photo courtesy of Alliance for Preserving the Truth of Sino-Japanese War.
Figure 2.7 Chinese Territory Occupied by the Japanese (1940) ………...... 23

Map courtesy of the Department of History, United States Military Academy
Figure 3.1 War Posters ……………............................................................. 49

Courtesy of the Hennepin County Library, James K. Hosmer Special Collections Library, Kittleson World War II Collection.
MPW00292 (left), MPW 00450 (center), MPW00500 (right).
v
PREFACE
The Yellow River Cantata by Xian Xinghai1 (1905-1945) was the first multi-
movement Chinese choral composition to gain widespread performance outside of
mainland China. Despite its enduring popularity among Chinese people across the world
more than seventy years after Xian set Guang Weiran’s (1913-2002) poem to music, the
cantata has remained a work performed almost exclusively by Chinese singers and
conductors. A staple of Chinese choral literature, the Yellow River Cantata has not
attracted any significant amount of Western performance or recognition. This inability to
resonate with Western choirs may be the result of the difficulties it poses linguistically
and instrumentally; Western choirs do not typically sing in Mandarin, or have access to
the ethnic folk instruments required by even the most “Western” version of the piece. To
complicate matters further, the composition has undergone a series of revisions (during
Xian’s life and after his death) that have only made the work’s accessibility to Western
performers more problematic. No fewer than six different versions of the Yellow River
Cantata exist:
1. 1939, Yan’an, Xian Xinghai

2. 1941, Moscow, Xian Xinghai
3. 1946, USA, Wallingford Riegger
4. 1955, Shanghai, Li Huanzhi
5. 1975, Beijing, Yan Liangkun
6. 2005, Hongkong, Carmen Koon
Despite this wealth of scores, only the last is commercially available; none provide
Western choirs with either an IPA-based guide to pronouncing the original Mandarin text
1
Chinese names are written with the family name before the given name. The British Wade-Giles system
transliterates Xian’s name as, “Hsien Hsing-hai.”
vi
or an accurate, singable English text that would make non-Chinese performance a viable
option. The author has sought to remove these impediments in this new edition, based on
the 1975 version, the most widely performed and recorded of the Yellow River Cantata.
To facilitate performances in English or Mandarin in the West, this new edition
provides both a Romanized, phonetic pronunciation of the Chinese text and a new
English singing translation, specifically crafted to preserve as much of the original
rhythm and meaning of Xian’s musical setting of the text as possible. The complex
political and cultural forces that shaped both Xian’s original score and the subsequent
derivative versions have been thoroughly discussed elsewhere; consequently, the focus of
this dissertation has been upon those practical elements that seem to have impeded
Western performances. The historical background given was consciously limited to
biographical facts, essential to the contemporary Western performer.
For this reason, the author decided to produce a two-piano reduction of the 1975
orchestration first. Ultimately, a complete orchestral score (including appropriate
Western substitutions for Xian’s designated Chinese instruments) will appear. The author
consulted a wide range of recorded performances2 to extract those subtleties of
performance that are not notated in any score. These may or may not have been precisely
notated by Xian in the original score, but have, in the author’s opinion, been established
as the standard interpretation by subsequent performances. Options for replacing the
indigenous Chinese instruments included in Xian’s original score with Western
2
See Discography, pp. 388-390.
vii
surrogates, as well as the technical limitations that such a transfer may pose, form another
practical layer of this edition.
In an effort to maintain a clear level of separation between the interpretive
markings in Xian’s autograph, the subsequent adaptations of it, and the editorial
clarifications made by the author to reflect the work’s long performance history, the
various levels of changes have been indicated using clearly-differentiated brackets. In
general, the following principles have guided the construction of this edition:
1. Wherever possible, Xian’s original rhythms were retained.
2. None of the pitches in the original choral parts were altered or omitted.
3. Markings related to performance added by the editor are clearly differentiated
from Xian’s original.
4. As with any translation, occasional changes of rhythm were necessary to
accommodate the English syntax. These have been clearly delineated from the
original text by the use of smaller noteheads.
Finally, Western performers unfamiliar with the historical and cultural contexts
that shaped Guang’s poem and Xian’s musical setting of it must acquire a basic
understanding of how the music embodied the specific cultural constructs of that time in
Chinese history and the emotions emanating from them. Therefore, our first task is to
examine the Chinese text of the Yellow River Cantata, a work originally written to stir up
feelings of nationalism and patriotism during China’s struggle against Japanese

viii
oppression.3 This task requires a closer look at the cultural landmarks to which both text
and music make reference. In order to understand why this work remains so close to the
musical heart of the Chinese people today, we must separate the cultural symbolism of
the music from the emotionally-charged attitudes engendered by the Sino-Japanese War.
Only then, can Xian’s composition be evaluated purely on its musical merit, quite apart
from whatever political uses may have been made of it.
3
The Second Sino-Japanese War broke out in 1937 and lasted till the end of World War II. Beyond the
scope of this document is a consideration of the ways that Xian’s music was subsequently used to serve the
doctrinal points of view that were not necessarily held by the composer himself.
1
CHAPTER 1: THE YELLOW RIVER AS A SYMBOL
The Yellow River Cantata was written in 1939, during a period of great suffering
following Japan’s invasion of China. It tapped into the Chinese people’s deep yearning to
become a strong nation, free from foreign exploitation. According to Rhodes Farmer (a
war correspondent for the Melbourne Herald):
Japan within 36 years had expanded five-fold, increasing her territories from
140,000 sq. miles to about 764,000 sq. miles – all at China’s expense. Now the
Japanese planned to weld North China’s 400,000 sq. miles on to Manchuria, forming an
economic block from Korea to the Yellow River.
The Japanese were not interested in economic co-operation with China. They
wanted to own the raw material sources of North China; they wanted cheap Chinese
labour to produce them. 1
At more than three thousand miles in length, the Yellow River is second only to
the Yangtze River as China’s longest waterway. The yellowish-brown hue that gives the
river its name comes from the massive amounts of silt (loess) picked up as the waters
rush eastward to the sea. Called “Mother River of the Chinese nation” and “the cradle of
the Chinese civilization,” the Yellow River is as vital a resource for China as the Nile is
for Egypt. Farming villages began to spring up in the Yellow River valley in the
Neolithic era (around 9500 BC). Dynasties since have either flourished from effective
control of the river or fallen as a result of its floods.
1
Rhodes Farmer. Shanghai Harvest: a diary of three years in the China war. (Glasgow and London:
Gilmour and Dean, Ltd., 1945) 13.
2
Figure 1.1 Map of the Yellow River
Just as the bald eagle (unique to North America) represents freedom, strength, and
majesty as the national symbol of the U.S., the Yellow River joins Chinese hearts
everywhere to their homeland, history, and roots. Beyond its importance providing water
for agriculture and hydroelectric power, the Yellow River nurtures the spirit and strength
of the Chinese people. In Lanzhou, the capitol of Gansu Province, a statue was built to
symbolize the Yellow River as the mother of Chinese people.
Figure 1.2 Mother River Statue in Lanzhou, China

3
CHAPTER 2: GENESIS OF THE TEXT AND MUSIC
As a nation, China suffered humiliation at the hands of foreign powers during the
Opium Wars (1839-42, 1856-60) and Sino-Japanese Wars (1894-5, 1937-45). In the early
twentieth century, the conflict and unrest caused by feudalism, the Boxer Rebellion, and a
series of revolutions beginning in 1911 culminated in the outbreak of Civil War (1927).
Intermittent fighting between Japan and China resumed in 1931. The Chinese Central
Government’s Ministry of Education organized a Mass Education Specialists’
Conference in 1933, at which resolutions concerning mass education during the national
crisis were passed to realize the following goals:
1. Heighten the spirit of hatred against the enemy.

2. Work up the courage of independence and self-reliance.
3. Understand the responsibility in joint efforts to curb national crisis.
4. Acquire the habit of fortitude and the ability to withstand hardships.
5. Help organizations in their ability for self-defense.
6. Develop the physical stamina to withstand hardships.
7. Cultivate the habit to buy native products.
8. Indoctrinate the people with knowledge in national defense. 2
After the second Sino-Japanese War began in 1937, a new social education initiative was
launched with the following objectives:
1. To awaken national consciousness.

2. To stimulate sentiments in carrying on the War of Resistance.
3. To indoctrinate knowledge on the War of Resistance. 3
2
Pu-yu Hu. A Brief History of Sino-Japanese War (1937-1945) (Taipei, Taiwan: Chung Wu Publishing Co.,
1974) 62-3.
3
Ibid., 11.
4
The arts played a significant role in accomplishing these objectives. Troupes of
musicians and actors toured China, performing in large cities, towns, and villages,
reaching over ten million people. The revolutionary poet Guang Weiran was the leader of
one such group, the Enemy Resistance Third Drama Troupe.4 In November 1938, his
team needed to cross the Yellow River bank in the vicinity of the Hukou waterfall at
Shanxi.5 It was the harrowing experience of crossing the river that inspired Guang to
write a four-hundred-line poem in eight sections, which Xian Xinghai set to music the
following year as the Yellow River Cantata. Wu Xiling, a member of Guang’s troupe,
related this account of their crossing:
Hukou is one of the most dangerous gorges on the Yellow River. Here, the gorge
chopped the river into two uneven grounds. The rolling waters spanning two to three li6
squeezed into the narrow mouth of the gorge that was only a few zhang7 wide,
thundering powerfully like a massive herd of running cattle. The torrents of the
enormous waterfall churned up mud and plunged downwards, creating sprays of waves
that were several meters high; its roar shook both heaven and earth. If one stood for a
few minutes near the edge of the gorge, the muddy waterfall and its sprays would
suddenly appear to resemble the steep slope of a mountain. Your ears would become
numb from the deafening roar, only returning to normal until you were five to six li
from the gorge. 8
4
Or the 3rd Squad of the Anti-Enemy Troupe
5
This is Shǎnxī province. There is also Shānxī /Shaanxi province. They are separate regions, and the
Yellow River marks the border between them.
6
1 li = 500 meters
7
1 zhang ≈ 3.33 meters
8
Yuyi Qi and Yan Li, eds. “Zhongguo jin xiandai yinyueshi ziliao congkan,” Xian Xinghai Zhuanji 4
(Guangzhou: China Arts Research Center Music Research Institute, 1983), 59-64. Her complete narrative
may be found as Appendix C.
5
Figure 2.1 Hukou Waterfall
Guang Weiran created continuity within his lengthy poem by linking the various scenes
and people mentioned in different movements. What follows is a sampling of the poet’s
extra-musical ideas taken from Xian’s Composition Notes on the Yellow River Cantata. 9
The Yellow River’s heroic spirit appears on the plains of Asia, symbolizing the
greatness of Chinese national feelings. From past to present, many poets have sung
praises to the Yellow River.
The Yellow River Cantata seeks to project a similarly stirring and realistic portrait.
Under the dark cloudy skies, amidst the huge crashing waves, the Yellow River
boatmen battled with all their might against the wild winds and pouring rain to cross
over to the opposite shore, reaching the final victory. 10
There are two slightly differing accounts of the libretto’s genesis. According to
Hon-Lun Yang, “Guang’s decision to write the poem as a cantata libretto only came
when Xian Xinghai went to visit him at the hospital, as he was recuperating from a horse
accident. Xian mentioned the meeting in his diary11 dated February 26, 1939.”12 Guang’s
9
The complete description can be found in Appendix D
10
Xinghai Xian. Xian Xinghai Quanji, ten vols. (Guangdong gaodeng jiaoye chubanshe, 1989-1990) 145-6.
11
The entry indicated that Xian visited Guang, who was hospitalized after falling and breaking his bone.
6
colleague, Wu Xiling, noted that the poet fell off his horse and broke his arm in mid-
January on their way to Yan’an. Wu recorded that “it was not until after he was
hospitalized that he officially began penning the words down.” According to Wu, Xian
heard Guang recite the complete text to the Yellow River Cantata on February 18, 1939 at
a Lunar New Year’s Eve celebration.13 If any ambiguity surrounded the libretto’s genesis,
documentary evidence reveals that Xian set Guang’s libretto, originally called
Huangheyin, in only six days. The compositional process commenced on March 26, 1939
with a preliminary sketch regarding the voicing of each movement that Xian entered in
his diary:
1. Song of the Yellow River Boatmen (Mixed Choir)

2. Ode to the Yellow River (Male Solo)
3. Yellow River’s Water from Heaven Descends (Recitation Song)
4. Yellow Water Ballad (Unison)
5. Musical Dialogue on the River Bank (Duet)
6. Yellow River Lament (Female Solo)
7. Defend the Yellow River (Canon)
8. Roar! Yellow River (Mixed Choir) 14
The same source indicates that Xian completed the music for all eight movements by
March 31, 1939.
12
Xian Xinghai Quanji, 259. Cited in Hon-Lun Yang, “The Making of a National Musical Icon: Xian
Xinghai and His Yellow River Cantata”, in Annie J. Randall, Music, Power and Politics (New York and
London: Routledge, 2005) note 17, 107.
13
Yuyi Qi and Yan Li, eds. “Zhongguo jin xiandai yinyueshi ziliao congkan”, 59-64. See Appendix C.
14
Xian Xinghai Quanji, 263.
7
Text
What follows is a new English translation of the cantata’s Chinese text made by
this author. Immediately preceding each movement’s text are Xian’s notes about the
musical program of the cantata (in italics). Two descriptions are included – the first taken
from Xian’s Composition Notes (Chuangzuo zaji)15 written in Moscow in 1940 using the
pseudonym Huang Xun; the second is taken directly from the entry for April 8, 1939 in
Xian’s diary.16 Following the text, additional commentary is provided by the author to
clarify the historical context that shaped the poem.
The scene of the boatmen crossing the Yellow River is depicted in the very first
movement of the cantata. Here, the boatmen embody an attitude of facing adversity and
their adversary with strength, determination, and a fighting spirit.
1. Song of the Yellow River Boatmen (Chorus)

Begins with an opening scene of a few dozen Yellow River boatmen battling the perilous
waves as they cross the river, full of fighting strength; ends with the boat arriving at
shore, boatmen heave a sigh of relief, relaxed and cheerful.
1. Prelude – Song of the Yellow River Boatmen

If you listen in peace, you will discover a painting that has around a dozen fishermen
rowing their boats with their faces radiating the fighting spirit. There are two
sentiments in this movement that are notable: the tension in the opening depicts the
scene of fishermen as they struggle with the waves to cross the Yellow River, as they
sing, “Row forward,… The last part is a bit more relaxed. Before the fishermen crossed
the river, they were in a jolly mood. After they have had a hearty laugh [from having
gotten past the most turbulent waters of the crossing], their worries dissipated, putting
them at ease once again.
15
Xian’s Composition Notes (Chuangzuo zaji) Xian Xinghai Quanji, vol. 1, 145-8. Xian’s complete notes
appear in Appendix D.
16
Ibid., 37-8.
8
[1] Song of the Yellow River Boatmen
Recitation
Friends! Have you seen the Yellow River?
Have you crossed the Yellow River?
Do you remember scenes of the boatmen
risking their lives to battle the perilous waves?
If you have forgotten, then listen!
Chorus
Hai-yo! Row!
Row, forge ahead! Hai-yo!
Stormy clouds veil the sky!
Surging waves as high as mountains!
Cold winds slap our faces!
Surfs crash into the boat!
Fellow boatmen, keep a lookout!
Helmsman, hold firm!
Stay alert, do not slack off!
Fight for your lives, do not be afraid!
Hai! Row!
Do not fear the mountainous waves!

Boating on the Yellow River is like fighting at the front,
Unite and forge ahead! Hai! Row!
Row, forge ahead! Hai-yo! Hahaha!
The shore is in our view,

now we have reached the shore.
Hearts, calm down, catch a breath.
Soon, we will again risk our lives fighting those raging waves!
Hai-yo! Row! Hey!
9

Written in the form of an ode with bold and unrestrained emotion, praises of the Yellow
River’s might and strength are sung loudly; the power of the Yellow River’s rushing
waters can be heard in the accompaniment.
2. Ode to the Yellow River

This movement is composed in the form of a laud/anthem. Laudes often carry a bold
and unrestrained passion; this one praises the might and strength of the Yellow River.
Scored for a tenor solo,17 it is a moving piece. One can even hear the strong flowing
currents of the Yellow River in the accompaniment!
[2] Ode to the Yellow River
Recitation
Ah! My friends!
The heroic spirit of the Yellow River dominates the plains of Asia,
representing the vigor of our nation, mighty and strong!
Here, facing the Yellow River, we sing our song of praise.
Solo
I stand on the mountain peak,
gazing at the Yellow River rolling towards the southeast.
Golden waves surge, lofty waters rise;
muddy swirling rapids mark its sinuous course
down from the Kunlun mountain, rushing toward the Yellow Sea;
dividing the central plains of China into southern and northern parts.
Ah, Yellow River!

You are the cradle of the Chinese people!
You have nurtured five thousand years of ancient culture;
many heroic tales have taken place on your shores!
Ah, Yellow River!

You are mighty and strong, like a giant you appear on the plains of Asia,
using your heroic physique to build our people’s defense.
Ah, Yellow River!

You rush along to the horizon, majestic,
extending your arms like countless strips of iron towards both northern and southern
shores.
Our people’s mighty spirit will flourish under your nurture!
17
In the end, Xian decided to use a baritone instead.
10
From your example, our homeland’s heroic sons and daughters will learn
to become just as mighty and strong as you!
Figure 2.2 View of the Yellow River
In the preceding movement, Xian used a narrator to provide logical continuity.
His persistent use of this device not only linked the separate movements, but also
produced an interplay between the poetic text and Xian’s music. Xian’s approach is
reminiscent of Arthur Honegger’s use of a similar device, when he adapted the dramatic
music he had previously composed for René Morax’s play, Le Roi David, for concert hall
performance in 1923.18
3. Yellow River’s Waters from Heaven Descends (Recitation)

New form, not with the big drum or just mere recitation, but a recitation song. The
narrator must have a firm grasp of the emotions in this piece, and more importantly,
speak with strength and boldness.
3. Yellow River’s Water from Heaven Descends

The text is recited in this movement. I chose the Sanxian [three-stringed banjo] as the
accompanying instrument and not the drum or the typical Beijing opera
accompaniment style, to express the content of the spoken words. In Europe, there is a
type of solo song with independent vocal and accompaniment parts, advocated by the
composer Wolf19. However, this is probably the first experiment in China where a
Sanxian is employed both as an accompaniment as well as to express the content of the
text, in such a way that it can stand independently as a piece. Besides the roll of the
waves that can be heard in the Sanxian’s tune, two other melodies have also been
18
Honegger, like Xian, studied composition with Vincent D’Indy in Paris.
19
Hugo Wolf (1860-1903), composer of hundreds of Lieder, is known for his skill creating form based on
his reading of the text.
11
incorporated: one is “Man Jiang Hong” and the other is “March of the Volunteers,”
but only excerpts from these have been used (this is due to the structuring of the tune).
A typical orchestra for the Beijing opera (Jingju) is made up of melodic (two-stringed
fiddles, a lute, and the double-reed suona) and percussion (gongs, cymbals, one or two
drums, and wooden clappers) instruments. The percussion section is inseparable from all
the dramatic elements.
[3] Yellow River’s Water from Heaven Descends
Recitation (Incidental music to recited poetry)

Yellow River!
We want to learn to become as mighty and strong as you!
Here, before you, we offer a poem,
confiding in you the catastrophes suffered by our people.
Recitation, accompanied by the Sanxian

Yellow River’s water, descended from heaven –
sweeping, surging forward;
the cries of the hissing river shatter our courage!
The river is China’s major artery,
rapidly circulating the people’s lifeblood throughout the land.

The red sun shines high,

its golden rays burst open from the surface of the water.
The moon rises over the mountains east,
its silver beams on the river glimmer like snow.
The river shakes, and leaps, like a flying dragon,
traversing ten thousand miles20 each day, emptying into the vast eastern sea.
From Hukou21 to Longmen,22

strange battle formations are displayed in the sky;23
20
One mile in Chinese measurement is 500 meters, or c. 1640 feet.
21
Hukou (Kettle Mouth) is a gushing waterfall on the Yellow River. It is also where the poet Guang
Weiran was so impressed by the force of the river that he was inspired to write the text to this cantata.
22
Longmen (Dragon Gate) is downstream from Hukou and is the narrowest (hence the swiftest) part of the
Yellow River in that region. It is nearly impossible to navigate from Hukou to Longmen. That part of the
river is like a dragon that cannot be tamed.
12
people do not dare lean close to the riverside;

even a poisonous dragon does not dare dwell on the river bottom.
From ten miles away, see the thick plumes of smoke rising upwards,
as from a large blazing fire, blanketing the entire sky;
this cauldron brings our lifeblood to a rolling boil;
in fact, when the cold air closes in, your whole body trembles.
The river groans and quakes, emitting the power of a billion horses,
shaking the earth’s crust and dispersing the dark clouds in the sky.

Ah, Yellow River!

The king of rivers!
When enraged, it is a mad wild beast,
worse than ten million poisonous pythons;
making waves, stirring up storms, and wrecking the people’s embankment;
therefore, on both shores of the Yellow River, terrible calamities took place:
the river devoured people on both shores,24

it leveled over hundreds of miles of villages,
causing tens of thousands of fellow countrymen to be exiled
into an unfamiliar land, old and young,
struggling on the brink of starvation,
hanging on the verge of death.

Today, people on the two shores

once again suffer unprecedented calamities:
On Asia’s level plains, pirates from the East
are letting out murderous fumes of death;
starvation and death are like the cachectic fever,25
spreading infection on the shores of the Yellow River.

23
From Hukou to Longmen, the river is flanked by mountain ridges so high that it looks as though the
troops are in some strange formation in the sky.
24
The 1887 flood killed an estimated 900,000 to 2 million people, and the 1931 flood claimed 1 to 3.7
million lives.
25
A chronic disease occurring in India, China, Pakistan, the Mediterranean littoral, the Middle East, South
and Central America, Asia, and Africa caused by parasites transmitted by the bite of a species of sandfly;
the organisms grow and multiply in the lungs, then the parasites spread throughout the body.
13
Ah, Yellow River!

you nurture our people’s growth:
you have seen with your own eyes
the calamities that this ancient nation
has suffered for five thousand years!
Since ancient times,

numerous bloody battles have unfolded on the shores of the Yellow River.
Piles of white bones fill your body,
and your surface is stained dark red with blood!
Yet, you have never seen ruthlessness like that unleashed today;
nor have you seen the Yellow Emperor’s26 sons and grandsons
mobilizing the entire country as they do today.

On the shores of the Yellow River,

scores of guerilla fighters and field units
are scattered like stars, spread out like chess pieces behind the enemy;
from within the green muslin tents, valiant battles are launched
amid the cluster of ten thousand mountains!

Ah, Yellow River!

You record our people’s history through the dynasties;
from ancient to present, many heroes rose along your banks.
But, never before have you seen four hundred million fellow countrymen
united like steel and iron;
hundreds of thousands of heroes spill their blood to defend the country of their
forefathers;
the brave and honorable tales of these heroes are like your raging waves –
strong, intense, and awesome!

Ah, Yellow River!

Have you ever heard victory’s triumphant songs sung on your shores?
Have you ever seen the iron army of our home country ambush the enemy,
spread out like a net that covers both earth and sky?
They guard your shores, preventing the enemy from crossing over!
Their goal is to bury the ferocious enemy beneath your billowing waves!
26
A well-known ancestor of the Chinese race.
14

Ah, Yellow River!

You rush and roar,
angrily ridding the fascists evil demons,
singing their burial song!
Your deafening roar travels across our homeland’s plains,
a triumphant song to honor our people’s great victory!
Roar out loud, across our homeland’s plains,
the triumphant song to honor our people’s great victory!
Figure 2.3 Hukou Waterfall
4. Yellow Water Ballad (Two-Part Women’s Chorus)

Simple wording, although must be expressed as painful moans; different from the
typical song of melancholy, in that this one conceals hope and fighting spirit.
4. Yellow Water Ballad

This is composed like a folksong and sung in unison. The tune is simple, carrying
expressions of pain and moaning. Unlike the usual folksongs that convey decadence, the
Yellow River Ballad is full of hope and earnest endeavor!
15
[4] Yellow Water Ballad
Recitation
We are sons and daughters of the Yellow River,
who arduously strive toward victory with each passing day!
But each day that the enemy lives,
is one more day that we cannot rest.
If you doubt this,
then listen to the painful groans of the multitudes on the river to the east.
Chorus
Yellow water, rushing eastward,
flowing for ten thousand miles.
Swift waters, high waves,
racing rapids sound like cries of tigers and wolves.
Open canals and build embankments,27

for to the east lies level soil
fertile for sprouting wheat and fragrant soy flowers.
Men and women, young and old, live in happy prosperity.
But since the enemy came, these common people have suffered great calamities!
Treachery, wickedness, burning, and murder create a desert of desolation;
people escorting the elderly and carrying the young disperse in all directions to flee
death;
losing fathers and mothers, they are unable to return to their home villages!
Yellow waters rush along day and night,

as families are torn apart!
On May 11, 1938, Nationalist Chinese troops under the command of General
Chiang Kai-Shek deliberately broke levees along the Yellow River in an attempt to stop
the advancing Japanese troops. Approximately 500,000 to 900,000 people perished in the
resulting flood. Dick Wilson gave the following account of the hardships this incident
caused:
General Shang pressed the button, the dykes exploded and a breach some 200
yards wide was driven into the earthen banks at Huayuanhou. The water hesitated
27
See the Yellow River Valley map (p. 16), which shows the dykes, canals, and irrigation regions.
16
maddeningly, but at last spilled over with a roar and swarmed onto the Japanese,
drowning their advance guard by the thousand, miring their tanks and guns into the
ground and throwing an impassable wall of water between the Japanese and Zhengzhou.
The Yellow River waters thus rolled down the Lulu and Huai river beds to the
south, eventually to merge with the Yangzi near Shanghai. For several weeks these
rivers, thus widened, interposed a barrier between the two armies. The Chinese gained
the vital respite they needed, while the Japanese plans had to be scrapped.
Eleven cities and 4000 villages were flooded by this action, crops and farms
across three provinces were devastated, and 2 million people were made homeless. One
can only guess at the price which the Chinese government had later to pay for that
28
involuntary contribution to the war effort.
Figure 2.4 Yellow River: Dykes and Canals
The resulting devastation was not limited to combat areas as Theodore H. White and
Annalee Jacoby recount in their book, Thunder out of China. 29 At the opening session of
the Brussels Conference on November 3, 1937, Dr. Wellington Koo, first Delegate of
China, condemned the Japanese’s actions in his speech:
28
Dick Wilson. When Tigers Fight: The Story of the Sino-Japanese War, 1937-1945 (New York: The
Viking Press, 1982) 121-2.
29
Theodore H. White and Annalee Jacoby. Thunder out of China (William Sloan Associates, 1946) 69.
17
According to the Japanese Admiralty’s own announcement of October 14th last, 62

cities and towns in eight provinces were bombed by Japanese naval aircraft alone.
Widely scattered cities like Nanking, Canton, Soochow and Taiyuan have been
subjected to almost daily attacks, ranging sometimes from 3 to 15 raids a day. In a
single raid on an open, defenceless [sic] city of Sunkiang in Kiangsu Province a week
ago, Japanese bombs from the air massacred nearly 1,000 civilians, of whom a great
part were helpless women and children. The civilized world has never seen such utterly
30
ruthless methods of warfare and such stark indifference to considerations of decency.
5. Musical Dialogue on the River Bank (Duet)

Composed in the form of a folksong employing the registers of Shanbei and Shaanxi,
full of local flavor, call and response format, fitted to an accompaniment with Chinese
flavor and percussion instruments, relaxing and interesting to hear, but narrative in
style.
5. Yellow River Musical Dialogue

Composed in the style of a folksong (using Shaanxi tones), the two voice parts in the
final three sections are constructed by combining their earlier melodic material. The
accompanying Sanxian and Erhu also share the same relationship as the solo voices in
their musical interactions. Also, the introduction is rather relaxed and amusing.
[5] Musical Dialogue on the River Bank
Recitation
Families torn apart, wives and husbands, children and parents!
Will we forever be refugees?
Listen, as two villagers dialogue on the Yellow River’s bank.
A: Zhang No. 3,31 let me ask you,

Where is your hometown?
B: My home is in Shaanxi,
three hundred miles from the river.
A: Let me ask you, in your hometown,

did you farm the land or trade?
B: I held the hoe, plowed the fields, planted sorghum and millets.
30
Wunsz King. The Crisis in the Far East, 1931-1937: Development of the Crisis in the Far East in the last
six years brought about by continuous Japanese Aggression in China (Brussels: The Press Bureau of the
Chinese Delegation, 1937); cited in Seeds of Conflict. Series 9: The Sino-Japanese Conflict 1931-1941, vol.
4, Prelude to Pearl Harbor (The Netherlands: Kraus Reprint, 1980) 86.
31
A prefix used before the number indicating the order of birth of the children in the family as a form of
address that shows affection or familiarity.
18
A: Why then are you here,

wandering the bank, lonely and sorrowful?
B: Please don’t bring up painful matters;

my home was destroyed and I know not the fate of my family.
A: Zhang No. 3, don’t be sad,

my fate is worse than yours!
B: Why, Wang No. 7,

where is your hometown?
A: I used to do business in the northeast;

eight long years I’ve had no news from home.
B: All this said, you and I,

both have homes we can’t return to!
A & B duet
Within our hearts, enmity and hatred
swirl like the rapids of the Yellow River!
On the Yellow River bank,
let us both resolve to fight back!
For our country, we will become soldiers,

go up Taihang mountain to fight as guerillas!
From this day, you and I together,
will fight to regain our homeland!
After the capture of Nanking, the capital of the Republic of China, on December 9,
1937, a number of women, variously estimated as between 20,000 and 80,000 were raped
in the span of six weeks, making this one of the worst instances of rape in the annals of
warfare. In her book, The Rape of Nanking: the forgotten Holocaust of World War II, Iris
Chang recounts these horrors:
During the mass rape the Japanese destroyed children and infants, often because
they were in the way. Eyewitness reports describe children and babies suffocating from
clothes stuffed in their mouths or bayoneted to death because they wept as their mothers
19
were being raped. American and European observers of the Rape of Nanking recorded
numerous entries like this one: “415. February 3, about 5 P.M. at Chang Su Hsiang
(near Ta Chung Chiao) three soldiers came and forced a woman to throw away her baby
32
and after raping her they went away laughing.”
Figure 2.5 Human Suffering in the Sino-Japanese War
Japanese soldiers also competed in killing contests to see who would be the first to kill
one hundred Chinese. They ran assembly-line burials and executions, forcing one group
of Chinese captives to dig their own grave, a second group burying the first, a third group
burying the second, etc. Live bodies were mutilated, burned, frozen, or fed to dogs. These
Chinese experiences were comparable to the suffering of the European Jews under the
Nazi regime.
32
Iris Chang. The Rape of Nanking: The Forgotten Holocaust of World War II (New York: Basic Books,
1997) 94.
20
Figure 2.6 Mass Grave at the Huangpo Massacre Site, Hubei Province

This elegy should be sung with tears held back, sounds uttered by a woman after having
been defiled. Here, you can imagine what the enemy has been spreading as the “Way of
the Emperor” inside their territory was really like.
6. Yellow River Lament

Voices of oppressed women and sounds of their humiliation are portrayed. The melody
is deeply moving and tragic, a lament sung with tears in the eyes. If the soloist does not
possess these sentiments when singing, the listeners will certainly not be able to share
in those emotions; hence attention should be given to this.
[6] Yellow River Lament
Recitation
Friends! We will fight to regain our homeland!
Our country is in such disarray!
Can any man with wife and children bear the enemy’s humiliation?
Dear compatriots, listen to a woman’s sorrowful and tragic singing.
Solo
Oh wind, do not howl!
Oh clouds, do not hide!
Oh Yellow River, do not whimper!
21
Tonight, I stand before you and tearfully

pour out my hatred and grief.
Oh fate, so bitter!
Oh life, so hard!
My enemy, you have no conscience!
My precious child, you died so horribly!
Between us there was no hatred or grudge,

yet you consigned me to a nameless existence in this world!

Oh dark clouds, do not hide!
Tonight, I will throw myself into your embrace,
to wash away my sorrows and sufferings!
Oh, husband, you’re as far away as the horizon!

We shall reunite again below the earth!
Think how your wife and children died so tragically!
You must avenge this blood debt!
You must make them pay for their atrocities!
7. Defend the Yellow River (Unison, Round in two, three, and four parts)
This piece is a round, growing from one part, to two, three, and then four. Very
powerful and grand, rising and falling in waves, like the strong guerilla soldiers,
vanishing and reappearing.
7. Defend the Yellow River

Written as a round, from two parts, it builds to four. Every entry needs to be sung
strongly and confidently. It is composed using only Chinese melodies. After the third
and fourth voices enter, the inner parts accompany with “long-a-long, long-a-long,”
which should be sung stylistically to create interest. All of it should be strong and grand,
rising and falling with endless variations; the melody should be brought out fully at all
times.
[7] Defend the Yellow River
Recitation
Sons and daughters of China,
who among you is willing to be slaughtered like pigs and sheep?
We must resolve to be victorious,
22
to defend the Yellow River!

To defend northern China!
To defend all of China!
Chorus
The wind howls, horses neigh, the Yellow River roars!
To the west stands a towering hill,
East and north of the river, sorghum has ripened.
Amid the thousands of mountains there are many heroes!
Inside green muslin tents live valiant guerilla warriors!
Armed with guns made here and elsewhere, waving large knives and long spears,
they defend our hometowns!
Defend the Yellow River!
Defend northern China!
Defend all of China!
In a letter dated September 15, 1938, Dr. Chu Chia-hua, the President of the Chinese
League of Nations33 Union and Vice-Chairman of the International Federation of League
of Nations Societies wrote:
During the past seven years, more than 2,000,000 square kilometers of Chinese
territory have been occupied and approximately 150,000,000 Chinese people directly
affected by the continued aggression of these militarists. In spite of the vast extent of
such ravages, however, Japan is continuing her aggression upon China with renewed
vigor. As a result of China’s unshakable determination to resist to the last, the ferocity
of the invaders has increased in corresponding measure to their exasperation. The
slaughtering of innocent civilians, the bombing of undefended cities, the extensive use
of poisonous gases, the open violation of international conventions prohibiting resort to
chemical warfare – these barbarous acts have shown beyond doubt that Japan is not
only the enemy of China but is defying humanity itself. Perceiving that not only her
own existence is at stake but human civilization itself is endangered, China has entered
into a solemn resolve to carry on the struggle to the last, for she believes that this is the
only effective way to quarantine the spread of the Nipponese peril to the rest of the
world. 34
33
The League of Nations was an inter-governmental organization founded as a result of the 1919 Treaty of
Versailles (replaced by the United Nations after WWII) to promote international cooperation and peace. It
was first proposed in 1918 by President Woodrow Wilson, although the United States Congress never
ratified the treaty that established it.
34
Chia-hua Chu. (1938). A Message to Our Foreign Friends (China, 1938); cited in Seeds of Conflict.
Series 9: The Sino-Japanese Conflict 1931-1941 Prelude to Pearl Harbor, vol. 4 (The Netherlands: Kraus
Reprint, 1980) 630.
23
Figure 2.7 Chinese Territory Occupied by the Japanese (1940)
8. Roar! Yellow River

A mix of unison and part-singing. Sincere, mighty, strong and stately, containing much
enthusiasm and excitement as well. The last two sentences, “To all of China’s suffering
people, sound the battle cry! To laborers all over the world, sound the battle cry!” is
consecutively repeated five times, accompanied by twelve B-flat trumpets and tubas,
and six French horns. During the performance, they are raised, their calls sounding
forth like battle cries across the entire earth. ……

Scored for a four-part large chorus, this movement uses combinations of two, three, and
four different voice parts. The melody is robust and grand, yet full of warmth and
encouragement, which is one of the most important themes of the Yellow River Cantata.
The last two sentences, “To all of China’s suffering people, sound the battle cry! To
laborers all over the world, sound the battle cry!” This must be sung continuously for
three, four, five times, etc. until the listeners have identified with those same sentiments,
before moving on to the ending. It is best if the bugle plays the main melody,
accompanied by war drums, so as to better display the greatness of the Yellow River. Its
roar inspires the suffering masses and the laboring people in the entire world.
24
[8] Roar! Yellow River
Recitation
Listen, the Pearl River roars angrily!
The Yangtze River is raging on!
Ah! Yellow River!
Raise up your angry waves, let loose your wild bellows,
sound the battle cry for all of China’s oppressed people!
Chorus
Roar, Yellow River!
Raise up your angry waves, let loose your wild bellows!
Workers across the land cry out for battle!
For such an ancient nation to suffer so much!

Our cruelly oppressed people can no longer bear the torment!
But for China, a new day is already dawning;
four hundred and fifty million people have united,
pledging their lives to defend this soil!
Listen: the Songhua River is calling,

the Heilong River is calling;
the mighty Pearl River35 roars its defiance:
all along the Yangtze River, beacon lights are burning!
Ah! Yellow River! Roar on!

To all of China’s suffering people, sound the battle cry!
To laborers all over the world, sound the battle cry!
35
A river in southeast China that flows into the South China Sea.
25
CHAPTER 3: THE MEETING OF EAST AND WEST
3.1 The Composer
Xian Xinghai (1905-1945) lived a cosmopolitan life, albeit one fraught with
poverty and hardship. Born fatherless36 in the Portuguese colony of Macao in 1905, Xian
spent his early childhood with his grandfather in Panyü, part of the Guangdong (Canton)
Province of southern China. Xian’s first name, “Xinghai” (星海) means “stars” and
“sea,” as he was born on a clear night in a boat on the Pearl River.37 After his
grandfather’s death in 1912,38 Xian and his mother relocated to the British colony of
Singapore, where she put him through four years of study in the Chinese classics and a
year of English instruction, after which he completed the last two years of his primary
education in Singapore at a school39 affiliated with Lingnan University. Thus, hymn-
singing and piano lessons were Xian’s first exposure to Western music. The year of
Xian’s grandfather’s death, reckoned by Richard Kraus as 1911,40 is disputed by Hon-
Lun Yang.
36
Xian’s fisherman father (Xian Xitai) died at sea before he was born, leaving his peasant mother (Huang
Suying) to raise him alone, while working as a servant.
37
Richard Kraus, “The Ambiguous Legacy of Composer Xian Xinghai,” in Pianos and Politics in China:
Middle-class Ambitions and the Struggle over Western Music (New York, Oxford: Oxford University Press,
1989) 41.
38
Hon-Lun Yang, “The Making of a National Musical Icon: Xian Xinghai and His Yellow River Cantata”,
in Annie J. Randall, Music, Power and Politics (New York and London: Routledge, 2005) 88. My synopsis
of Xian’s biography is largely based on Kraus and this source.
39
The school principal was a graduate of Columbia University’s Teachers College in New York.
40
Richard Kraus, “The Ambiguous Legacy of Composer Xian Xinghai,” 41.
26
In 1918, Xian returned to China for secondary41 and tertiary education at Lingnan
University in Guangzhou. The university, originally known as Canton Christian College,
was founded in 1888 by Reverend Andrew P. Happer, 42 a Presbyterian minister, medical
doctor, educator, and missionary in China. At Lingnan University, Xian came under the
influence of an anonymous American teacher,43 who taught him violin and introduced
him to Western classical music and philosophy. The role of this “American professor” is
another discrepancy between the published articles of Yang and Kraus. The latter records
that Xian studied under two American teachers, a violin teacher as well as a
“controversial American philosophy teacher44 [who] was even more important in
introducing Xian to the world of Western art, talking to him after class of Beethoven,
Bach, Picasso, Matisse, and modern Western thought.” In Lingnan, Xian also learned to
play the clarinet, joined a brass band, and became a prominent member of the local
YMCA. 45 According to Kraus,46 Xian taught himself to play the clarinet, but according
to Yang,47 as well as Melvin and Cai,48 Xian’s violin teacher was also his clarinet teacher.
After graduating in 1928, Xian was among the first group of students to enroll at the
recently opened Shanghai National Conservatory, which had been established in 1927 by
41
Xian was first a student of the university’s Preparatory Department before enrolling at the parent
university in 1924.
42
Hon-Lun Yang, “The Making of a National Musical Icon”, note 6, 106-7.
43
Ibid., 88. “Professor B” (note 7, 107) introduced Xian to the music of Bach, Mozart, Haydn, and
Beethoven.
44
Richard Kraus, “The Ambiguous Legacy of Composer Xian Xinghai,” 42. “Professor B” was a “former
preacher, …a pianist and a Hegelian, and holder of a German doctorate.” (note 5, 225)
45
Ibid.
46
Ibid.
47
Ibid., 43.
48
Sheila Melvin and Jindong Cai, Rhapsody in Red (New York: Algora Publishing, 2004) 115.
27
Dr. Xiao Youmei, an alumnus of the Leipzig Music Academy. 49 From its inception, the
Shanghai Conservatory had been a school of privilege, its staff largely comprised of
foreign émigrés, many of whom came from the Shanghai Municipal Orchestra, which
was founded by Mario Paci in 1919. 50 Unfortunately, at the moment that the Shanghai
Conservatory was born, there was a Nationalist government campaign launched that
eventually led to considerable reduction in the government funding provided to the
Conservatory. In 1929, the National government lowered the status of the Conservatory
to that of a vocational school. To make up for this reduced subsidy, a tuition hike was
implemented that led to student protests.51 As an organizing member of these student
protests, Xian was expelled from the National Conservatory.52 This consequence was the
first in a long series of personal setbacks for Xian, all of which involved politics and
money.
The immediate effect was Xian’s decision to leave Shanghai and pursue his
musical education elsewhere. “Barred from attending the only conservatory in China, but
determined to keep studying Western classical music, Xian got a job stoking coal on a
British ship sailing to Singapore and from there made his way to Paris.”53
In 1930, Xian set out for Paris, a destination that made sense on several levels; not
only was Paris becoming the musical capital of Europe, but Xian had a personal contact
49
Hon-Lun Yang, “The Making of a National Musical Icon”, 88.
50
Sheila Melvin and Jindong Cai, Rhapsody in Red, 31 ff.
51
Ibid., 110.
52
Ibid., 116.
53
Ibid.
28
living there.54 Ma Sicong, a violinist from Canton, was the first Chinese student to be
accepted at the Paris Conservatory (1928).55 When Xian arrived in Paris, Ma introduced
him to his teacher, the violinist Paul Oberdorfer,56 who subsequently became the private
teacher of Xian. Shortly thereafter, Xian enrolled at the Schola Cantorum, the private
music school founded by Charles Bordes, Alexandre Guilmant, and Vincent d’Indy (1894)
to counter the opera-dominated curriculum of the Paris Conservatoire. Here, he studied
with music theory with Noël Gallon and composition with Vincent d’Indy and Guy de
Lioncourt. As Richard Kraus has indicated, “Xian’s personal life in Paris was no easier
than it had been in China… [his] poverty made him unpopular with other Chinese
students in Paris, most of whom were supported by their wealthy families…”57 Kraus
richly documents the emotional pain that Xian suffered in Paris due both to his rejection
by the other Chinese students, his continual poverty, and his increasingly radical political
ideas. Xian’s contact with other Chinese guest workers in France and newsreel accounts
of the incredible suffering endured by the Chinese people at that time contributed even
more to his sense of unease in Paris.
Ironically, it was this combination of experiences that led to his first
compositional breakthrough. The orchestral song, Wind, was his direct response to all of
54
55
Sheila Melvin and Jindong Cai, Rhapsody in Red, 122.
56
“Oberdoeffer” and “Oberdoerffer” are other spellings of the name.
57
29
these personal difficulties. 58 From the following description of his life at that time, one is
able to appreciate the strong emotions that led to the composition of this piece:
I was living in a small attic at the top of a seven-story house; all the room’s doors and
windows were broken. The winters in Paris are colder than China’s, and on that winter
night, a strong wind was also blowing. I didn’t have a comforter and couldn’t sleep.
There was nothing I could do except to light the lamp and compose. Who would have
thought that the wind was so fierce, it blew out my kerosene lantern (I couldn’t afford
to install electric lighting) repeatedly. I became very dejected; I was shivering, listening
to the freezing winds batter against the walls and pass through the windows, fiercely
roaring and hissing. My heart was like the wind, pounding with emotions. All of the
bitterness, cruelty, pain, and misfortunes of life and of our homeland surged forth. I
could not suppress my feelings, thus by means of the wind, I wrote out my emotions
and completed this composition.59
Indeed, it was this piece, submitted in support of his application to the Paris
Conservatoire that secured Xian’s place in the senior composition class taught by Paul
Dukas in 1934.60 Xian also studied conducting with Marcel Labey. According to Hon-
Lun Yang, it was the death of Paul Dukas in 1935 that precipitated Xian’s return to
Shanghai.61 If Xian expected that his return to China would improve his life, he soon
learned that he was no better off there than he had been in Paris. His attempts to establish
contacts with prominent local musicians, while initially promising, all led to
disappointment. “Xian even turned to a gypsy ensemble from Shanghai’s night life in
search of performers for his music.” 62 Eventually, Xian was able to secure a number of
smaller jobs, working as a music producer for the Pathé Music Record Company
(currently known as EMI) and composing film music for Xinhua Yinyue Gongsi (New
Chinese Music Company).
58
All attempts to locate this composition have been futile.
59
The Process of My Musical Education (Wo Xuexi Yinyue de Jingguo). Xian Xinghai Quanji, 99.
60
61
Ibid., 89.
62
Richard Kraus, “The Ambiguous Legacy of Composer Xian Xinghai,” note 30, 228.
30
The most prominent musical figure in Shanghai was Maestro Mario Paci, Founder
and Conductor of the Shanghai Municipal Orchestra, and a graduate of the Paris
Conservatoire. As recounted in Rhapsody in Red: How Western Classical Music Became
Chinese, Xian believed that Paci’s invitation for him to conduct the SMO in a
performance of Beethoven’s Eighth Symphony, was undoubtedly an opportunity that, in
Xian’s mind, validated his status as a “Western” musician trained at the Paris
Conservatoire. “But the project was aborted in rehearsal, when some of the European
orchestra’s musicians refused to play under the baton of a Chinese, especially when a
violinist on the faculty of the Shanghai Conservatory described Xian’s expulsion a few
years before.” 63 Xian had opposed “the corruption of the National Conservatory” as
leader of the student protest against tuition increases. Under pressure from the leading
players of his orchestra, Maestro Paci rescinded the invitation leading to what Xian
regarded as his public humiliation and as a denial of his claim to be a member of the
Shanghai musical establishment.64
Xian’s recourse to this humiliation was to seek the intervention of Aaron
Avshalomov (1894-1965),65 who spoke with Paci on his behalf without success. To
soften this harsh blow, Avshalomov comforted Xian with words he would always
63
Ibid., 48.
64
65
A self-taught Jewish émigré composer born in Siberia, Avshalomov not only wrote music based on
Chinese themes, but also served as Head Librarian of the Municipal Library of Shanghai, 1928-1943 and
conducted the Shanghai Symphony Orchestra, 1943-1946.Grove Music Online, accessed 10/17/2009.
Spelled “Avsholomov” in Richard Kraus, “The Ambiguous Legacy of Composer Xian Xinghai,” 48.
31
remember: “Don’t get discouraged. A musician’s life and career do not depend on one
performance. You work hard and two years from now when you know the Chinese
situation better, you will become China’s first composer.” 66 Xian’s association with
Avshalomov was manipulated to combat the increasing “Westernization” of Chinese
music, a movement that greatly concerned Avshalomov, the Sinophile. In a series of
articles written in the mid-1930s, Avshalomov voiced his fear that the rapid rise of
Western music, implicit in the founding of the National Conservatory, would ultimately
lead to the extinction of Chinese music:
The present generation in China is so much influenced by all this that within a
decade or two it may “Europeanize” Chinese musical activity entirely. If this happens
we should regret that classical Chinese music would no longer exist to serve as a basis
for building a truly Chinese modern music. 67
Avshalomov found ardent support for his position in fellow Russian pianist and
composer Alexander Tcherepnin (1899-1977), who had joined the faculty of the
Shanghai Conservatory in 1934 after completing a concert tour of China, during which he
became enthralled with the country. Both Avshalomov and Tcherepnin had fled Russia
during the Bolshevik Revolution and taken refuge in Shanghai. As Russian expatriates,
they initially championed the uniquely Russian perception of the Western classical
repertory. In that sense, they were ideally suited to the pro-Western musical activities that
characterized both the Shanghai Municipal Orchestra and the Shanghai Conservatory.
“The concern and support of foreigners like Avshalomov and Tcherepnin was welcomed
66
Xian Xinghai Quanji, vol. 1, 148. Cited in Sheila Melvin and Jindong Cai, Rhapsody in Red, 123-4.
67
J. and A. Abshalomov, Avshalomov’s Winding Way (Bloomington, IN: Xlibris Corporation, 2001) 75.
Cited in Sheila Melvin and Jindong Cai, Rhapsody in Red,124.
32
by young Chinese composers such as Xian and He Luting.” 68 In large part, it was the
advocacy of both Russians for an enhanced role for the use of native Chinese musical
material and for original compositions based upon it. Their initiative to balance what had
heretofore been a largely Western musical regimen in Shanghai proved attractive and,
save for the outbreak of war in 1937, their efforts may have produced a much more
substantial body of music. Tcherepnin, in particular, was a strong advocate of the role of
folk music, both in his own compositions and in those of his Chinese students. However,
the outbreak of the war resulted in the departure of Tcherepnin and his new bride, the
Chinese pianist, Ming Lei-Hsien, for Paris.
The Sino-Japanese War led to a new role for music in Chinese society, namely a
means of awakening the Masses and rallying their support against the invading Japanese.
Xian found a new platform for his compositional efforts in the various artistic movements
such as the National Salvation Song Movement, the National Defense Song Movement,
the New Music Movement, etc., all of which found common cause in the creation of
revolutionary nationalistic music.
These songs were not intended to be great music; they were music for
mobilization: their quick rhythms, easy range, easily enunciated and highly
political lyrics were initially designed to inspire political courage and to aid
mass demonstrations. By singing together, young Chinese would build a shared
consciousness. The marchlike beat would help them advance on a demonstration
target in unity and with resolve. 69
68
69
Richard Kraus, “The Ambiguous Legacy of Composer Xian Xinghai,” 49-50.
33
“Some musicians ridiculed Xian for writing such political songs, but the change gave
Xian a place of his own in the Chinese art world.” 70 In the West, a prominent example of
music as propaganda includes the use of Le Marseillaise and hymns to the “Supreme
Being” written by Gossec, Méhul, and others during the French Revolution. Indeed, the
Marxist element in China took advantage of the political chaos created by the Sino-
Japanese War to forge alliances with the Chinese nationalist groups, forming avowedly
communist associations like the League of Left Wing Writers, the Soviet Union
Friendship Society, and the Chinese New Music Research Society. To them, “Music…
was more than the beautiful art and sometime tool of social change and nation-building
promoted by men like Xiao Youmei; instead, it was ‘a weapon for liberating the masses’
which it was their obligation to wield.” 71
A prime example of this use of sung music as propaganda is the song, March of
the Volunteers, composed by Nie Er for the patriotic movie, Children of the Storm, in
1935. According to Sheila Melvin and Jindong Cai, the text of this famous song by Tian
Han became a virtual model for many of the nearly four hundred revolutionary songs that
Xian composed by 1938, 72 such as “Protect Marco Polo Bridge,” “National Salvation
Demonstration Song,” “Song of War of Resistance to Japan,” “To the Enemy’s Rear,”
etc.73 Though these songs are Chinese in content, their roots are steeped in the Western
tradition of hymnody brought into China through missionary education, of which Xian
70
Ibid., 49.
71
Lu Ji. Guangming, August 1936. Cited in Sheila Melvin and Jindong Cai, Rhapsody in Red, 126.
72
73
34
was a product. “Choirs and glee clubs were a feature of every missionary-run university,
and the Y.M.C.A. introduced massed song recitals in Shanghai and other cities, a
foretaste of something very popular in Communist China today.” 74
Xian Xinghai’s YMCA origins are carefully concealed in most publications about the
life of this most venerated of composers in the People’s Republic. Yet the linkage
between songs for the salvation of the nation and those for the salvation of souls was
apparent to Xian’s contemporaries. W. H. Auden and Christopher Isherwood report
hearing Chinese parishioners at a Church of Canada mission in rural Henan singing as a
hymn Nie Er’s “March of the Volunteers,” retrofitted with Christian vocabulary,
although Tian Han’s chorus of “Arise! Arise!” is happily suited for both political and
religious use. 75
March of the Volunteers

(Republic of China’s National Anthem76)
起来！ Arise!
不愿做奴隶的人们！ All who refuse to be slaves!
把我们的血肉， Let our flesh and blood,
筑成我们新的长城！ form our new Great Wall!
中华民族到了最危险的时候， As the Chinese nation faces its most perilous moment,
每个人被迫着发出最后的吼声。 every person is compelled to let out their final roar.
起来！起来！起来！ Arise! Arise! Arise!
我们万众一心， Our million hearts beat as one.
冒着敌人的炮火，前进！ Brave the enemy’s fire, march on!
冒着敌人的炮火，前进！ Brave the enemy’s fire, march on!
前进！前进！进！ March on! March on! On!
Xian “also practiced a kind of working-class musicology which the Communist
Party has not celebrated. He once accompanied a Southern Society friend to visit singing
74
A. C. Scott, Literature and the Arts in Twentieth Century China (London: George Allen & Unwin Ltd,
1965) 131.
75
76
This did not become the National Anthem of the Republic of China until 1949.
35
girls in Nanjing, sitting at the side and recording their tunes while his friend socialized in
their company.”77 The rise of so many organizations that shared the same cause, i.e.
providing a common front against the Japanese invasion, exposed Xian to the full range
of leftist intellectuals and artists. As early as 1935, Xian was active in communist
organizations such as the Song Composers Association, a group of left wing musicians
that included Lu Ji and He Luting.78 One of these exposures was Xian’s involvement with
Save the Country Performance Troupe (a traveling theatre troupe led by Tian Han, the
author of The March of the Volunteers and an active opponent of the Nationalist
government).79 Tian Han’s group came to Wuhan in 1937, and when the troupe moved on,
Xian decided to remain behind to train a cadre of students in the creation of music-related
initiatives to boost the morale of the citizens and troops during the war. He soon became
Head of Music Activities for the Joint Commission for Military Affairs, a position that
allowed him to organize a series of communal singing events; the music for these was
precisely the kind of songs he had already composed in Shanghai, and continued to
compose in Wuhan. 80 In an essay, “A Few Issues Concerning China’s Current Stage in
the New Music Movement,” Xian wrote:
Music for the Masses must be accepted and grasped by the Masses, hence, it needs to be
simple, with an understanding of the psychology of the Masses at the same time. We
must use music as a weapon for fighting, so that when the Masses use it to battle the
enemy, great results can be produced. The current heroic songs not only make the
enemy soldiers shudder, but can also cause them to be opposed to war as well as
77
78
Ma Ke, Xian Xinghai Zhuan, 126. Cited in Hon-Lun Yang, “The Making of a National Musical Icon”,
note 12, 107.
79
80
Ibid.
36
warlords. Music for the Masses is a strong force in the war resistance! It is also a
weapon that the Masses long for during war resistance. 81
Melvin and Cai imply that this activity made Xian “increasingly sympathetic to
the communist cause” 82 and that Xian hesitated to accept appointment as a Professor at
Lu Xun Academy of Arts and Literature out of concern as to “whether Yanan would
prove to be an environment in which he could compose freely, and whether he would be
able to leave once he got there.” 83 These two references suggest that Xian was a less than
committed communist at this point, more concerned about his artistic freedom than
advancement within the Party apparatus. These chaotic times allowed rival political
factions in China to set aside their differences in opposition to the far greater threat of the
Japanese invaders. Such conditions make it difficult to ascertain precisely what Xian’s
personal politics were at this time. Nonetheless, Xian was ultimately persuaded by
enthusiastic telegrams from the faculty at Lu Xun Academy urging his acceptance of the
post at Yan’an, and chose to further his association with groups and members of the
Chinese Communist Party (CCP). In doing so, Xian was one of many left wing
intellectuals who flocked to Yan’an, lured by the Communist Party’s enticement of
employment and status.84 On November 3, 1938, Xian arrived at the communist base at
Yan’an to take up his post at the Lu Xun Academy, which had just been established that
Spring.85 As Melvin and Cai point out:
Left-leaning intellectuals flocked to Yanan to help run these new institutions and the
once-barren village quickly sprouted newspapers, poetry clubs, theatrical troupes, and
81
82
83
Ibid.
84
85
37
associations dedicated to drama, music, fine arts, and culture in general. Indeed, while
political and military planning were of paramount concern to the Communist leadership,
culture – especially performing and visual arts – also played a vital role in their
revolutionary blueprints because of its tremendous value as a propaganda tool. 86
At Yan’an, Xian taught choral composition and conducting; he personally
conducted the Academy’s chorus and taught at other local schools. We know that he
composed or co-composed two operas, part of a first symphony, two cantatas, and
hundreds more “save-the-country” songs.87 Xian composed the Yellow River Cantata in
March, 1939, two months prior to submitting his application to become a member of the
CCP on May 15, 1939.88 Xian joined the CCP on June 14, 1939 and the very next month,
was given a promotion to become the Chair of the Music Department at Lu Xun
Academy. Xian was made an official CCP member on December 3, 1939. 89
Before turning to an examination of the Yellow River Cantata itself, it is
imperative that we follow Xian’s career to Russia and the premature end of this uniquely
gifted composer’s life. Xian’s work at Yan’an continued through the Spring of 1940,
when the Central Committee of the Communist Party ordered him to go to Moscow
ostensibly to write music for a Soviet documentary film about the Communist Eighth
Route Army. 90 Yang elaborates on the doubts raised about the real purpose of Xian’s trip
to Russia:
86
Sheila Melvin and Jindong Cai, Rhapsody in Red, 159-60.
87
David Holm, Art and Ideology in Revolutionary China (Oxford: Clarendon Press, 1991) 61. Cited in
88
89
Ibid., 387.
90
38
It is still an unsolved puzzle as to why Xian was sent to Moscow. In the PRC, the
subject is taboo. As related by Xian’s wife in her short memoirs about the composer,
Xian was sent to Moscow for an unspecified “task” in May 1940. Before the trip, Mao
even received Xian and his family at his home. Xian’s diary entries stopped after his
departure from Yan’an. Between May and November of 1940, Xian wrote to his wife
regularly. In the last letter to his wife dated September 18, 1941, he casually wrote the
following words: “Perhaps you understand why I haven’t written you for such a long
time, and now, at last there is this chance, so I just drop in a few lines.” Unlike in his
other letters, Xian was evasive about his condition in this last letter; aside from telling
her that he missed her and their daughter, he merely asked his wife to be strong and said
that he longed for the time when they would see each other again. More curious is the
fact that Xian took up the name Huang Xun after leaving Yan’an. 91
The fact that Xian’s Composition Notes contain no mention of composing film music
does nothing to allay these suspicions.92
Whatever the reason for going there, we know only a few facts about the
remainder of Xian’s life, which ended in Moscow on October 30, 1945. The first is that,
while there, he had contact with the prominent Russian composers of the day, such as
Rheinold Gliere (1875-1956) and Dmitri Kabelevsky (1904-1987).93 Sergei Prokofiev
(1891-1953), was, in fact, already aware of Xian’s music, having introduced his
composition for orchestra and solo female voice, Wind, for a radio broadcast.94 The
second indisputable biographical detail is that Xian’s arrival in Moscow coincided with
the Nazi invasion of Russia. This development effectively ended any hopes of completing
the documentary film project that was the supposed reason for his being in Moscow.
Furthermore, the increasing prospects of war made Xian’s Russian hosts either less
interested or less able to engage with him. This change of status and perhaps a reasonable
91
Ibid., note 16, 107.
92
93
94
39
fear for his own safety led Xian to attempt to leave Russia and return home. Two separate
attempts to return to China both resulted in yearlong detentions, first in Mongolia and
then in Kazakhstan. Yang suggests that Xian’s inability to return to China was more
complicated than it may have seemed, since a number of his colleagues did manage to
return home safely.95 Whatever the truth may be, Xian completed his first symphony
(National Liberation Symphony) dedicated the work to “the Central Committee of the
great Chinese Communist Party and its Glorious Leader Comrade Mao Zedong,” re-
orchestrated the Yellow River Cantata in Western notation to facilitate international
performance and composed a second symphony (Sacred Battle), dedicated to Stalin and
the Soviet Red Army, all while under detention. 96 Despite contrary opinions among the
Chinese, Xian regarded this symphony as his most serious work. As Xian’s illness
progressed inexorably toward death, he began to organize his works, even to the point of
assigning opus numbers to some. This recognition was more readily accorded the works
he composed in Moscow than his earlier Chinese works, most notably the hundreds of
revolutionary songs composed in Shanghai.97
On October 30, 1945, at the age of forty, Xian died in Moscow’s Kremlin
Hospital from complications associated with pneumonia, peritonitis, heart, and liver
disease.98 A memorial service was held in Yan’an two weeks after his death, and the
95
Ibid., 89.
96
Ibid., 167-8.
97
98
Ibid., 65.
40
tribute from Mao read: “Mourn the People’s Musician, Comrade Xian Xinghai!”99 The
end of Xian’s physical existence did not, however, mark the end of his artistic
significance within China. With regard to the enduring popularity of the Yellow River
Cantata, Yang takes pains to describe the posthumous efforts made by the CCP to
accommodate music that Xian regarded as essentially nationalistic to the emerging
ideological goals of socialist realism. When Xian composed the Yellow River Cantata in
Yan’an, he was working for CCP; however, his music was driven more by nationalist
fervor and the goal of uniting the Chinese people against the invading Japanese than by
any ideological considerations. The attempts to re-cast Xian’s music to fit a later political
agenda succeeded only in making the piece more popular among Chinese nationals of
every political spectrum.
99
41
3.2 The Composition
Xian became actively involved in the intellectual debate concerning the shape and
content of art in the new China at Yan’an.100 His essay “On National Form in Chinese
Music” strongly argued in favor of developing new art forms rather than recycling
Western models. Xian’s position is summed up in the following sentences from that essay:
Personally, I propose that we let content determine form, and use the modern advanced
musical viewpoint to produce new content. We should ensure that the content of music
can reflect reality—the thoughts, feelings and lives of the nation. 101
The music that Xian wrote to demonstrate his belief combined formal structures that were
Western in origin with melody and instrumentation that were drawn from indigenous
Chinese music. The first such work was an opera entitled March of the Army People,
written by Xian with input from his colleagues, performed by the staff and students of Lu
Xun Academy in January, 1939. 102
The opera – really more of an operetta – had two acts and three scenes which depicted
the sorrows and suffering brought about by war. While its musical structure of overtures,
arias and recitatives were Western, its melodies were taken from Chinese folk songs
and its instrumentation included first and second violin; accordion, harmonica; huqin;
sanxian; dizi (Chinese bamboo flute); and a Chinese percussion section with drums,
gong, temple blocks, and bamboo clappers. 103
This opera was immediately followed by another work of similar scope using the
same combination of Western forms and Eastern musical material – the Yellow River
Cantata. Xian originally scored his Yellow River Cantata for eleven Chinese instruments
100
David Holm, Art and Ideology in Revolutionary China (Oxford: Clarendon Press, 1991) 61. Cited in
101
Ibid.
102
103
Ibid., 165-6.
42
and harmonica, although he had intended to score the work for a Western orchestra, had
the performing resources been available to him in Yan’an:
The use of Chinese instruments was more than an esthetic whim. Yan’an was so
poor that it had no piano… Other than a handful of such easily portable items as violins
and accordions, there were no Western instruments in Yan’an, leading Xian to assemble
available Chinese instruments to discover if he could use them to compensate for the
104
lack of pianos, oboes, and violas.
His choral and instrumental writing both tended toward simple unison or two-part
textures, resulting in a composition that was easy to learn and perform. The work’s
heterophonic texture was simultaneously Western (i.e., French) and Chinese. Xian’s use
of Chevé notation, the system of musical notation most widely used by the Chinese
people, ensured that the Yellow River Cantata would be accessible to the highest possible
percentage of the people. Below is an excerpt from the Yellow River Cantata in Chevé
notation:
104
43
Xian had the most difficulty composing the second movement of the Yellow River
Cantata. Wu Xiling, who conducted the premiere of the Yellow River Cantata and met
regularly with Xian as he composed the piece, gave the following account of his arduous
process:
…I came up with three versions, but none of them were to my satisfaction. Today, I
spent the entire day trying to write this movement, and it is still unfinished. When I see
the word ‘Ode’, I immediately associate it with the religious work, Messiah. I am trying
hard to rid all influences from religious songs of praise in my writing; I must create a
kind of new music that possesses Chinese national characteristics, a praise melody that
could also exhibit emotions of this modern age. …there are some melodies in Kunqu105
that are a bit Ode-like in flavor, but they are unable to demonstrate the Yellow River’s
106
great fighting spirit.”
This quotation reveals the inner turmoil that Xian struggled with in trying to achieve this
goal. Both compositions exhibit the uneasy co-existence of forms that are clearly Western
in origin and music that seeks to be Chinese in a new and unique way.
While stationed in Moscow in 1941, Xian completely revised the orchestration of
his cantata to make it more “Western.” The table below compares Xian’s original
instrumentation of the Yellow River Cantata in 1939 at Yan’an with his 1941 revision.
Table 1: Xian’s Instrumentation Changes
1939 1941
Yan’an Moscow
Harmonica -
Xiao San Xian (Small three-stringed Banjo) -
Da San Xian (Large three-stringed Banjo) -
Piccolo
105
One of the oldest extant forms of Chinese opera that flourished from the sixteenth to eighteenth century.
106
Yuyi Qi and Yan Li, eds. “Zhongguo jin xiandai yinyueshi ziliao congkan”, 59-64. See Appendix C.
44
Dizi in G (Bamboo Flute) Flute (2)

Oboe (2)
English Horn
Clarinet in Bb (2)
Bass Clarinet in Bb
Bassoon (2)
Double Bassoon
Horn in F (4)
Trumpet in Bb (3)
Trombone (3)
Tuba
Harp
Timpani
Snare Drum
Triangle
Mu Yu (Wood Block) Mu Yu (Wooden Fish)
Zhu Ban (Bamboo Clappers) Zhu Ban (Bamboo Clappers)
Bo (Cymbals) Cymbals (Bo)
Xiao Bo (Small Cymbals)
Luo (Gong) Tam-tam (Luo)

Tang Luo (Suspended Gong)
Gu (Drum) Bass Drum
Tambourine
Ling (Bell) Xylophone
Chinese Xiao Gu (Small Drum)
Er Hu (Chinese two-stringed Fiddle) Violin I

Violin II
Viola
Da Hu (Tenor member of Er Hu family) Cello
Double Bass
The reaction of the American journalist, Edgar Snow, who had heard a
performance of Xian’s original version of the Yellow River Cantata in China,
described his experience of hearing the newly-expanded orchestration, as follows:
That was a weird orchestra [Xian] put together… The Catholic church organ for a piano,
two or three violins, a home-made cello or two, some Chinese flutes, clarinets, yang-
ch’ins, and hu-ch’ins, improvised instruments of some kind made of old Standard oil
tins with gut strung over them, a few pieces of battered brass, cymbals, army drums and
45
trumpets. Did he also use a few cannon? Somehow he got his melody and his fugue out
of them. Before he began he told me what his cantata was all about, scene by scene,
movement by movement; the whole epic of the historic river down to the enemy
invasion, the struggle to hold the banks, and the prophecy of victory, revolution,
liberation. He was passionately sincere about it. The audience listened raptly to the
mystifying half-Western, half-Asian noises. In that starlit night you could almost feel
the Yellow River itself joining in the final roar of the cantata – and the Japanese were
107
not far behind. At the end of it people wept and cheered.
The radical changes in orchestration suggest that Xian’s original scoring of the Yellow
River Cantata, designed for wartime performances given by itinerant Chinese drama
troupes (comprised of both professionally trained and amateur members) with limited
resources, was deemed inadequate by the composer during his stay in Russia. What
began as a purely nationalistic composition in China simply did not pass muster in the
vibrant life of Moscow. Whether Xian’s decision to re-orchestrate the cantata along more
typically Western orchestral lines was the composer’s desire from the composition’s
inception or the result of adverse reaction from the Moscow musical elite whom Xian had
desired to please is impossible to determine with any degree of certainty. If Xian’s
original scoring of the Yellow River Cantata had been limited by the available size and
skill of performance ensembles, his arrival in Moscow most definitely opened up new
sonoric vistas. Freed from the limitations operative in China, and encouraged by the more
sumptuous style of contemporary Russian music, Xian undertook this extensive re-
orchestration, which he documented in his Composition Notes:
Having seen how well the work was received by those participating in the war efforts at
numerous locales, I desired from very early on to make improvements to the original
score written in Chevé notation, by writing it in Western staff notation with the chorus
accompaniment rescored for a symphonic orchestra, but because of my busy teaching
and composing schedule, I had not found the time to begin. However, in the spring of
107
Edgar Snow. The Other Side of the River: Red China today (New York: Random House, 1962) 568-9.
46
1941, I was able to complete this project smoothly. The orchestrated version will enable
this piece to be played in Europe, America, and other countries; compared to the former
version that used the Chevé notation, this is more internationalized, yet at the same time
108
remaining nationalistic in style and possessing progressive techniques.
In spite of the performance constraints on Xian at the time of the cantata’s
composition, the autograph version already juxtaposes Chinese folksong with operatic-
like arias, and Chinese scales with major/minor third relationships. The rave reviews
accorded the work wherever it was performed led Xian to believe that the Yellow River
Cantata could be transformed into a work with an orchestration designed to appeal to
foreign audiences. His 1941 rescoring of the cantata retained the essentially Chinese
character of the music, despite the expansion of its musical forces. Xian did not eliminate
all of the Chinese instruments, but reduced the original eleven to five percussion
instruments used on a limited basis.109 He also converted the Chevé notation to Western
staff notation, expanded the component of the classical harmonic writing, and added an
overture. By this transformation, Xian demonstrated his notion of “world” music,
synthesized from both oriental and occidental idioms:
The national form for music is quite similar to that of the arts. When composing, in
order to actualize national form in music, we must draw from the old form and enrich it
with new content while incorporating external progressive techniques. 110
Xian could hardly have been aware that two documented performances of the
work took place in America, the first in 1941 at a university in New York and the second
in 1943 at Princeton University with Paul Robeson as the baritone soloist. This 1943
108
109
All five in the fifth movement, and one in the sixth movement.
110
47
performance by Westminster Choir on October 9, conducted by John Finley Williamson
at the War Memorial Hall in Trenton, New Jersey, marked the premiere of a new English
version of the Yellow River Cantata, commissioned from Wallingford Riegger by the
China Aid Council. The 1946 publication of the cantata in Riegger’s English translation
with piano accompaniment introduced Riegger’s arrangement of Xian’s work to the
American public with the following notes (the advertisement’s errata are corrected in
footnotes):
The Composer of the “Yellow River Cantata”
Hsu Hsing-hai111 was born in Canton in 1907112. He studied at Lingnan University and
at the National Music Conservatory in Shanghai. Although he was very successful as a
conductor of the school orchestra and chorus, Hsu wanted to compose. After acquiring
a good background of traditional Chinese music and some understanding of the Western
idiom, he went to Paris where he studied composition with Dukas and Prokofieff.113 On
his return to China in 1935, he became instructor of mass singing for the National
Military Council. He wrote songs which were sung widely because they expressed the
aspirations of his people. These songs were work songs and marching songs, and had a
rhythmic pattern that fitted the needs of the hard-pressed, hard-working Chinese for
whom he wrote them.
Hsu left his post with the Military Council in 1938 to go to North China to the Lu
Hsun114 Academy of Arts at Yenan,115 founded in 1937 and named for China’s great
liberal writer, Lu Hsun. He was appointed director of the music department. In the next
few years he wrote a number of cantatas based on the activities of the people.
YELLOW RIVER CANTATA, written in 1939, is the story of the heroic fight against
the enemy in the face of terrible suffering and almost overwhelming odds. Based on
traditional Chinese folk melodies, the Cantata was performed many times at the request
of the army and the peasants and soon spread throughout China. Themes from the
Cantata are published in Chinese song books printed in Chungking.116
111
“Hsien Hsing-hai” or “Xian Xinghai”
112
Xian was born in 1905.
113
Xian’s other compositional teacher was Vincent D’Indy, not Sergei Prokofieff, although Prokofieff did
compliment Xian on his piece, “Wind,” which won first place in a composition competition (Xian Xinghai
Quanji, 99).
114
Also spelled “Lu Xun.”
115
Also spelled “Yan’an.”
116
Also spelled “Chongqing.”
48
Other works for chorus and orchestra which combine the Western musical form with
traditional Chinese melody are the “Production Movement Cantata” and the “September
18th Cantata.” Hsu Hsing-hai’s songs are beginning to appear in collections of Chinese
songs. It is the hope of China Aid Council, the agency of United China Relief which
supports the medical and child care work in the area where the Lu Hsun Academy is
located, that Hsu Hsing-hai’s music will become known and loved in the United States
as it is in China.
–– The Publishers
The fact that an English version of the Yellow River Cantata, an extended work, was
produced and performed as early as 1941 for the express purpose of strengthening
political ties between China and America and building a cultural bridge between these
two divergent cultures, provides additional incentive for making this work as accessible
to the Western, specifically American, performance as possible. The United States had
extended kindness and generosity to China when she cried out to the world for help
during the Sino-Japanese War:
At that time, many nations adopted the attitude of “watching a fire from the other side
of the river.” Britain and France merely made interpellations. The United States was the
only nation which opposed Japan in consonance with the spirit of Stimson’s principle of
non-recognition. American public opinion clearly denounced Japan on her ambition in
aggression. This fully reflected the American foreign policy toward China and Japan.117
As to economic assistance, the United States had furnished China with financial
support long before the Pearl Harbor Incident… By the time the war in the Pacific
broke out in December 1941, U.S. President Roosevelt asked the Congress for
additional financial assistance. The request was submitted to Congress on January 31,
1942 asking for US$500 million to loan to China, and was quickly passed. In his cable
message to Generalissimo Chiang, President Roosevelt stated: “This bill was
unprecedentedly, swiftly, and unanimously passed in the Senate and the House of
Representatives…” 118
117
Hu, Pu-yu (1974). A Brief History of Sino-Japanese War (1937-1945) (Taipei, Taiwan: Chung Wu
Publishing Co.) 313.
118
Ibid., 19.
49
Below are three war posters printed in America, in support of China’s fight against Japan:
Figure 3.1 War Posters

50
3.3 Variants
In addition to the 1941 Moscow version, the Yellow River Cantata now exists in
four additional versions, each produced to meet specific performance needs. The length,
tonality, and orchestration of the movements in these versions vary considerably. Table 3
compares these six versions of the Yellow River Cantata in terms of number of measures
(excluding repeats).
Table 3: Length of Movements
Mvts 1. 2. 4. 5. 3. 6.
Yan’an Moscow Shanghai Ph. Central Phil. USA 1946 Hongkong
1939 1941 1955/1987 1975 Wallingford 2005
Xian Xian Li Huanzhi Yan Liangkun Riegger Carmen Koon
Overture - 49 49 - - -
1 67 107 107 130 96 128
2 92 115 114 105 65 110
3 320 332 289 163 - 320
4 79 109 101 96 49 96
5 94 101 101 69 36 71
6 102 151 148 93 - 92
7 193 200 199 203 70 139
8 101 204 205 151 87 147
Version 1
The autograph version of the Yellow River Cantata was composed in 1939 at the Lu Xun
Arts Academy in Yan’an, a communist base where Xian served as Director of the Music
Department. His original score was limited to a small Chinese orchestra119 plus
harmonica, written in Chevé notation. 120
119
See Table 4 for the complete list of instruments used.
120
For further background information, see translated articles in Appendix C and D.
51
Version 2
In 1941, the Central Committee of the Chinese Communist Party sent Xian to Moscow,
purportedly to participate in a film music project. While there, Xian completely reshaped
the Yellow River Cantata, adding an overture and lengthening seven of the eight original
movements. Most significant was his decision to re-score the cantata for a standard
“Western” symphony orchestra. The only parts of the original “Chinese” orchestration
that he retained were five Chinese percussion instruments. This revision and the
autograph are the only versions in the composer’s own hand. The four subsequent
incarnations of the cantata did not involve the composer.
Version 3
In 1946, the China Aid Council commissioned an English-language version from the
American composer Wallingford Riegger (1885-1961). He produced a piano adaptation
of the autograph, which was before Xian had written an overture. Two movements (three
and six) were deleted. Riegger’s version was published by Leeds Music Corporation of
New York, but went out-of-print when the Leeds catalogue was purchased by MCA
Music Publishing in 1964 (subsequently renamed Universal Music Publishing in 1999).
Version 4
In 1955, Li Huanzhi121 produced a performance version for the Junwei Zhongzhen
(Military Commissariat Central Politburo) Song and Dance Group, revising it in 1987 for
121
Xian’s former composition and conducting student at the Lu Xun Academy in Yan’an, 1938. Li stayed
on to teach at the academy after completing his studies there.
52
the Shanghai Philharmonic Orchestra. This version is based on Xian’s 1941 re-scoring of
the work for the Western orchestra.
Version 5
In 1975, conductor Yan Liangkun and members of the Central Philharmonic Orchestra
undertook a performance of the Yellow River Cantata to commemorate the thirtieth
anniversary of Xian’s death. The same group had already engaged in a collective re-
working of Xian’s original sketches for the cantata, producing the Yellow River Piano
Concerto in 1970 that has received greater national and international exposure than the
cantata.
Version 6
In December 2005, the Chung Chi Choir of The Chinese University of Hong Kong
performed the cantata using a new two-piano version,122 which was subsequently
published by Chinese University Press to make the work more accessible. The Chief
Editor, Carmen Koon,123 chose to retain the third movement of Xian’s Moscow revision,
accompanied by the Sanxian (Chinese three-string Banjo).
122
The piano parts replaced most of the Western orchestration.
123
Guan Meiru
53
Table 4 compares the four orchestrated versions of the Yellow River Cantata. Instruments
used for the first time are in bold text, and the Chinese instruments are italicized, with a
description provided below:124
Table 4: Orchestration
Yan’an Moscow Shanghai Central

Philharmonic Philharmonic
Harmonica - - -
Xiao San Xian - - Xiao San Xian
Da San Xian - - Da San Xian
Dizi in G Piccolo Piccolo Piccolo

Flute (2) Flute (2) Flute (2)
Oboe (2) Oboe (2) Oboe (2)
English Horn English Horn -
Clarinet in Bb (2) Clarinet in Bb (2) Clarinet in Bb (2)
Bass Clarinet in Bb - -
Bassoon (2) Bassoon (2) Bassoon (2)
Double Bassoon - -
Horn in F (4) Horn in F (4) Horn in F (4)

Trumpet in Bb (3) Trumpet in Bb (3) Trumpet in Bb (3)
Trombone (3) Trombone (3) Trombone (3)
Tuba Tuba Tuba
Harp Harp Harp

Timpani Timpani Timpani
Snare Drum Snare Drum Snare Drum
Triangle - Triangle
Mu Yu MuYu - Mu Yu
Zhu Ban Zhu Ban Zhu Ban Zhu Ban
Bo Cymbals (Bo) Cymbals (Bo) Cymbals (Bo)
Xiao Bo Xiao Bo Xiao Bo
Diao Bo
Luo Tam-tam (Luo) Tam-tam (Luo) Tam-tam (Luo)
Tang Luo Tang Luo Shou Luo
Gu Bass Drum Bass Drum -
Tambourine Tambourine -
Ling Xylophone Xylophone -
Chinese Xiao Gu Chinese Xiao Gu -
Chinese Da Gu Chinese Da Gu
124
Images that are not public domain are used with permission from China People Promotions,
http://www.chinesemusic.co.uk.
54
XiaoTang Gu
Pipa
Er Hu Violin I Violin I Violin I

Da Hu Violin II Violin II Violin II
Viola Viola Viola
Cello Cello Cello
Double Bass Double Bass Double Bass
Dizi in G – Chinese bamboo flute A transverse bamboo flute with a range of

about two and a half octaves. It is made in
different keys. The instrument has a blow hole
and usually six finger holes. A thin, slightly
stretched membrane covers the hole next to the
blow hole, and buzzes when the bamboo flute
is played, producing a reedy and bright timbre.
Mu Yu – wooden fish A rounded, hollowed out wood block in the

shape of a fish, struck with a wooden stick. It
comes in different sizes, varying in timbre.
Zhu Ban – bamboo clappers A clapper made from two rectangular plates of
bamboo, approximately seven by three inches,
tied together with the convex sides facing each
other, played using different wrist techniques.
Rhymed storytelling (Kuai Ban) a popular
form of Chinese folk art is performed to the
beat of the clappers.
Bo – cymbals Xiao Bo are small cymbals about six inches in

Xiao Bo – small cymbals diameter. Originally made of copper, they are
Diao Bo – suspended cymbal now made of high-tin bronze. Diao Bo is a
suspended cymbal:
55
Luo – gong/tam-tam A gong made of high-tin bronze, ranging in size

Tang Luo – suspended gong between three to four inches to three to four feet,
with either a flat or convex resonating area.
Larger gongs are struck with a mallet, smaller
gongs with bamboo or wooden sticks.
Gu - drum A drum commonly in the shape of a barrel, with a

Chinese Xiao Gu – small drum wooden shell, and two drumheads made of
Chinese Da Gu – big drum cowhide or pig skin. Small drums are around
Xiao Tang Gu – small hall drum eight to twelve inches in diameter, and large
drums can be over three feet.
Ling – Chinese bell Two small bells made of high-tin bronze with no
internal clappers, roughly an inch and a half in
diameter, connected by a string. They sound
higher than a Triangle when struck together.
56
Er Hu – two-stringed fiddle A fretless two-stringed fiddle usually made of

Da Hu – Tenor fiddle ebony or sandalwood, with a range of
approximately three octaves. The horsehair bow is
permanently sandwiched between two silk, nylon,
or metal strings, and travels horizontally across
the snake skin resonator to produce a nasal
timbre. In a Chinese orchestra, the erhu assumes a
similar role as the violin in a Western orchestra,
and is most often tuned to an open fifth, the D and
A above middle C. The dahu is the tenor member
of the erhu family, tuned an octave lower than the
erhu.
Xiao San Xian – small banjo A fretless three-stringed banjo commonly made
Da San Xian – large banjo from padauk or red sandalwood, with snake skin
covering both sides of the resonator. The nylon-
wound steel strings are plucked with a plectrum or
the fingernails. It is primarily used as an
accompanying instrument, often for the voice. Its
function is similar to that of a basso continuo.
Pipa – plucked lute A pear-shaped fretted four-stringed lute with a

three and a half octave range. “Pi” and “pa” are
two kinds of strokes used when playing the Pipa.
Nylon-wound steel strings have replaced silk
ones, making it necessary for plectrums to be
attached to the fingertips when playing the
instrument.
57
CHAPTER 4: PRODUCING AN ENGLISH PERFORMING EDITION
4.1 Textual and Musical Considerations
The process for arriving at this English performing translation is documented in
Appendix A. All lines are constructed from a literal English translation of each Chinese
character; next, musical and textual considerations (i.e. rhythms, word stresses, rhyme,
etc.) are factored in. Wherever possible, the author has attempted to preserve the meaning
of the original text. The following examples excerpted from movements 1 and 4 illustrate
the complexities involved in this process.
Example 1a: The Translation Process
不怕那千丈波涛高如山！
不怕那千丈波涛高如山
not fear that thousand ten feet surging big waves high as mountains
行船好比上火线，
行船好比上火线
sailing boat is like going to front line
团结一心冲上前！
团结一心冲上前
group bind one heart charge on forward
Unite and forge ahead!
58
By making a word-for-word English translation of the original Chinese text available in
the Appendix, the author provides others with the option of creating their own translation
of the Yellow River Cantata. As an example of this process, options the author had
originally considered are shown in parenthesis.
Example 1b: Musical and Textual Considerations
Example 2: Written to Sung Text
水又急，
又急，浪又高，
浪又高，
水又急浪又高
water both swift waves also high
奔腾叫啸如虎狼。
奔腾叫啸如虎狼
rush gallop cry hiss like tigers wolves
racing rapids sound like the cries of tigers and wolves.
59
4.2 Evolution and Transformation – The Unique Case of Movement Three
Although numerous re-workings of the Yellow River Cantata for specific
performances have created various versions of the work, the resulting changes were
largely cosmetic; Xian’s original movements have remained largely intact. However, the
third movement of the Yellow River Cantata is a notable exception, having undergone
drastic transformations over the decades. Conceived in the 1939 autograph solely as a
recitation movement, Xian scored the accompaniment for a single instrument, the Large
Sanxian (three-stringed banjo). Nowadays, the original Sanxian part is often played a step
higher on a Pipa. This substitution was made necessary because over the past few
decades, there has been a significant decline in Sanxian players, leading many Chinese
orchestras to eliminate the instrument entirely. Given this fact, many Chinese
conservatories have ceased offering instruction in the Sanxian.
Of this particular movement, Xian wrote:
The text is recited in this movement. I chose the Sanxian [three-stringed Chinese
instrument] as the accompanying instrument and not the drum or the typical Beijing
opera accompaniment style, to express the content of the spoken words. In Europe,
there is a type of solo song with independent vocal and accompaniment parts, advocated
60
by the composer Wolf.125 However, this is probably the first experiment in China where
a Sanxian is employed both as an accompaniment as well as to express the content of
the text, in a manner that it can stand independently as a piece. Besides the roll of the
waves that can be heard in the Sanxian’s tune, two other melodies have also been
incorporated: one is “Full River Red” 126 and the other is “March of the Volunteers,” 127
but only excerpts from these have been used (this is due to the structuring of the
tune).128
Xian indicated that movement 3 was written using a “New form, not with the big
drum or just mere recitation, but a recitation song. The narrator must have a firm grasp of
the emotions in this piece, and more importantly, speak with strength and boldness.” 129
He intentionally created a subtext for the listeners by weaving fragments from the
musical settings of two famous patriotic poems into the Sanxian accompaniment. The
portions of “Full River Red” and “March of the Volunteers” quoted are bracketed below,
as well as when they occur in the Sanxian part (see pp.138-141).
125
The Austrian composer Hugo Wolf (1860-1903) composed hundreds of Lieder. He is noted for his
ability to condense expansive musical ideas and his skill in creating form based on his interpretations of the
text.
126
满江红(mǎn jiāng hóng): a patriotic poem
127
义勇军进行曲 (yì yŏng jūn jìng xíng qŭ): The People’s Republic of China’s National Anthem.
128
Xian Xinghai Quanji, 37-38.
129
Ibid., 146.
61
Full River Red

满江红
怒发冲冠 Wrath makes my hair stand in my helmet.
凭栏处 Leaning on the railings,
潇潇雨歇 I see the drizzling rain has ceased.
抬望眼 Lifting my eyes
仰天长啸 toward the sky, I let out a long roar,
壮怀激烈 releasing strong and intense emotions.
三十功名尘与土 Thirty years130 of rising in ranks are nothing but dust, even having covered
八千里路云和月 eight thousand li 131 with troops, under the moon and clouds.
莫等闲 Do not be idle;
白了少年头 when the hairs whiten on your head of youth,
空悲切 you may regret it.
靖康耻 The shame from the capture of our emperors,132
犹未雪 has not yet been avenged.
臣子恨 When will this hatred in us, the emperor’s subjects,
何时灭 be quenched?
驾长车踏破贺兰山缺 On war chariots, let us break through the He Lan Mountain Pass,
壮志饥餐胡虏肉 let us resolve to feast on the enemy’s flesh, and
笑谈渴饮匈奴血 drink their blood while laughing and talking.
待从头收拾旧山河 When we have re-conquered our lost land,
朝天阙 we shall pay tribute at the imperial court.
130
The poet was 31 years old when he wrote the poem in 1133.
131
A traditional Chinese unit of measurement. One li is approximately 1/3 of a mile.
132
An event which occurred in 1126, where two emperors were captured by foreign invaders.
62
The original accompaniment for the third movement is included in the score
(pp.138-141) in addition to the author’s new version. This seven-minute movement is
frequently omitted in performances of the Yellow River Cantata due to the sheer length of
the recited text and the more dramatic presentation of similar text in other movements,
both sung and spoken. Every revision of Xian’s original orchestration of movement 3 is
significantly shorter than the original. The following table documents these changes in
length and instrumentation in these various reconstructions.
Table 5: Movement Three Length and Orchestration

1939 1941 Philharmonic Philharmonic
Xian Xian 1955/1987 1975
320 measures 332 measures 289 measures 163 measures
Narrator Narrator Narrator Narrator
63
Da San Xian - - -
Diao Bo (Suspended
Cymbal)
Pipa (Four-stringed
Lute)
Harp
Piccolo Piccolo -
Flute (2) Flute (2) Flute (2)
Oboe (2) Oboe (2) Oboe (2)
English Horn English Horn -
Clarinet in Bb (2) Clarinet in Bb (2) Clarinet in Bb (2)
Bass Clarinet in Bb - -
Bassoon (2) Bassoon (2) Bassoon (2)
Double Bassoon - -
Horn in F (4) Horn in F (4) Horn in F (4)

Trumpet in Bb (2) Trumpet in Bb (2) Trumpet in Bb (2)
Trombone (2) Trombone (2) Trombone (2)
Tuba Tuba -
Timpani Timpani Timpani

Cymbals Cymbals Cymbals
Tam-tam Tam-tam -
Tambourine Tambourine -
Bass Drum Bass Drum -
Snare Drum Snare Drum -
Triangle - Triangle
Violin I Violin I Violin I

Violin II Violin II Violin II
Viola Viola Viola
Cello Cello Cello
Double Bass Double Bass Double Bass
In his 1941 revision, Xian replaced the Sanxian with an entirely Western
orchestra, substituting the original wave-like glissandi written for the Sanxian with a
different figuration, resulting in an additional twelve measures. While the pizzicato string
section recreates the articulation of the plucked Sanxian and there seems to be an attempt
at the beginning to maintain the textural transparency of the original version through the
use of staccatos in the other sections, the intimacy of the autograph version is completely
lost when the percussion and brasses enter.

64
With the Westernization of the compositional medium and its added layer of
harmonic complexity, the improvisatory feel and folk-like simplicity of the original was
lost as well. In trying to notate the style of traditional Sanxian playing as accurately as
possible, Xian used thirteen tempo indications in the 320-measure original; in his 332-
measure orchestral revision, he needed only eight.
Table 6: Movement Three Tempo Markings

1939 1941 Philharmonic Philharmonic
Xian Xian 1955/1987 1975
Moderato Allegretto Allegretto Tempo a piacere
m.29 ad lib m.65 a tempo vivo m.11 piu mosso m.2 poco animato
m.53 piu mosso m.93 Allargando m.60 Allargando m.46 poco lento e poco a poco accel.
m.79 piu lento m.107 a tempo m.74 a tempo m.62 poco lento e poco a poco accel.
m.94 piu mosso m.156 piu mosso m.123 piu mosso m.115 con moto
m.123 piu mosso m.198 piu mosso m.162 a tempo
m.143 piu allegro m.275 piu mosso m.165 piu mosso
m.165 Lento m.295 Allegro m.232 piu mosso
m.185 piu mosso m.256 Allegro
m.210 Allegro
m.353 piu mosso
m.394 accel.
m.404 Prestissimo
The Shanghai Philharmonic version was based on Xian’s 1941 version. Forty-
three measures were cut 133 to reduce the distance between sections of the poem. The bass
clarinet, double bassoon, and triangle were also removed. The Central Philharmonic
version sought to restore the stylistic authenticity of the original by employing a solo Pipa
in the opening (since competent Pipa players are easier to find) to playing a modal,
improvisatory melody in free tempo. The low strings enter softly, providing a drone and
133
Measures 38-41, 55-83, and 218-227 in Xian’s 1941 version.
65
pizzicato accompaniment that allows seamless transition into a Western orchestral climax.
The Pipa returns, this time incorporating a three-note drone in its figuration, starting
slowly, then increasing in tempo and dynamics until, having reached the limits of both, it
comes to a dramatic stop. The orchestra takes over at that point, pivoting from the Pipa’s
final note back to a tonal alternation of D major and A minor chords.
4.3 Performance Practice and Orchestration Options
For Western conductors interested in programming the Yellow River Cantata, the
scoring for Pipa and Sanxian need not become an obstacle, since the Mandolin, Mandola,
and Banjo will all function well as adequate substitutes. A Banjo tablature for the
Sanxian parts in the fifth movement has been included. In addition, editorial markings
have been added to each movement. The recordings that may be commercially available
are listed in Appendix F according to the ease with which they may be obtained.
Despite intermittent performances of the Yellow River Cantata by Western choirs
(both in English and in Chinese), the performance history of Xian’s seminal work outside
of mainland China has relied almost entirely on Chinese choral groups.134 The author has
undertaken this new edition in order to make this work more accessible to Western choirs
by providing a singing English translation and a phonetic transliteration of the original
Chinese text.
134
See Appendix E.
66
CHAPTER 5: CHORAL SCORE

67
1. Song of the Yellow River Boatmen
(Chorus)
Guang Weiran (1913-2002) Xian Xinghai (1905-1945)
(Allegro con brio)

Vivace [ q = 120 ]
œ bœ œ œ nœ œ bœ
œ œ nœ œ bœ œ bœ œ
# 2 œ nœ œ bœ œ œ nœ
& # 4 œ bœ
ƒ
3 3 3 3 3 3 3
3
## 2 œ b œ œ œ n œ œ b œ œ œ n œ
Piano 1
œ b œ
3
œ bœ œ œ nœ œ bœ œ
3 3 3
& 4
3 3 3
œ nœ œ bœ
3
[ q = 120 ]
# j
˙˙ ˙˙ ˙˙ ˙˙
& # 42
œ
˙ ˙ ˙ ˙
Piano 2 ƒ
? ## 2
4 œ
j
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
5
## 3 3
j 3 3
œœœ œ ‰
& œ nœ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ ∑ œ J
Pno. 1 F
## j
j‰ Œ ∑ j‰ œ ‰
?
3 3 3 3
&
n œ œ œ œ œ
œ œ œ œ œ œ œœ œ
##
∑
3 3 3 3
& ˙˙ ˙˙
˙ ˙ œœœœœœ œœœœœœ
F
œœ
Pno. 2
? ## œœ
3 3 3 3 3
˙ ˙ œœœœœœ œœœœœœ œœ
˙ ˙ 3
68
NARRATOR: Friends! Have you seen the Yellow River? Have you crossed the Yellow River?
# j œœœ œ ‰ j œœœ œ ‰ j
& # œœ œ œ œ ‰
10
œ J œœ œ œ œ ‰ œ J œœ œ œ œ ‰
Pno. 1
? ## œ ‰ j ‰ j œ ‰ j‰ j œ j
J œ j ‰ œ ‰ J œ j ‰ œ ‰ J ‰ œ ‰
œ œ
#
& # ∑ ∑ ∑ ∑ ∑
Pno. 2
œœ œœ œœ œœ œœ
? ## œœ œœ œœ œœ œœ
3 3 3 3 3
œ œ œ œ œ
3
œ 3 œ 3
œ 3 œ 3
œ
Do you remember scenes of the boatmen risking their lives to battle the perilous waves?
# œ j > > > > > >

& # œœ œ œJ ‰ ‰ œœ œœ œ œ ‰ œœ œœ œ œ ‰ œœ œœ œ œ
15
œœ œ œ œ ‰
J J J
Pno. 1
? ## j ‰ j ‰ œ ‰ œj ‰ j ‰ œj ‰ œ ‰ œj ‰ j ‰ œj ‰
œ J J
œ œ œ
#
& # ∑ ∑ ∑ ∑ ∑
Pno. 2
œœ œ œœ œœ œœ
? ## œœ
3
œœœ3 œœ
3
œœ
3
œœ
3
œ œ œ œ œ
3 œ 3 œ 3 œ 3 œ 3 œ
69
If you have forgotten, then listen!
## > > >œ > œ >œ > œ >œ > œ >œ > œ
‰ œœ œœ œ œ ‰ œ œœ œ ‰ œ œœ œ ‰ œ œœ œ ‰ œ œœ œ
20
& J J J J J
Pno. 1
? ## œ ‰ j ‰ j œ ‰ b œj ‰ j œ ‰ b œj ‰
J œ j ‰ bœ ‰ J j ‰ bœ ‰ J
œ œ
#
& # ∑ ∑ ∑ ∑ ∑
œœ œ bœ œ œ bœ œ œ bœ œ œ bœ
Pno. 2
? ## œœ œœ
3 3 3 3 3
œ œ œ œ
3 œ 3
œœ 3
œœ 3
œœ 3
œœ
>œ œ œ > œ >œ œ œ > >œ œ œ > >œ œ œ >

## œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ
œ œ œ
25
& ∑
p
œœœœœœ
Pno. 1
? # # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

3 3
#
& # ∑ ∑ ∑ ∑ ?
œœœœœœœœ
p
œ œ œ œ œ œ œ œ
Pno. 2
? ## œœ œœ œœ œœ
3 3 3 3
3 3 3 3
œ œ
70
œ œ œ œ œ ˙ ~~~~~ ~~~
## œ œ œ œ œ œ ~~~?~ ~~~
~~~ ˙ ~~~~& 43
30 3
& œ œ œ œ œ œ œ
3
3 3 3
~
3
œ œ œ ˙ ~~~~~ ?
Pno. 1
? ##
3
~~~3~
∑ œ œ
3
œ œ œ ~~~~ ~
~~&~ 4
3
& œ œ œ œ ~~ ~~
3 ~˙~~
? ## j 3
œœœœœœœœ œœœœœœœœ œœœœœœœœ œ ‰ Œ ∑ & 4
Pno. 2
? ## 3
˙ ˙ 4
œ œ œ œ œ œ ˙ ˙
71
# 3 j
˙. ˙.
& # 4
35
œ
S
Hai-yo!
# 3 ˙. ˙.
hai yo
j
& # 4
œ
A
Hai-yo!
# j
˙. ˙.
hai yo
V # 43
œ
T
Hai-yo!
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
hai yo
? ## 3
B 4
Row, row, row, row, row, row,
hua yo hua yo hua yo hua yo hua yo hua yo
>œ b œ œ
œ nœ œ bœ œ œ nœ œ bœ œ bœ œ œ nœ
#
~~~~
œ
& # 43
35
~~~ ~
3 3 3 3 3 3
>œ b œ œ œ n œ
Pno. 1
# œ bœ
& # 43 œ œ nœ œ bœ œ bœ œ œ nœ
3
3
~~~~
œ
~~~~
3 3 3 3
# j
œ œ œ œ œ œ œ œ˙ . œ œ œ œ œ œ œ œ
& # 43
œ
˙.
Pno. 2
? ## 3
4 ˙. ˙.
˙. ˙.
72
37
## œ
j
˙. ˙. œ œœ œ œœ œ œœ 2
S & 4
Hai-yo! Row, row, row!
## œœ œ œœ œ œœ 2
hai yo! hua yo hua yo hua yo
œ
j
˙. ˙. œ
A & 4
## j
˙. ˙. œœ œ œœ œ œœ 2
T V
œ œ 4
œœ œ œœ œ œœ
œ
j
˙. ˙. œ
? ## 2
B 4
## œ bœ œ œ nœ œ bœ
œœ nœ œ bœ œ bœ œ œ nœ œ œœ œ œœ 2
37 3
3
& œ œ œœ 4
3 3 3 3
nœ œ bœ œ bœ œ œ nœ
Pno. 1
## œ œ 2
&‰
3
?
3 3
& œœ J œ œœ œ œœ 4
3 3 3
## j
˙˙ .. ˙˙ .. j ‰ œj ‰ œj ‰ 42
œ
& œœ œœ œœ
œ
Pno. 2
? ## j j j
˙. ˙. œ ‰ œ ‰ œ ‰ 42
˙. ˙. œ œ œ
73
# 2 œ œ œ œ œ œ
& # 4
40
S œ œ œ œ œ œ
For - ward row! For - ward row!
# 2
hua yo chong shang qian hua yo chong shang qian
A & # 4 Œ œ œ œ Œ œ œ œ
Row! Row!
# œ œ œ
chong shang qian chong shang qian
T V # 42 œ œ œ œ œ œ œ œ œ
? ## 2 Œ œ œ œ œ œ œ
B 4 Œ
Row! Row!
œ œ œ œ œ œ œ œ œ œ œ œ
# 2
& # 4
40
Pno. 1
& # 4 œ œ œ œ œ œ
# 2 j j
& # 4 œœ ‰ j
œœœ
‰ œœ ‰ j
œœœ
‰
œ œ
Pno. 2
? # # 42 œj ‰ j ‰ œ
j
‰ j ‰
œ œ
œ œ
74
# œ œ œ œ œ œ 3
& #
42
S œ œ œ œ œ œ 4
##
Œ œ œ œ Œ œ œ œ 3
A & 4
Row! Row!
# œ œ œ
T V # œ œ œ œ œ œ œ œ œ 43
œ œ œ œ œ œ
B
? ## Œ Œ 43
Row! Row!
œ œ œ
œ œ œ œ ~~~~~~~~
#
& #
J ~~~~~ & 43
42
‰ œ ~~~~~~
?
Pno. 1
# œ
& #
œ œ œ œ œ œ ‰ ?
~~~~~~~&~~ 43
J ~~~~
œ ~~~~~~
# j j 3
& # œœ ‰ j
œœœ
‰ œœ ‰ j
œœœ
‰ 4
œ œ
Pno. 2
? # # œj ‰ j ‰ œ
j
‰ j ‰ 43
œ œ
œ œ
75
# 3 j
˙. ˙.
& # 4
44
œ
S
Hai-yo!
# 3
hai yo
j
˙. ˙.
& # 4
œ
A
Hai-yo!
# 3
hai yo
j
˙. ˙.
V # 4
œ
T
Hai- yo!
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
hai yo
œ
B
? # # 43
>œ b œ œ œ n œ
œ bœ œ œ nœ œ bœ œ bœ œ œ nœ œ
#
~~~
& # 43
44
~~~~~
3 3 3 3 3 3
>œ b œ œ œ n œ
Pno. 1
# 3 œ bœ œ œ nœ
& # 4 œ bœ œ bœ œ œ nœ
3
3
~~~
œ
~~~~~
3 3 3 3
# 3 j
œ œ œ œ œ œ œ œ˙ . œ œ œ œ œ œ œ œ
& # 4
œ
Pno. 2
? ## 3
4 ˙. ˙.
˙. ˙.
76
(meno mosso)
[ // ] [ q = 100 ]
46
## U2 œ œ œ œ œ
Ten. V ∑ ∑ 4
Clouds of dark - ness
wu yun na
[non rit.]
U
[ // ]
## œ
j
˙. ˙. 2 ∑
S & 4
Hai-yo!
## U2
hai yo [ // ]
j
A &
œ ˙. ˙. 4 ∑
Hai-yo!
U
[ // ]
## j
˙. ˙.
hai yo
œ 2 ∑
T V 4
Hai-yo!
j
˙. ˙.
hai yo
U
[ // ]
œ
? ## 2 ∑
B 4
Hai-yo!
hai yo
## >œ b œ œ œ n œ U
[ // ] [ q = 100 ]
œ b œ œ œ n œ œ 42
46
∑
3
3
&
3 3 3 3
Pno. 1 [non rit.]
#
& # 42 ∑
3
œ bœ œ œ nœ œ bœ œ
3 3 3 3 3
> œ nœ œ bœ œ bœ œ
œ nœ œ
[ // ] [ q = 100 ]
## j
˙˙ .. ˙˙ U
œ 2 ∑
& 4
[non rit.]
Pno. 2
? ## 2 ∑
˙. ˙. 4
˙. ˙.
77
49
## œ œ œ œ œ
[accel.]
œ œ œ œœ
Ten. V ∑ ∑
Toss - ing waves reach Fac - es stung by
bo tao na leng feng na
[marcato] [accel.]
##
S & œ œ œ ‰ ∑ œ œ œ ‰ ∑
veil the sky! moun-tains high!
#
zhe man tian gao ru shan
A & # œ œ œ ‰ ∑ œ œ œ ‰ ∑
#
T V # œ œ œ ‰ ∑ œ œ œ ‰ ∑
? ## œ œ œ ‰ œ œ œ ‰
B ∑ ∑
# # œœ œœœ [>] œ œ œ
[>] [>] œ
œœ ‰ œœ œœ œœ ‰
49
& œ ∑ ∑
J J
Pno. 1 [sim.] [accel.]
#
& # j‰ ∑ j ‰ ∑
œœ œœ œœ œœ œœ œœ
##
[>] [>] [>]
j j
& œœ œœœ œœ ‰ ∑ œœ œœœ œœ ‰ ∑
œ [>] œ œ œ
Pno. 2 [>] [>] [sim.] [accel.]
? # # œ œ œj ‰ ∑
j
œ œ œ ‰ ∑
œ œ œ œ œ œ
[>] [>] [>]
78
## œ œ œ œ
(piu mosso)
œ 3
53
Ten. V ∑ ∑ 4
Foam - ing wat - ers
(piu mosso)
#
lang hua na
3
S & # œ œ œ ‰ ∑ œ œ œ ‰ 4
freez - ing wind! crash - ing in!
#
pu shang lian da jin chuan
A & # œ œ œ ‰ ∑ œ œ œ ‰ 43
#
T V # œ œ œ ‰ ∑ œ œ œ ‰ 43
? ## œ œ œ œ œ œ
‰ ∑ ‰ 3
B 4
# # œœ œ œ œ œ œ
œœ œœ œœ œœ œœ 43
53
& œ ‰ ∑ ‰
J J
Pno. 1 (piu mosso)
## 3
& j ‰ ∑ j ‰ 4
œœ œ œœ œœ œ œœ
œ œ
# j j 3
& # œœ œœ œœ ‰ ∑ œ œœ œœ ‰ 4
œ œ œ œœ œ œ
Pno. 2
j j
(piu mosso)
? ## œ œ œ ‰ ∑ œ œ œ ‰ 3
4
œ œ œ œ œ œ
79
(allegro con brio)
# 3 [a tempo]
V # 4
56
Ten. ∑ ∑
# 3
[a tempo]
j
˙. ˙.
& # 4
œ
S
Hai-yo!
# ˙. ˙.
hai yo
& # 43
j
œ
A
Hai-yo!
# j
˙. ˙.
hai yo
V # 43
œ
T
Hai-yo!
hai yo
? ## 3
B 4
œ bœ œ œ nœ œ bœ œ bœ
# œ œ nœ œ bœ œ œ nœ
& # 43
56
œ
3 3 3 3 3
3
Pno. 1 [a tempo]
# 3 œ bœ œ œ nœ œ bœ
& # 4
3
œ bœ
3 3 3
œ œ nœ œ bœ œ œ nœ
3
3
œ
# # 3 # œœœ œœ œ
& 4 #œ œœ # œœœ œœ œ
œ # œœ
Pno. 2 [a tempo]
? ## 3 ˙. ˙.
4
˙. ˙.
80
(meno mosso)
[ // ] [ q = 100 ]
58
## [non rit.] U2 œ œ œ œ
Ten. V ∑ ∑ 4 œ
Fel - low boat - men
## œ
j
˙. ˙.
[non rit.] U2
[ // ] huo ban na
S & 4 ∑
yo!
##
yo
U[ // ]
42
j
A & œ ˙. ˙. ∑
Hai-yo!
U2
hai yo
##
[ // ]
j
œ ˙. ˙. ∑
T V 4
Hai-yo!
hai yo
j
˙. ˙. U
[ // ]
œ
? ## 2 ∑
B 4
Hai-yo!
hai yo
œ œ nœ œ bœ œ bœ œ U
[ // ] [ q = 100 ]
# œ nœ œ 2
& #
58
4 ∑
3 3 3 3 3 3
Pno. 1
## œ œ n œ œ b œ œ b œ œ 3 42
[non rit.] 3
& œ nœ œ ∑ ?
3 3 3 3
œœ
[ // ] [ q = 100 ]
## œœ U2
& œ œ œœ œœ œ 4 ∑
œ œ œœ œœ
œ
Pno. 2 [non rit.]
? ## 2 ∑
˙. ˙. 4
˙. ˙.
81
61
## œ œ œ œ œ
[accel.]
œ œ œ œ œ
Ten. V ∑ ∑
List - en helms - man, Do be caut - ious,
duo shou na dang xin na
[marcato] [accel.]
##
S & œ œ œ ‰ ∑ œ œ œ ‰ ∑
stay a - lert! please hold firm!
#
zheng kai yen ba zhu wan
A & # œ œ œ ‰ ∑ œ œ œ ‰ ∑
#
T V # œ œ œ ‰ ∑ œ œ œ ‰ ∑
? ## œ œ œ ‰ œ œ œ
B ∑ ‰ ∑
# # œœ œœ œœ œœ œ œ
[>] [>] [>]
œœ œœ ‰
61
& œ œ œ ‰ ∑ œ ∑
J J
? # # œœ œœ œœ ‰
[>] [>] [>]
∑
œ
œ
œ œ
œ œ ‰ ∑
J J
#
& # œœ œœ œœj ‰ ∑ œ
j
œœœ œœ ‰ ∑
œ œ
œ [>] œœ œ
[>] [>]
? # # œ œ œj ‰ ∑ œ
j
œ œ ‰ ∑
œ œ œ œ œ œ
[>] [>] [>]
82
## œ œ œ œ œ
65 (piu mosso) [a tempo]
Ten. V ∑ ∑ ∑
Give your all and
## >
(piu mosso)
‰ Jœ œ œ œ
pin ming na [a tempo]
S & œ œ œ ‰ ∑ œ œ œ ‰
don't slack off! nev - er fear! Row for - ward!
# j
bie tou lan mo dan han hai hua yo
& # œ œ œ ‰ ∑ œ œ œ ‰ ‰ œ
> œ œ œ
A
## >
‰ Jœ œ œ œ
T V œ œ œ ‰ ∑ œ œ œ ‰
? ## œ œ œ ‰ œ œ œ ‰ >
‰ Jœ œ œ œ
B ∑
>œ >œ œ œ
# # œœ œœ œœ œ œ œ
œœ œœ œœ ‰ ‰ J
65
& œ œ œ ‰ ∑
J J
Pno. 1 (piu mosso) [a tempo]
? # # œœ œœ œœ ‰ ∑ œœ œœ œœ ‰ ‰ >œ >œ œ œ
œ
J J & J
# j j ‰ œjœ œœj
& # œœ œœ œœ ‰ ∑ œœ œœ œœ ‰ œ
‰
œ œ œ œ œ œ > >œ
Pno. 2 (piu mosso) [a tempo]
? # # œ œ œj ‰ ∑
j
œ œ œ ‰ œ œ œ
j
‰
> >œ >
83
## > > >

‰ Jœ œ œ œ ‰ œJ œ œ œ ‰ œJ œ œ œ œœ œœ œœ œœ œœ
69
S &
Row for - ward! Row for - ward! Row for - ward! Fear not the waves that
# j j j
hai hua yo hai hua yo hai hua yo bu pa na qian zhang
& # ‰ œ œ œ œ ‰ œ ‰ œ œ œ œ œ œ
> > œ œ œ > œ œ œ
A
Row for - ward! Row for - ward! Row for - ward! Fear not the waves that
# >œ œ œ œ > >

‰ Jœ œ œ œ ‰ œJ œ œ œ
hai hua yo hai hua yo hai hua yo bu pa na qian zhang
T V # ‰ J ∑
Row for - ward! Row for - ward! Row for - ward!
? # # ‰ >Jœ œ œ œ >œ >œ

hai hua yo hai hua yo hai hua yo
B ‰ J œ œ œ ‰ J œ œ œ ∑
>œ >œ œ œ >œ >œ œ œ >œ >œ œ œ œ œ œ œ œ

# J
& # ‰ ‰ J ‰ J
69
Pno. 1
## > > > > > >
& ‰ œœ œ œ œ ‰ œœ œ œ œ ‰ œœ œ œ œ
J J J
# j j j j j j œ œ œ œ œ
& # ‰ œœœ œœœ ‰ ‰ œœ œœ
œ
‰ ‰ œœ œœ
œ
‰
> > > >œ > >œ
Pno. 2
? ## œ j j j
œ œ ‰ œœ œ ‰ œ œ œ ‰ & œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
>> > > >œ > > >œ >
84
# œ œœ œœ œœ œœ
& # œ
73
S ∑ ∑
look so moun-tain -ous!
#
bo tao gao ru shan
A & # œ œ œ œ œ ∑ ∑
look so moun-tain -ous!
# œœ œœ œœ œœ œœ œœ œœ
bo tao gao ru shan
œœ œœ œœ
T V # ∑
Fear not the waves that look so moun-tain -ous!
bu pa na qian zhang bo tao gao ru shan
B
? ## ∑ œ œ œ œ œ œ œ œ œ œ
Fear not the waves that look so moun-tain -ous!
bu pa na qian zhang bo tao gao ru shan
œ œ œ œ œ
73
## œ œ œ œ œ œ œ œ œ œ
&
# # œœ œœ œœ œœ œœ
Pno. 1
?
& œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ
& # œœ œœ œœ œœ œœ œœ œœ œ œ œ
œ œ œ
Pno. 2
# œœ œœ œœ œœ œœ œœ œœ œ œ œ
& # œœ œœ œ œ œ œ œ œ
?
œ œ œ
85
# œ œ
& # œ.
76
œ œ œ œ œ œ ‰ ∑
S
J
We shall fight them as they come!
#
xing chuan hao bi shang huo xian
œ œ
A & # œ. œ œ œ œ œ œ
J
‰ ∑
We shall fight them as they come!
#
xing chuan hao bi shang huo xian
T V # ∑ ∑ œ. œ œ œ
Let us forge a -
œ.
tuan
œ œ
jie yi
œ
xin
B
? ## ∑ ∑
Let us forge a -
tuan jie yi xin
76
# # œœœ œœ
œ
œœ
œ
œœ
œ j j
& J ‰ ‰ J ‰ J J ‰ œœ ‰ ‰ œœ
œ œ
j j
Pno. 1
? # # œœ ‰ ‰ œ ‰ œ œ
œ ‰ j
œ ‰ ‰ j
J œ œ J œ
œ œ
## j j j j j j
& œœ ‰ ‰ œœ ‰ œœ œœ ‰ œœ ‰ ‰ œœ
œ œ œ œ œ œ
j
Pno. 2
? # # œœœ ‰ ‰ œœ
œ ‰ œœ
œ
œœ
œ ‰
œœ
œ ‰ ‰ œ
J J J J J œ
86
## > > >

‰ Jœ œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ œ
79
S & ∑
# j j j
& # ∑ ‰ œ ‰ œ ‰ œ
> œ œ œ > œ œ œ > œ œ œ
A
> > >

#
T V # œ œ œ œ œJ ‰ ‰ Jœ œ œ œ ‰ Jœ œ œ œ ‰ œJ œ œ œ
head as one! Row for - ward! Row for - ward! Row for - ward!
> > >

chong shang qian hai hua yo hai hua yo hai hua yo
B
? # # œ œ œ œ œJ ‰ ‰ Jœ œ œ œ ‰ Jœ œ œ œ ‰ œJ œ œ œ
head as one! Row for - ward! Row for - ward! Row for - ward!
chong shang qian hai hua yo hai hua yo hai hua yo
>œ >œ œ œ >œ >œ œ œ >œ >œ œ œ

# j j
& # ‰ ‰ J ‰ J ‰ J
79
œœ œœ ‰
œ œ
> > > > > >
Pno. 1
? ## ‰ j j ‰ œœ œ œ œ ‰ œœ œ œ œ ‰ œœ œ œ œ
œ œ ‰ &
J J J
œ œ
# j j
& # ‰ œœ œœ ‰ ‰ œœj œœj ‰ ‰ œœj œœj ‰ ‰ œjœ œœj ‰
œ œ œ œ
œ > >œ > >œ > >œ
j
Pno. 2
? ## ‰ œ œœ j j j
œ œ ‰ œ œ œ ‰ œ œ œ ‰ œœ œ ‰
J œ œ œ œ œ œ
> >œ > > >œ > > >œ >
87
83
## >œ œ œ œ 3 œ
j
˙.
S & ‰ J 4
Row for - ward! Hai-yo!
## j ˙.
hai hua yo hai yo
‰ œ 3 œ
j
& 4
> œ œ œ
A
Row for - ward! Hai -yo!
>œ
hai hua yo hai yo
## œ œ œ 3 œ
j
˙.
T V ‰ J 4
Row for - ward! Hai-yo!
œ œ œ œ œ œ œ œ œ
hai hua yo hai yo
? ## ‰ >œ
B J œ œ œ 43
Row for - ward! Row, row, row,
hai hua yo hua yo hua yo hua yo
>œ >œ œ œ >œ bœ œ œ nœ

# œ bœ œ bœ
J 3
& # ‰
83
4
3 3 3
>œ >œ œ œ >œ

Pno. 1
## 3 bœ œ œ nœ
3
& ‰ œ 4 œ bœ œ bœ
J 3
3
## j j j >œ œ œ œ œ œ œ
43
œ
& ‰ œœœ œœ ‰
> œ
>
Pno. 2
? ## œ j
œ œ ‰ 43 ˙.
œ œ œ ˙.
> > >
88
85
## ˙ . œ
j
˙.
S &
Hai- yo!
## ˙ .
hai yo
j
A &
œ ˙.
Hai-yo!
## ˙ . j
˙.
hai yo
œ
T V
Hai-yo!
hai yo
˙.
j
œ
B
? ##
Row, row, row, Hai-yo!
hua yo hua yo hua yo hai yo
>œ b œ œ œ n œ
œ bœ œ œ
# œ œ nœ œ bœ œ œ nœ œ
& #
85
3 3 3 3 3
3
Pno. 1
## >œ b œ œ œ n œ
3 3 3
œ bœ œ œ
& œ œ nœ œ bœ œ œ nœ
œ 3 3 3
## œ œ œ œ œ œ œ œ œ
j
b ˙˙˙˙ ....
œ
&
Pno. 2
? ##
˙. ˙.
˙. ˙.
89
# ˙. œ œ œ œ œ œ œ œ œ 2
& #
87
S 4
Row, row, row!
# œ œ œ œ œ œ œ œ
hua yo hua yo hua yo
œ 2
A & # ˙. 4
Row, row, row!
## ˙ .
œ œ œ œ œ œ œ œ œ 2
T V 4
Row, row, row!
˙. œ
? ## 2
B 4
Row, row, row!
nœ œ bœ œ bœ œ œ œ œ œ œ œ
87
## œ nœ œ œ œ œ 2
& 4
3 3 3
Pno. 1
## n œ œ œ œ œ œ œ 2
œ b œ
3
œ b œ
3
& œ œ nœ œ œ œ œ 4
3
# ˙ j j j
& # ˙˙˙ Œ œœ ‰ œœ ‰ œœ ‰ 42
œœ œ œ
Pno. 2
? ## j j j
˙.
œ ‰ œ ‰ œ ‰ 42
˙. œ œ œ
90
& # 4
89
S œ œ œ œ œ œ
# 2
A & # 4 Œ œ œ œ Œ œ œ œ
Row! Row!
# œ œ œ
T V # 42 œ œ œ œ œ œ œ œ œ
? ## 2 Œ œ œ œ œ œ œ
B 4 Œ
Row! Row!
# œ œ œ œ
& # 42
89
Pno. 1
& # 4 œ œ œ œ œ œ
# 2 j j
& # 4 œœ ‰ j
œœœ
‰ œœ ‰ j
œœœ
‰
œ œ
Pno. 2
? # # 2 œj ‰ j ‰ œ
j
‰ j ‰
4 œ œ
œ œ
91
& #
91
S œ œ œ œ œ œ 4
#
3
A & # Œ œ œ œ Œ œ œ œ 4
Row! Row!
T V # œ œ œ œ œ œ 4
œ œ œ œ œ œ
? ## Œ Œ 3
B 4
Row! Row!
91
## 3
& 4
Pno. 1
& # œ œ œ œ œ œ 4
# j j 3
& # œœ ‰ j
œœœ
‰ œœ ‰ j
œœœ
‰ 4
œ œ
Pno. 2
? # # œj ‰ j ‰ œ
j
‰ j ‰ 43
œ œ
œ œ
92
# 3 j
˙. ˙.
& # 4
93
œ
S
Hai-yo!
# 3
hai yo
j
& # 4 ˙. ˙.
œ
A
Hai-yo!
# j
˙. ˙.
hai yo
V # 43
œ
T
Hai-yo!
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
hai yo
œ œ
? ## 3
B 4
Row, row, row, Row, row, row,
# 3
& # 4 œ #œ œ #œ œ
93
∑
3 3
#œ œ œ #œ
3
Pno. 1
#
& # 43 ∑
3 3 3
#œ œ #œ œ #œ œ œ #œ œ
#
& # 43 # ˙˙ .. # ˙˙ ..
˙. ˙.
Pno. 2
? ## 3 ˙. ˙.
4 ˙. ˙.
93
95
## œ
j
˙. ˙. 4
S & 4
Hai-yo!
##
hai yo
œœ
j
˙˙ .. ˙˙ .. 4
A & 4
Hai-yo!
hai yo
## œ
j
˙. ˙. 4
T V 4
Hai-yo!
hai yo
? ## #œ
j ˙. ˙. 4
B 4
Hai-yo!
hai yo
œ œ #œ
œ #œ œ #œ œ œ #œ œ #œ
# œ #œ œ œ œ #œ 4
& #
95
4
3 3 3 3 3 3
Pno. 1
œ œ #œ
cresc.
##
#œ œ œ #œ œ #œ 4
3
œ #œ œ
3 3
& œ #œ œ œ œ #œ 4
3 3
3
# 4
& # ˙. ˙. ˙. ˙. 4
˙. ˙.
Pno. 2 cresc.
? ## 44
˙. ˙.
˙. ˙.
94
# 4 œ
& # 4 J ‰ Œ
97
S Ó ∑
Ha ha ha ha ha ha... (hearty laughter for 2 measures)
# 4
& # 4 œœ ‰ Œ Ó ∑
J
A

# œ
T V # 44 J ‰ Œ Ó ∑
B
? # # 44 œJ ‰ Œ Ó ∑
œ œ nœ œ bœ œ bœ œ œ nœ œ bœ œ
# 4
& # 4 œ nœ œ bœ
97
ƒ
3 3 3 3 3 3 3 3
## 4 œ b œ œ œ n œ œ b œ œ œ n œ
Pno. 1
œ bœ
3
3 3 3
& 4 œ œ nœ œ bœ
3 3 3 3
# # 4 www ww
w
& 4 w w
Pno. 2 ƒ
? # # 44
w w
w w
95
## j œ wUw
œ œ œ
99 3 3 3 3
& œœœœœœœœœœœœ œ ‰ Œ
Pno. 1 rit.
#
& # œ œ Ó
3 3 3 3
œ œ œ œ w
œ œœ œœ œœ œ œ œ uw
# # œœœ œœ œœ œ œ œœ œœ œœ œœ U
œ œ œœ œœ œœ œœ ? œ œ œ œ ww
& œ œ œ œœœ œœœ œœ œœ &
œ œ œ œ
Pno. 2
œ œœ œœ œ œ
œ œ œœ œœ œœœ œœœ
rit.
? ## œ œœ œœ œœ œœ œ œ U
œ œ œ œ œœ œœ œœ œœ
w
w
Andantino [ e = 96 ]
- -
œœœœœœ
## œ œ œ œ œ œ œ œ
œœœœœœœœ œœ œ- œ . œ œ œ œ œ œ . œ- U
œ
œœœœœœœœ œ œ. œ œ œ œ œJ œ . œ œ
102
& œœ œœ
J J J
F [strings]
U
Pno. 1 [rit.]
# ˙ ˙ ˙
& # ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ?
˙ ˙
˙ ˙ &
˙
˙ ˙ ˙
gg ˙˙˙˙ U˙
Andantino [ e = 96 ]
# # ggg ˙˙˙ œ œ- œ gg ˙˙˙ œ œ- œ gg gg ˙˙˙ gg ˙˙˙

˙
ggg ˙˙˙
& ggg gg ggg ggg gg
g gg ggg ggg ggg
ggg ggg
F gggg [harp] gg ˙ ggg ggg ggg [rit.] ggg
ggg U˙
gg ˙˙ gg ˙ ggg ˙˙˙ ggg ˙˙ gg ˙
gg ˙˙
Pno. 2
? # # gggg ˙˙ g˙ gg ˙˙ gg ˙˙
œ œ ggg ˙ œ œ g gg ˙
96
106
# #Pœ œ œ œ œ œ œ œ œ œ œ œ
S & œ œ œ œ
We can see the oth - er shore, now our boat has reached that shore.
wo men kan jian liao he an wo men deng shang liao he an
# #P
A & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# #Pœ œ œ œ œ œ œœ œ
œ œ œ œ œ œ œœ œœ
T V œ œ œ œ œ œ œ œ œ œ œ œ œ
P
B
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ- œ- œ- œ œ œ œ- œ- œ- œ œ œ
106
# # œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ
œ
œ
& œ œ
Pno. 1
P
#
& # ˙˙ œœ œ œ ˙˙ œœ ?
œ œ œœ œœ
˙ ˙
# # ggg ˙˙˙ œ œ œ ggg ˙˙˙ œ œ œ
& ggg ggg
g ggg
P gggg gg
Pno. 2 gg ˙˙ gg ˙˙
? # # gggg ˙˙ ggg ˙
œ œ g˙ œ œ
97
## j U Allegro f
œ œ. œ œ œ œ œJ œ . œ œ 41 Œ 2 œ . œ œj ‰
108 [rit.]
& œ œ 4
S
J J
Our hearts are calm - er now, here let us rest a - while. Once a - gain,
xin na an yi an qi na chuan yi chuan hui tou lai
## j j j j U 1 2 f œ . œ œj ‰
A & œ œ œ œ. œ œ œ œ œ œ. œ œ 4 Œ 4
# œ œ œ œ . œ Uœ 1 Œ f
V # œJ œ œ œ. œ œ J J 4 24 œ . œ œj ‰
T
J
U
? ## œ œ œ œ. œ œ œ œ œ œ . œ œ 41 Œ 2 f œ . œ œJ ‰
B J J J J 4
- - - U
- -
## œ œ œ œœ . œœ œœ œ- œ- œ œ- . œ- œ- Allegro . œ
œ . œ œ Jœ œ . œ œ 41 Œ 2 œœœ .. œœ œœœ ‰
108
& œ œ 4 J
J J J
f [+ horns]
U
Pno. 1 [rit.]
? ## ˙ ˙ ˙ ˙ 1 2 j
˙ ˙ ˙ 4 Œ & 4 œœ ... œœ œœ ‰
˙ œ œ œ
˙ U˙
# # g ˙˙˙ gg ˙˙˙ gg ˙˙˙
˙
gg ˙˙˙
Allegro
& ggg ˙ gg
ggg gg
ggg gg 41 Œ 42 j‰
ggg ggg ggg œ . œ œ
ggg ggg ˙ gg [rit.] gggU
gg ˙˙ gg ˙˙ f
~~~
Pno. 2
gg ˙˙˙ ggg ˙ ggg ˙˙ j
? # # gg ˙˙ ˙
~~ ~
g g˙ 41 œ 42 œ . œ œ ‰
~~~
œ. œ œ
~ ~~
œ
98
# œ œ œ. œ œ œ œ œ œ œ œ
& #
112
S œ œ œ œ J œ œ
bat - tle the rag - ing wa -ters, fight to the death we'll fight to the death we'll
zai he na huang he nu tao jue yi si zhan jue yi si zhan
#
A & # œ œ œ œ œ œ œ.
J
œ œ œ œ œ œ œ œ œ œ
# œ œ. œ œ œ œ œ œ œ œ
T V # œ œ œ œ œ J œ œ
? ## œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
B J
œ œ œ. œ œ œ œ œ œ œ œ
112
# # œœ œ œ œœœ œœ
œ œ œ.
œ œ
& J
Pno. 1
# j œœ œ œ œœ œœ œœœ œ œ œœœ œ
& # œœ œ œ œœœ œœœ œ œ. œ
œ œ.
# j
& # œ j
œ œ. œœ
j ‰
œœ œœ œ ‰ œ œ
Pno. 2
j j j
? # # œj ‰ œ œ œ œ. œ ‰ œ œ œ ‰ œ œ
œ œ œ œ œ. œ œ œ œ œ œ
99
ƒ j
œ œœ œœ ˙ ˙
[tutti]
116
## œ ˙ ˙ œœ 3œœ œœ œ ‰Œ
S & œ J
fight to the death! Ah! Fight to the death!
jue yi si zhan jue yi si zhan
## ƒ 3
j
A & #œ œ œ œ œ ˙ ˙ œ œ œ œœ ‰ Œ
ƒ
# # œ œ œ œœ œœ ˙ ˙ œœ œœ œœ œœ ‰ Œ
3
T V ˙ ˙ J
ƒ
? ## œ œ œ œ œ œ œ
3
œ ‰Œ
B œ ˙ ˙ J
œ œ œ œ œ œœœœœœ œœœœœœ >œ >œ

3
>œ >œ
# œœ œœ œœ œ
œ ‰Œ
& #
116
œ œ œœœœœœ œœœœœœ j
Pno. 1
# # œœ >œ 3>œ >œ
& # œ œ œœ œ œ œ œœ ‰ Œ
œœ
>
## j
#œ ‰ œœœ œœœ ˙˙ ˙˙ j ‰Œ
3
& ˙˙ ˙˙ œœ œœ œœ œœ
œ œ œ œ œ œ
> > > >
j j
Pno. 2
? ## œ ‰
3
œ œ œ œ
œ œ œ ˙ ˙ ˙
œ ˙ ˙ œ œ œ ˙
> > > >
100
[ e = 92 and slowing]
121
## œ
j U̇ œ œœ Œ
[>] [poco a poco decresc.]
œ œœ Œ
& ∑ ∑ Œ
œ
S
Hai-yo! Row! row! Hey!

hai yo hua yo hua yo hai
## U
œ œœ Œ œ œœ Œ
[>]
j [poco a poco decresc.]
& œ
˙˙ ∑ ∑ Œ
œ
A
Hai-yo! Row! row! Hey!
U
hai yo hua yo hua yo hai
## œœ
j
˙˙ œ œœ Œ œ Œ
œ œœ Œ
T V œ Œ œ Œ
Hai-yo! Row! Hey! row! Hey! Hey!
hai yo hua yo hai hua yo hai hai
j U̇
? ## œ œœ Œ œ œœ Œ
œ Œ œ Œ œ Œ
œ
B
Hai-yo! Row! Hey! row! Hey! Hey!

hai yo hua yo hai hua yo hai hai
œ
j
˙˙ U
œœ [ e = 92 and slowing]
œœ
121
## œ ˙ œ
& J ‰ Œ ∑ J ‰ Œ ∑ ∑
f F
# # œj ˙˙ U œj j
Pno. 1
˙ œœ ‰ Œ ∑ œœ ‰ Œ ∑ ∑
& œ
## U [ e = 92 and slowing] j
j ‰ Œ ∑ œ
œœ ‰ Œ ∑ ∑
& ˙˙ œ
œ
˙ ˙ œ [p ]
f f F P
U
Pno. 2
? ## j j
˙ œ ‰ Œ Œ œœœ œ ‰ Œ Œ œœœ Œ œœœ
˙ œ œœœ œ œœœ œœœ
[timp.]
101
127
## U
& Œ j‰ Œ ∑
œ w œ
S
Hey! Hey!
U
hai hai
## Œ
& j‰ Œ ∑
œ w œ
A
Hey! Hey!
U
hai hai
##
V œ Œ w œ ‰ Œ ∑
T
J
Hey! Hey!
U
hai hai
? ## Œ j
B œ w œ ‰ Œ ∑
Hey! Hey!
hai hai
U˙
## œ œ œ g
g ˙˙
˙ œœœœ
œ g ˙ œ
127
& ∑ Ó œœœ g J ‰ Œ
œ
Pno. 1 meno mosso, accel..., e rit.
U
## œœ j
& ∑ ? œœ Ó gg ˙˙˙˙ œœœ ‰ Œ
œ œœœ & œ
## U U
& ∑ ∑ ∑ ∑
[pp]
Pno. 2 p
? ## Œ œ œ œ U U
∑ ∑ ∑
œœœ
2. Ode to the Yellow River 102
(Baritone Solo)
NARRATOR: Ah! My friends!

(larghetto)
œ
Comodo [ q = 64 ]
2 ∑ ∑ ∑ Œ ggg œœœ ∑ ∑
&4 gg
ggg
gg œœ
g
Piano 1
?2
4 ∑ ∑ ∑ Œ g œ ∑ ∑
œ œ œ œ œ œ. œ
œ œ œ œ œ œ j
& 42 ∑ œ œ œ
J J œ
Piano 2 [strings] P
? 42
˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
The heroic spirit of the Yellow River appears on the plains of Asia,
representing the vigor of our nation, mighty and strong!
œœœ œ œœ œ œ œ œ
j œœ j œ œ œ œ
43 œ 42
7
& ‰ œ œ J œ
˙˙
Pno. 1
? Œ œœœ œ ˙˙ ∑ 43 ∑ 42
œ œ œ œ œ œ œœœ œ
& œ œ œ œ œœ œ œ œ œ œ.
œ œ 43 œ . œ œ œ œ 42
œ œ œ œ œ
Pno. 2
? 43 ˙ . 42
˙ ˙ ˙
˙ ˙ ˙ ˙.
103
Here, facing the Yellow River, we sing our song of praise.
œrit. œ
œ #œ œ œ œ
œ #œ œ
& 42 œ œ
11
∑ #œ œ
œœ
Pno. 1
? 42 ∑ ∑ #œ
œœ Œ ˙
œ #œ ˙
œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ
& 42 œ œ œ œ œ œ œ œ œ œ œ # œœ œœ œœ œœ œ œ œœ
#œ
Pno. 2
œ ˙
?2 œ # œœ œœ œ #˙
4 ˙ œ œ
œ œ
˙ œ
(andante sostenuto)
˙ ˙ ˙ ˙ U
œ [ q = 50]
˙ ˙ ˙ œ 4
~~~
15
& Œ 4
~~~~
~~~~
Uœ
a tempo
Pno. 1
~~~~
? ∑ ∑ ∑ œ œ 4
˙ 4
~
~~~~
˙ Uœ [ q = 50]
& ˙˙ ‰ œ œ œ œ œ œ j ‰ Œ œ Œ ? 4
4
œ œ
Pno. 2
˙ U
? ˙ ‰ œ œ œ Œ 44
˙ ˙ œ
˙ ˙ œ
104
[F ]
? 44 Ó.
20
Bar. ∑ ∑ ∑ œ œ
I
wo
& 44 ∑ ∑ ∑ ∑
œ œ. œ œ.
[expressively]
œœœœœ
Pno. 1
? 44 œ . œJ œœœœ
[harp] J œ . œJ ˙. Œ
ẇ ˙˙ .. œ ˙ ˙ ˙.
?4 #˙ Œ
4 &
Pno. 2
?4 ˙ ˙ ˙. œ ˙˙ ˙ œ œ œ œ œ Œ
4 ˙ ˙. œ ˙ ˙ œ œ œ œ
˙ œ
œ œ. œ
? œ. œ
24
œ
Bar.
stand on a high moun - - tain

zhan zai gao shan zhi
& œ œ œ œ œ # œ œ œ œ
œ œ
œ œ œ
? œ œ œ œ œ #œ œ œ œ
Pno. 1
& ˙˙ # ˙˙
˙ ˙
Pno. 2
? ˙ ˙
˙ ˙
105
,
? w
25
Bar.
top,
dian
& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Pno. 1
? œ œ œ œ œ
œ œ
œ œ œ
& ww
Pno. 2
? w
w
? œ œ œ œ
26
Bar. œ œ
watch - - - ing the bil - - - - lows
wang huang he gun
& œ #œ œ œ œ œ œ
#œ œ œ œ # œ œ œ
Pno. 1
? #œ œ œ œ œ #œ œ
œ
œ œ
& œ
#˙ nœ
Pno. 2
? ˙ #˙
˙ #˙
106
,
? w œ œ œ
43 œ œ
27 [poco accel.]
Bar.
3
roll. Gold - en waves
gun ben xiang dong
œœ œ œ œ œœœœœ 43 œœœœ
[poco accel.]
& œ œ
œ œ œ œ œ œ œœ
? œœœ œœ œœ œœ 3 œ œ œœ œ œ
Pno. 1
œ 4 œ œ
3
[poco accel.] 3
& ˙ 4 œœ œ œ œ œ
˙ œ œ
Pno. 2
? œ œ œ œ 3
œ œ 4 ˙˙ ..
˙.
, œ œ œ œ
? ˙. 44
[cresc.]
œ
29
Bar.
3
surge, east - ward they
nan jin tao peng
& œœœœ œ œœœœ œ# œ 44

œœ œ œœ œœ œ #œ
œ œœ œœ œœ œœ œœ
Pno. 1
? œœ œ œ #œ 44
44
3
& ˙. œœ œ œ œ œ
Pno. 2 3
? œ œ œ œ œ ˙ 4
œ œ œ œ œ œ 4
˙ œ
107
w ,
? 44
31
Bar.
flow,
pai
& 44 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
? 44 œ œ œ œ œ œ œ œ œ
Pno. 1
& 44 www
>œ
Pno. 2
? 44 œ
œ œ œ œ
œ > œ
> >
[ q = ca.70]
œ. œ œ œ œ
? J œ œ
32
Bar.
mud - - - - - dy swirl - ing rap - - -

xian qi wan zhang kuang
[ q = ca.70]
œ œ œ
& œ œ œ œ œ œ œ #œ œ œ
Pno. 1
? œ œ œ œ œ œ œ œ
#œ œ
œ
[ q = ca.70]
& ˙˙ .. œ
˙. b œœ
Pno. 2
? #œ
˙. #œ
˙.
108
[dim.]
[P]
? ˙. 42 œ . œ 43
33
Bar. œ J
ids form sin - - - - -
lang zhuo liu
œ 2 œ œ bœ œœœ 43
& œ œœ œœœ œœœ œœ
œ 4 œ
œ bœ œœ
Pno. 1
? œœœ œœ œœ
œ œ œ
42 œ 43
œ
œ œ œ œ œ
œ œ œ œ 2 œ j 3
& œ œ œ 4 J œœœ œœ 4
Pno. 2
œ- œ-
? œ œ 2 3
œ œ 4 b˙ 4
œ œ œ œ b˙
,
[cresc.]
? 43 ˙ œ j ˙ œ œ
œ
35
œ
Bar.
- - - - - u - ous loops from the

wan zhuan jie cheng
œœ œœ œœ
& 43 œœ œœœ œœ #œ œ œ
#œ œœ
œœ œœ
œ
œœ œœ œœ œœ
Pno. 1
? 43 œœ #œ œ
& 43 œj œ œœ œœ
j j
# œœœ œœœ
j
œœœ œœœ œœ
œœ œœ œ- œ- œ
Pno. 2 - -
?3
4 ˙. #˙ œ
˙. #˙ œ
109
,
? œ œ œ œ
[dim.]
œ
37
Bar. ˙ œ
Kun - lun moun - tains, the
jiu qu lian huan cong
& œœœ œœœ œœ œœ œœ œ

œ œ œ œœ
Pno. 1
œœœ œœœ œœ œœ œœ œ
? œ œ œ
œœ
& œœ œœ j j
œ œ œœœ œœœ œœ œœ œœ œœ œœ œœ
Pno. 2
œ œ
? ˙.
œ œ œ
œ œ œ ˙.
œ œ. œ œ œ œ œ
[cresc.]
? œ. œ œ ˙.
39
Bar.
J
ris - - - ing bil - lows rush - ing to the
kun lun shan xia ben xiang huang hai zhi
œœ œœ œ œœ œœ œ
œ œ œœ œœ œ Œ œ œœ œœ œ Œ
& œœ œœ œ œ œ œ
œ œ 3
b # œœ œœ œ
sim.
œ [woodwinds] œ œ œœ œ
Pno. 1 3
? œœ œœ œœ Œ Œ œ Œ Œ #œ
œœ
3
& œj œ j j j j j
b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b # œœœ œœœ
œ œ œ œ œ œ œ œ œ-
Pno. 2
? b˙. ˙.
˙.
b˙. ˙. ˙.
110
, [F ] œ œ œ
[cresc.]
? ˙ œ. œ œ ˙ œ œ
42
Bar. œ
sea, Hwang - huh you di - vide the
bian ba zhong yuan da di pi cheng
œœ œ œ œœ œ
œ œœ œœ œ œ œœ œ œ œ œœ œ
œ œ œœ œ œ œ œœ œ
& œ œœ œ œ œ œœ œœ œ œœ œ
œ œœ œ œ œœ
Pno. 1 œ
? ∑ ∑ ∑
j j j j j j
& œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ- œœ œœ œ œ œ œ œ-
Pno. 2
? ˙ ˙ œ ˙.
œ ˙ œ ˙.
˙ œ
[U]
œ ˙ œ œ œ
? œ œ œ œ 4 œ 3
45
œ
Bar. 4 4
3
Cen - tral Plains in - to north and
nan bei liang
œœ œ # œœ œœ œ
œ œœ œœ œ 44 #œ œœ œ œ
& œ œ Œ œ œ œ œ
# œ œ œœ Œ 43
œ œ
œ œœ œ œœ œ œ
? Œ 4 Ó #œ œ 3
Pno. 1 [rit.]
Œ œ 4 Œ 4
j j
& œœ œœ œœ œœ 44 # œœj œœ œœ œœ œœ
j 43
œ œ œ œ #œ œ œ œ œ
Pno. 2
? b˙. 4 w 3
[rit.]
b˙. 4 4
w
111
? 43 ˙ .
47
Bar. ∑ ∑ ∑
south.
mian
˙˙ ..
& 43 Œ Œ
œœœ
˙˙ ..
˙˙ .. ˙. ˙˙
˙˙ # œœœ
œ œ œ œ œ. j
Pno. 1 [a tempo]
? 43 œ œ œ œ Œ ˙.
˙.
œ œ œ œ œ œ œ. œ œ
œœœ œ œ œœ œ œ
œ œ œ œ œ ˙. œ œ œœ œ œ
œ œ
œ œ œ œ ˙. œ œ œ œ œ œœ
& 43 ˙ &œ œ œ œ
œ œ œ œ œ
3
˙
Pno. 2 [a tempo] ˙˙ .. j
? 3 ˙. ˙. ˙. œ. œ œ
4 ˙. œ. œ œ
˙.
(piu mosso appassionato)
[f ] ˙ œ œ ,
a tempo
?
51 rit.
∑ œ
j œ ˙ œ œ
Bar.
Ah, Hwang - huh! Cra - dle

a huang he ni shi
& ˙˙ .. ∑ ∑
˙. gg ˙˙˙ ...
rit. a tempo
? ˙.
Pno. 1
ggg ˙˙ .. ∑
g
˙.
˙. 3 3 3 3 3 3
& œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œ œœ œ œœ œ œœ œ œœ

rit. œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ
Pno. 2
? œ œ œ œ œ
a tempo
˙. ˙.
œ œ œ œ œ œ ˙. ˙.
œ
112
œ œ œœœ , œ œ œ œ œ
? œ ˙ œ. œ
54
Bar. œ œ
of the peo - ple of Chi - na! To five thou - sand years of
zhong hua min zu di yao lan wu qian nian di gu guo wen
∑ ∑ œ
& œ œ œ œ
Pno. 1
? ∑ ∑ ∑
3 3 3
& œœ œ œœ œ œœ œ œœ œ œœ
3 3 3 3 3 3
œœ œ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ œ # œœ œœ œœ
œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œœ œ œœ œ œœ œ # œ œ
Pno. 2
? ˙. ˙ œ
˙. œ
˙. ˙. ˙
, œ. œ œ œ
? œ. œ 2 œ œ œ J œ
57
Bar.
J œ œ œ 4 J
cul - ture you bear wit - ness, and the man - y he -
hua cong ni zhe er fa yuan duo shao ying xiong di
œ œ œ œœ
& œ 42 œ œ œ œ œ ˙ ˙˙
Pno. 1
? ∑ 2 ∑ ∑ ∑
4
3 3
2 œœ œ œœ œ œœ œ
3
4 œœ œ œœ œœ œœœ œœ œœœ œœ œœœ œœ œœ œœ

3 3 3 3 3
& œœ œœ œœ œœ œœ œœ œœ œœ œœ
3
œ œ œ œ œ œœ œ œ œ œ œœ œœœœ
Pno. 2
? ˙. œ
˙. 42 œ œ œ œ
˙
˙
œ œ œ
113
œ œ œ œ œ ˙
? œ œ œ œ œ. œ œ œ
61
Bar.
ro - ic deeds that have un - fold - ed on your shores!

gu shi zai ni di shen bian ban yan
œ œ œ œ ˙
œ . œ œ œœ œ œ œ œ ˙
& ˙ œ. œ œ
Pno. 1
œ œœœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ
? œ œ œ œ œ œ œ œ œ œ œ œ
3 3
3 3 3 3
œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ
3 3 3 3
& œœ œ œœ œœ œœœ œœ œ œ œ œ œ œ œ œœ œ œœ œ œœ # œœ œœœ œœ œœœ œœ œœœ

œ œ œ œ œ
Pno. 2
? ˙ œ œ
3
œ œ œ œ
˙ œ œ œ œ œ œ œœ œ œ ˙
œ œ ˙
[f ] U
œ. , œ œ œ œ , œ- -̇ œ œ
[ q = 82]
œ œ
?
65
œ œ œ œ
Bar. J
Ah! Hwang - huh! You are strong and might - y
U
a huang he ni shi wei da jian qiang
œ ˙ œ œœœ
œ œ œ œ œ œœ ˙ j j
[ q = 82]
˙
& œ ‰ œ ˙ œœ œ- œœ
J -
œœ œœ œœœ œœœ œœœ œœœ œœ U -
? œœ œœ œœ œœ œ œ-
Pno. 1
œ œœœ œ ‰ Œ ∑ Œ œ œ
J
3 3
3 3
U [ q = 82]
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœ ˙
˙
œ Œ
œ
∑
Pno. 2
U
? œ ˙ œ Œ œ œ
˙ œ œ
œ œ ˙ œ œ
˙
114
(piu appassionato)
? ‰ œJ œ œ
70
œ œ œ œ œ œ
Bar. J J
just like a brave and fear - less war -rior, ris - ing a - bove the A - sian
xiang yi ge ju ren chu xian zai ya zhou ping yuan zhi
j j j j
& ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œj ‰ œœ œœ
œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
Pno. 1
œ œ œ œ œ œ ˙
? ‰ œ œ ∑ ∑
J
j
& ∑ ∑ ∑ œ œ œj œ œ œ œ œ
Pno. 2
? ˙ #˙ œ œœ œ
#˙ œ œœ œ œ ˙
˙ œ ˙
œ œœ œ œ œ œ œ œ œ œ œ œ œ
? œ ‰ œ œ
75
Bar.
J
plains, your he - ro - ic bod - y, be - comes a strong de - fense for our
shang yong ni na ying xiong di ti po zhu cheng wo men min zu di
j j
& ‰ œœ œœ ‰ œ
œœ œœ ‰ œj œ œ œ œ œ œ œ
œ- œ- œ-
-
Pno. 1 >œ œ œœ # œœœ œœ œœ
? œœ œœ œ œ œ
∑ ∑ J J J J
& œ œ œœ œ œ œ œ œ ˙˙ ˙˙ #˙
˙
Pno. 2
? œ œ ˙ ˙
œ ˙
œ ˙ ˙ ˙
115
˙ [cresc.] ˙ ˙ œ , [f ]
? 44 œ
79
Bar.
peo - - - ple. Ah,

ping zhang a
œ œ œ # œ œ # œ œ œ #œ œ
œ œ œ œ œ œ œ œ œ œ #œ 4 #œ œ #œ œ nœ
3
& œ 4
3 6 7
3 3
[cresc.]
œ œ œ œ œ œ œ œ œ œ œ #œ
Pno. 1
? 44 # œ œ œ œ œ # œ œ # œ œ œ # œ œ n œ
6
3 3 3 3
& œ #œ
7
4
& œ œœœ œ œ œœœ œ 4 # œœ œœ œœ œœ n œœ œœ
œ œ œ œœ œœ # œœ œœ œœ œœ œœ # œœ œœ œœ œœ n œœ œœ
Pno. 2 [cresc.]
? œ œ ˙ 4 ˙ œ
œ œ ˙ 4 œ œ
˙
œ
[broadly, expansive]
(andantino)
˙ œ œ œ œ ˙. ,
? œ
82
Bar.
Hwang - - - huh! Your

huang he ni
œ œœ œ œ œœ œ œ œœ œ œ
œœ œœœ œœ œ œœ œœœ œœ # œœœ œœ œ œœ œœœ œœœ œœœ œœ œ œœ œœœ œœœ œœœ œœ œœ œœ œ
& œ #œ œ
3 3
3 3 3
3 3
Pno. 1 3 3 3
œ œœ œ
3 3 3
& œœ œœœ œœœ œœ œœœ œœœ œœ # œœœ œœœ œœ œœœ œœ œ œ œœ œ

3 3 3
œ œœ œœœ œ
œœœ œœ œ œ œœ œœœ œœ œ œ œœ œ
œ #œ œ
˙ œ œ œ œ ˙.
˙ œ œ œ œ
& œ ˙. œ
Pno. 2
? ˙ ˙ ˙. œ
˙ ˙ ˙. œ
116
œ œ œ ˙ ˙ ,
? œ œ œ œ. œ œ 3
84
Bar. 4
might - y arms ex - tend far and wide
yi xie wan zhang hao hao
# œœ œœœ œœœ œœ œ œ œœœ œœ œ œ œœ œœœ œœœ œœœ œœ œ

œ
& # œœ œ
œ œ
œ œœ œœ œœ œ œ œœ œœ œ œ œœ œœœ œœœ œœ œœœ œœœ 43
œ œ
3
3 3 3 3
3
Pno. 1 3 3 3
œ
œœ œœœ œœ œ 43
3 3 3
œ œ œ œ
3
œ
3
# œœ œœœ œœ œœ œ
3 3
& œ œœ œœ œœ œ œ œœ œœ œ œœ œœ œ
œ
# œœ œ œ œœ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ
œ œ
& œ œ œ œ œ œ ˙˙ œ.
œ.
œ œ ˙
43
œ œ
Pno. 2
? #˙ ˙ ˙ ˙ 3
#˙ ˙ ˙ 4
˙
[ q = 92]
œ œ ˙ œ
24 œ œ œ œ œ
piu mosso
? 43 œ œ
43 44
86
Bar.
reach-ing out to the ho - ri - zon, like a

dang dang xiang nan bei liang an shen chu
# œœ œœœ œœœ œœ œ œœœ œœ œ 2 œj

[ q = 92]
3 œ
& 4 # œœ œ œ œœ œ œœ 4 œœ ‰ Œ 43 ∑ 44
œ
3 3 3
2 j ‰?œ œ œ œ
Pno. 1
œ œ
3 3 3
3 œœ œœ œœ 3 4
& 4 œ # œœ œ œ œœ œ œ œœ œ 4 œ 4 4
# œœ œ œ œœ œ œœ œ
œ œ ˙ [ q = 92]
3 œ œ ˙ 2 3 4
&4 4 ˙ 4 ˙ œ œ 4
˙ ˙
Pno. 2
?3 œ 2 3 ˙ œ 4
4 œ bœ 4 ˙ 4 ˙ œ 4
œ œ bœ ˙
117
œ œ œ , œ œ œ œ œ œ
? 44 œ. œ œ ˙ œ œ œ
89
Bar. J J
thou - sand strips of i - ron, you nur - ture our peo - ple's spir - it,
qian wan tiao tie di bi bang wo men min zu di wei da jing shen
j j
& 44 ∑ Ó. œ œ œ œ œ œ œ œ œ
Pno. 1
œ œ œ
? 44 œ. œ œ ˙
Œ ∑
& 44 #˙ œ œ
˙ œ œ œ œ œœ˙ ˙ œœ œœ ˙ ˙ œ
Pno. 2
? 44 ˙ œ #œ œ œ œ œ œ œ œ œ œ
˙ œ #œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ [rit.] œ œ
? ‰ œj œ œ œ . œ œ œ œ ˙. œ
a tempo
œ
92
œ
Bar. J J
and help us to grow strong and might - y! Our
jiang yao zai ni di bao yu xia fa yang zi zhang wo men
œ œ . j œ œ œ œ
& ‰ œ œ œ œ. œ œ œ œ œ ˙. œ œ
Pno. 1 [rit.] a tempo
? ∑ ∑ Ó &œ
œ œ
& œ œ œ œ œœ œ ˙
œ œ bœ œ œ œœ œœ ˙ # ˙ ˙ œ
œ œœ œœ
Pno. 2 a tempo
[rit.]
? œ ˙ ˙ œ œ œ
œ œ œ ˙ œ œ œ
œ œ
118
? œJ œ œ œ œ
95
Bar.
J
sons and daugh - - - - - ters will learn from your ex -
œ œ œ œ œ
zu guo di ying xiong er nü jiang yao xue xi ni di bang
œœ œœœ # œœœ œœ œœœ œœœ œ œ œ œ œœ

& œœJ œ
œœ œ œ œ œ ‰ œœ œ œ œ œ œ œ
J
Pno. 1
j j j
& œœj œœ j
œœ œœœ #œ œœœ .. œœœ œœ œœ œœ
œ œ .. œ œœ œœ œœ
& œj œ j j j j
œ œ œœ œ œ œ œ œ œ. œ œœ œœ œœ
#œ œ. œ
Pno. 2
?
œ œ œ œ ˙ ˙
œ œ œ œ ˙ ˙
,œ œ , œ ,œ œ
? œ ˙
œ œ œ œJ œ .
œœ œ ˙
97
Bar.
J J
am - ple, to be might - y, ma - jest - ic, strong and free, to be
yang xiang ni yi yang di wei da jian qiang xiang ni
˙˙ .. ww œœ ˙˙ ..
˙. ww œœ ˙˙ ..
& ˙. Œ
Pno. 1
& ˙˙˙ ... Œ ‰ œ œ ˙˙˙ ...

˙.
œ
œ œ œ œ œœ œœœ œœœ ˙.
& w w w w œ œ ˙. ˙.
Pno. 2
? œ. œ œ œ œ œ Œ œ œ œ œ œ
œ œ ˙. œ. œ œ œ œ œ
œ. J œ œ œ ˙. œ. J
119
Uœ
œ œ w , œ œ œ
? œ œ œ
100
Bar.
J J
might - y, ma - jest - - - ic, strong and
U
yi yang di wei da jian
˙˙ œœ œœ œœ œœ œœœ œœ œœ
˙ œœ œœ œœ œ œœ œœœ œœ œœ œœœ œœ œœ œœ
& ˙ œœœ œœœ œœ œ œœ œœ œ œ
œ
Pno. 1
U
& ‰ œ œ œ œœ œœ ww œœœ œœ
œœ
œœœ œœ
œ œ w œ œ œœ
U œ
œœ œœœ œœ
œœ œœ œœ
œœ
œœœ œ œœ
œ œœ œœ
œœœ
œ
œœ œ œœ œœœ
& ˙ ˙ œ œ œ œ œœ œœ œœ œ
Pno. 2
? œ U
œ œ œ w w
œ œ œ œ w w
? w w œ
J ‰ Œ
103
Bar. Ó
free.
qiang
œ œœœ .. œœœ œœœ œœ ww œœ

œ œ w œ ‰ Œ
& œ . J Ó
j
Pno. 1
& œœœ œœœ ... œœœ œœ œœ ww œœ ‰ Œ Ó

œœ œœ w œ
œ œ. œ
w w œ
w w œœ ‰ Œ
& w w
J Ó
Pno. 2
? j
w w œ ‰ Œ Ó
w w
3. Yellow River's Water from Heaven Descends 120
(Poetry with Musical Accompaniment)
NARRATOR: Yellow River! We want to become as mighty and strong as you!

Here, before you, we offer a poem, confiding in you the catastrophes suffered by our people.
Ÿ Ÿ [improvisatory feel, ad lib.] U U U

Tempo a piacere
# œ œ œ œ œUœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŸœ œ œ Ÿœœ œ œ Ÿœ

U
Piano 1 & œ œ œ œ
3 3
[start slow, then speed up the pattern]
Yellow River's water, descended from heaven - sweeping, surging forward;

U
Ÿ
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ 3 3
Pno. 1 & œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
The river is China's major artery, rapidly circulating the people's lifeblood throughout the land.
#
&
# œ# œœ
œ œ
3 3 3 3 3
œœœ œœœ
Pno. 1
œ # œœœ
œ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
The moon rises over the mountains east, its silver beams on the river glimmer like snow.
#
&
3 3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno. 1
The red sun shines high, its golden rays burst open from the surface of the water.
# Ÿ Ÿ Ÿ
& œ œ œœ œœœœœœœœœœœœœœœœœœœœœœœœ
Pno. 1 #œ œ œ œ œ œ œ œ œœ œ
121
The river shakes, and leaps, like a flying dragon, traversing ten thousand miles each day,
emptying into the vast eastern sea. From Hukou to Longmen, strange battle formations
are displayed in the sky; people do not dare lean close to the riverside;
even a poisonous dragon does not dare dwell on the river bottom.
UŸ [ q = 116]
animato Ÿ Ÿ
# œ œ
j
œ œœ 2
poco
.
& æ œ. œ œ œ . œœ 4 . œ
œ œ œ œ
j œ
œ œœ œœ œ œ œ œ
˙ œ . œ. œœœœ
?# ∑ 2 j œ œ j œ œ œ œ jœ œ œ œ œ œ
Pno. 1
∑ 4 .. œ œ œJ œ œ œ œ œJ œ J
# [ q = 116]
& ∑ ∑ 42 .. ∑ ∑ ∑ ∑ ∑ ∑
?# ∑ 42 .. ˙ ˙ ˙ ˙ ˙ ˙
Pno. 2
∑ ˙ ˙ ˙ ˙ ˙ ˙
From ten miles away, see the think plumes of smoke rising upwards, as from a large blazing fire,
blanketing the entire sky; this cauldron brings our lifeblood to a rolling boil; in fact, when the
cold air closes in, your whole body trembles. The river groans and quakes, emitting the power
of a billion horses, shaking the earth's crust and dispersing the dark clouds in the sky.
[first time P , second time p ]
# Ÿ Ÿ j Ÿ
. .
8 1. 2.
& œœ œ . œ œœ .
œ nœ œ œ. nœ œ n œ œ œ . œœ
œ œ œn œ œ œ œ n œ
œ œ. œœœœ œ
? # jœ œ œ œ œ œ .. ∑ .. j j œ œ jœ œj œ œ œ œ jœ œj œ œ œ œ
Pno. 1
œ J œœ œ œ œ œ œ
# .. ..
1. 2.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?# ˙ ˙
Pno. 2
.. ∑ .. ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
122
Ah, Yellow River! The king of rivers! When enraged, it is a mad wild beast,
[broadly, q = ca.60]
nœ œ œ œ œ
poco sustenuto
# Ÿ œ œ
.. œ œ œ œœœ
17 1. 2.
& œ œn œ œ ˙ œnœ œ
œ œ œ œ
œœ
Pno. 1 [cresc.] [rall.]
œ œ œœœœ
6
œœ
6
? # j j œ œ .. œ n œ œ œ œ œ ∑ œ
œœ œ œ œ œ œœœ
# œ œ œ œ nœ œ œ œ œœœ ... œ œ
.. œ œ
1. 2.
& ∑ ∑ œ œ œ.
œn œ œ œ nœ œ œ œ œ œ
Pno. 2 [cresc.] [rall.]
?# ˙ ˙ .. ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙
worse than ten million poisonous pythons; making waves, stirring storms,
wrecking the people's embankment;
# œœ
œœœ œœœ
24
& œœœ œ œ
œ sim.
œœ œœ œœ œœ
6
œœœ œœ œœ œœ œœ
Pno. 1
?# œ œ œ œœœ œ œœ
6
œ
œ œ œœ œ
j œœ œ
# œ. œ œ œ œ.
j
œ œ. œ œ œœ œ œ œ œ œœ œ
& œ. œ œ œ œ œ œœ
œ. œ œ.
Pno. 2
˙˙ œœ œ
?# ˙ ˙˙ ˙ œ œœ
˙˙
˙
123
therefore, on both shores of the Yellow River, terrible calamities took place.
# œ œ œœ
œ œœ œ
28
& œ œœ œ œ œ œ œ œœ œ # œ œ œœ œ œœ
œ œœ
œ
œ œ œ œœ œœ # œ œ œœ n œ œ œ
Pno. 1
?# œ œ
œ œ
œ. œ œ. œœ œ œ
# œ. œ œ œ. œœ œ œ.
& œ. œ œ. J œ. œ
J J
Pno. 2
? # ˙˙˙ ˙˙ ˙ n ˙˙
˙ ˙ # ˙˙˙ n˙
The river devoured people on both shores, it leveled over hundreds of villages,
# # œ œœ œ œœ œ œ œ œ œ # œ œœ œ œ
32
œ œ œ œ
&
#œ œ œœ œ œ œ œ œ œ œœ œ œ œ
? # œœ œ œœ œ#œ œ œœ œœ
Pno. 1
# œ. œ œ. œœ œ œ.
& œ. œ œ. œœ œ
œ. œ œ œ. œœ œ
J
Pno. 2
? # # ˙˙ œœ œœ ‰ ˙
˙˙ œœ œœ œ.
# œœœ ... ˙
124
causing tens of thousands of fellow countrymen to be exiled into an unfamiliar land, old and young
36
# œ œ
& œ œœ œ œ œ œ œœ œ œ œ œœ œœ œœœ œ œ
? # œœœ œœ œœ œœ œœ œ œœœ œ œœ
Pno. 1
# j œ
& j œ. œ œ . œœ œ œ œ œ œ . œ
J
œ. œ
?# ˙
Pno. 2
˙ œ œ ˙
˙ œ
˙ œ ˙
struggling on the brink of starvation, hanging on the verge of death.
40
# œ œ
& œœ œ œ œ#œ œ œœ œ œ œœœ
? # œœœ œœ œ œœ œ œœ œ#œ œ œœ
Pno. 1
œ œ œ œ#œ œ œ œœ
œ œ #œœ œ
œ œ
# . œ œ. œ œ œ
& œ J œ. œ
J œ. œ
j
˙
Pno. 2
?# ˙ ˙ ˙
˙ ˙ ˙
˙
125
Today, people on the two shores once again suffer unprecedented calamities:
# U ,
œ
44 poco lento
& œœ œ œ œ œœ J œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ
œœœ œ
? # œ œœ œœ
œ œœœ
Pno. 1
œœœ œœœ œœœ œœœ œœœ œœœ

poco a poco accel.
œ
œ
on Asia's level plains, pirates from the East are letting out murderous fumes of death; starvation
49
# [poco cresc.]
& œ œœ œ œœ œ œœ œ œœ œ œ œ œ œœœ œœœ œœœ œœœ
Pno. 1
œœ
? # œœ
œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
and death are like the cachectic fever, spreading infection on the shores of the Yellow River.
54
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ
? # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœœœœœœœœœ
Pno. 1
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ
Ah, Yellow River! You nurture our people's growth:
#
[ // ]
U poco lento
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ
59
Pno. 1
? # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ
œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œœœ
126
you have seen with your own eyes the calamaties that this ancient nation has suffered for
five thousand years! Since ancient times, numerous bloody battles have unfolded on your shores.
63
# [poco cresc.]
& œ œ œ œœ œ œ œ œ œ œœœ œœœ œœœ

œœœ œ œ œ œ œœ œ œœ
Pno. 1
? # œœ œ œœœ œœœ œœœ œœœ œ œ œ œ

poco a poco accel.
œ
Piles of white bones fill your body, and your surface is stained dark red with blood!
Yet, you have never ruthlessness like that unleashed today; nor have you seen the Yellow Emperor's
sons and grandsons mobilizing the entire country as they do today.
68
#
& œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ
œœœ œ œ œ
Pno. 1
? # œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
73
# . #œ
& œ œ œ œ. œœœœœœœœ œœœœœœœœ œ œœœœœœ
? # œœ œœ œœ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Pno. 1
œ œ œ œ œœœœœœœœ œœœœœœœœ œœœœœœœœ

127
Ah, Yellow River! Scores of guerilla fighters and field units are scattered like stars,
œ œœœ œœ
[tempo primo]
# œ œ œœ
œœ œœœ
[ // ] con moto
& œ#œ œ œ œ œ œ œ œ Œ
77
œ œœ œ
œ œ
œœ œœ œœ
Pno. 1
? # œœ œœœœœœœœœœœœœœ œœ Œ œ œœ œœœ
œ œ œ œ œ œ œ œ œ œœ
œ
# œ œ œ
[tempo primo]
Œ œ ˙ œ ˙
[ // ]
& ∑ œ œ œ
œ ˙ œ ˙
Pno. 2
?# ∑ ∑ ˙ ˙ ˙
˙ ˙ ˙
spread out like chess pieces behind the enemy;
œœœ œ œ œœœ œ œ
82
# œœ œœ œœ œœ
& œœ œœœ œœœ œœ
œœ œ
œœœ œœœ œ œœœ œ
Pno. 1
?# œ œ
œ œ
œ œ
# ˙ œ
& œ œ ˙ œ
œ œ œ ˙
œ œ œ œ œ ˙
Pno. 2
?# ˙ ˙
˙ ˙ ˙ ˙
˙ ˙
128
œœ
œœ œ œœœ œ
# œœ œœœ œœ œ œ œ
86
& œ œœ œ
œ œœ œ œ
œœ œœ
Pno. 1
?# œœ œ œ œœ
œ œœœ œœ œœœ
œ
# œ œ œ
& œ œ ˙ œ œ œ œ œœ ˙
œ œ ˙ œ ˙
Pno. 2
?# ˙ ˙
˙ ˙
˙ ˙ ˙ ˙
œœ
œœ œ œœœ œ
# œœ œœ œ œœ œ œ œ
90
& œ œœ œ
œ œœ œ œ
œœ œ œœ œœ
Pno. 1
?# œœ œ œœ œœœ
œ œ œœ
œ
# ˙ œ
& œ œ ˙ œ
œ œ œ œ œ. œœ
œ œ œ œ œ œ œ.
Pno. 2
?# ˙ ˙ ‰
˙ ˙ ˙ œ.
˙ œ.
129
Ah, Yellow River! You record our people's history through the dynasties; from ancient to present,
œ œœ œ
# œœœ nœ œb œ
œ
œœ
94
& œ
œœ œ nœ bœ œ
œ œ
Pno. 1
?# œ nœ œ œ bœ œ
œœ œ œ
œ œ œœ
#
& œ.
3
nœ œ n˙ bœ. œ œ nœ
œ
Pno. 2
?# ˙ ˙˙ n ˙˙ b ˙˙
˙ ˙
many heroes rose along your banks.
œ #œ œœ œ œœ
#
œ #œœ œœ
œ œœ œ œœœ
97
& œœ œ
#œ œ œœ œœ
œ œœ œœ œ
Pno. 1
?#
œ #œ œ œ
œœ œ œ œœœ
œ œ œ
#
& œ. œ œ œ. nœ œ n˙
3
œ œ œ œ
Pno. 2
? # #˙ ˙ ˙ ˙˙ n ˙˙ ˙˙
˙ ˙ ˙
130
But, never before have you seen four hundred million fellow countrymen united like steel and iron;
hundreds of thousands of heroes spill their blood to defend the country of their forefathers;
#
101 poco lento [poco cresc.]
& œœœ œ œ œ œ œ œœ œœœ œ œ œœ

œœ
œœœ œœœ œœœ
Pno. 1
? # œœ œœ
œœœ œœœ œœœ œœœ œœœ œœœ
poco a poco accel.
œ œ
# œœœ
& œ ‰ Œ ∑ ∑ ∑
J
œ
? # œœœ ‰ Œ
Pno. 2
∑ ∑ ∑
J
the brave and honorable tales of these heroes are like your raging waves -
105
#
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Pno. 1
? # œœ œ œ œ œ œ œ œ
œ œœ œœ œœ œœ œœ œœ œœ
109
# œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
? # œœ œœ œœ œœ
Pno. 1
œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
131
œ
[tempo primo]
# œ œœœ
con moto
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
113
& œ
œœ
œœ
Pno. 1
? # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ œ
œ
˙
[tempo primo]
# œ
con moto
& ∑ ∑ Œ œ ˙
?#
Pno. 2
∑ ∑ Œ œ ˙˙
œ
Ah, Yellow River!

Have you ever heard victory's triumphant songs sung on your shores?
Have you ever seen the iron army of our home country ambush the enemy,
œœ œ œœœ œ
# œœœ œ œœœ
œœœ œ œœ
117
& œœ œ
œ œœ œ œœ
œœœ œ œœ
œœœ œœœ œ
Pno. 1
?#
œ œœœ
œ
œ œ œ œ œ˙ œ ˙
# œ œ œ œ ˙ œ ˙
& œ œ
?# ˙
Pno. 2
˙ ˙ ˙
˙ ˙ ˙ ˙
132
œœ œ œœœ œ
# œœœ œ œœœ
œœœ œ œœ
121
& œœ œ
œ œ œ œœ
œœ œœ œœ
œœ
Pno. 1
?# œœ œœœ œœ
œ œ œœ
œ
œ œ œ œ ˙ œ œ ˙
# œ œ œ œ ˙ ˙
& œ œ
?# ˙
Pno. 2
˙ ˙ ˙
˙ ˙ ˙ ˙
They guard your shores, preventing the enemy from crossing over!
œœ œ œœœ
# œœ œ œ œœ
œœ œœ œœ
œœ
125
& œœ œœ œœ œœ
œœ œœ œœ
œœ
Pno. 1
?# œœ œœœ œœ
œ œ œœ
œ
œ œ œ
œ œ œ œ œœ ˙ œ œ ˙
# œ ˙ œ ˙
& œ
?# ˙
Pno. 2
˙ ˙ ˙
˙ ˙ ˙ ˙
133
Their goal is to bury the ferocious enemy beneath your billowing waves!
œœ œ
# œœ œœ
œ
œœ œ nœ œœ
œœ œ œœ
129
& œœ œœ œœ œn œ
œœ œ œ œœ nœ œ
Pno. 1
?# œœ œ
œœ œ œœ œ
œ
œ œœ
œ œ œ œ œ œ.
# œ œ œ œ œ œ.
& œ œ œ. nœ œ n˙
Pno. 2
?# ˙ ˙ ˙
œ. ‰ ˙ ˙
˙ œ.
Ah, Yellow River! You rush and roar,
œ œ
# b œ œœ œœ
#œ
œœ œ œœ
œœ #œ œœ
133
œ
& bœ œœ œœ œœ
œ œ#œ œ
Pno. 1
?# bœ œ œ œ œœ
œ œ #œ œœ œ
œ
œ
œ
œ œœ
#
œ. œ œ œ.
3
& bœ. œ nœ œ n˙
œ œ nœ
Pno. 2
?# ˙ ˙ ˙ ˙ ˙ ˙
#˙ ˙
134
angrily ridding the fascists' evil demons, singing their burial song!
[rall.]
œ œ œ œœ
œœ œ œ œœœ
[a tempo]
137
# œ œ œ œ œ
& œ œœ œ œœ œ œœ œœ
œ
œ œ œ œœ
Pno. 1
?# œ œ œ
œœ œ œœ œ œœ œœ
œ
œ œ œ
[a tempo]
[rall.]
œ ˙ œ
# ˙ œ œ œ œ
& œ œ
3
œ- œ œ- œ
-3
?# œ œ
Pno. 2
œ œ œ œœ œ ˙
˙
˙
˙
œ- œ- œ- œ
Your deafening roar travels across our homeland's plains
œ œœ œ œœœ
# œ œœ œœ
œœ œœ œ œœ
141
& œœ œ œœ
œ œœ
œ
œœ œœ
Pno. 1
?#
œœœ œœœ œœœ œ œœœ
œ
œ œ
˙ œ œ ˙ œ œ œ œ
# ˙ œ ˙ œ œ œ œ
& œ
?#
Pno. 2
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
135
a triumphant song to honor our people's great victory!
œ œœ œ œœ
# œ œœ œœ
œœ œ œ œ œœœ
145
& œœ œ œ œœ œœ
œ
œœ œœ
œœ œœœ
Pno. 1
?# œ œœ
œœ œ œ œœ œ
œ œ œ œœ
˙ œ
# ˙ œ œ
˙ œ
œ œ œ
œ
& ˙ œ œ
?#
Pno. 2
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
Roar out loud, across our homeland's plains,
œ œ œœœ œ œ œœœ
149
& œœ œœ œœœ œœœ
œœ œœ
œœœ œœœ œ œœ
Pno. 1
?#
œœœ œœ
œ œ
˙ œ œ ˙ œ œ œ œœ
# ˙ œ ˙ œ œ œ œœ
& œ
?#
Pno. 2
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
136
the triumphant song to honor our people's great victory!
œ œ œœœ œ œ œœœ
153
& œœ œœ œœœ œœœ
œœ œœ
œœœ œœœ œ œœœ
Pno. 1
?#
œœœ œ
œ œ
˙ œ
# ˙ œ œ ˙ œ œ
& ˙ œ œ œ
?#
Pno. 2
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
œ œœ œ
157
# œ œ œ œœœ œœœ
& œ œœ œ
œœ œ œœ
œ œœ œ
Pno. 1
?# œ œ
œ œœ œœ
œ œœ
˙ œ œ ˙
# ˙ œ ˙
& œ
?# ˙
Pno. 2
˙ ˙
˙ ˙ ˙
137
˙ ˙˙ >œœ
œ œ ˙˙˙ ˙˙ œœ
# œ
œ œ J ‰ Œ
160
& œ œ
˙˙ ˙˙ >œœ
œ ˙ ˙ œ
Pno. 1
?# œ œ J ‰ Œ
œ œ
˙ ˙ >œ
˙ ˙ ˙ œ
# ˙ J ‰ Œ
&
Pno. 2
?# j
˙ ˙ ˙ œ ‰ Œ
˙ ˙ ˙ œ
>
138
3. Yellow River's Water From Heaven Descends
(Original Version with Sanxian Accompaniment)
Moderato œ œ œ
~~ ~ ~ ~
~~ ~ ~ ~
~~~~~
piu mosso
?# 2 œœ œ Œ œœ œ Œ œœ œ œ œœœœ œ œ ‰ œœ œœœœœ
4 J œ‰ œ‰ œ‰ œ
J J J 3 3
9 3
? # œœœœœœ œœœœœœ œ Œ œœ œœŒ œœ œœŒ œœœœ œœ œœœœ œ œ
œ œœœ œœ
3 3 3 3 3 3
3
œ œ œ œ
~~
~ ~ ~~ ~
~~~~
~~~~
17 3
œœœ œ œ œœ œ œ œœ œ œ U œœ œ Œ œ Œ
?# œ œ‰ œ‰ œ œ Œ
~~
~~
œ œ J J J J œ
3
ad lib
œ œ œ œ
~~ ~ ~ ~
~~~
~~~~
~~~~
27
œœ œ Œ œ Œ
?# œ‰ œ‰ œ ‰ œ œ œ œ œœœœœœœœ œ Œ œ‰ Œ
J J J J œ
f ƒ
37
?# œœ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œœ ˙ œœ œ œ œ œ œ. œ
J J œ œ œ œœ œ J
piu mosso
46
? # œ . œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œœ œœœœ œœ œ œœœœ
œ
56
?# œœœœ œ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœ œ œœœœ
œ œœ œœœ œ
66 3 3
? # œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œœ œœŒ œœœ œ
œ œ ˙
3 3
˙
75 3 piu lento
œœ œœŒ œœ œœŒ œœ œœœœ œ œœœœ ˙ œœ œœŒ œœ œœŒ
?# œ œœ ˙
˙
3 3
3
139
œ œ œ œ
~~~~~
~~~~~~
~~~~~
~~~~~
84 piu mosso
U œœœœœœ
?# œ‰ œ‰ œ‰ œ‰ ˙ ˙ ˙ œ œ ˙ ˙
J J J J 3 3
œ œ œ
~~~~~
~~~~~
~~~~~
95
? # œœœœœœ œœœœœœ œœœœœœ œ‰ œ‰ œ‰ Œ
œœ œ Œ œœ œ Œ
3 3 3 3 3 3
J J J œ
œ œ
~~~~~
~~~~~
œœœ œ œœœ >> >> œ œ œ œ œ œ œ œ œJ ‰
104
œ œ œ œ œJ ‰ Œ œœ Œ œœ
œœ
?# œ‰ œ‰ Œ
J J œ
œ œ
~~~~~~
~~~~~~
? # Œ >œ >œ Œ >œ >œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ >> >>
113
J œ‰ œœŒ œ‰ œœŒ
J J J
122 piu mosso

? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ
œ
130
? # œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ Œ
œ
œ œ
~~~~~~
~~~~~
139 piu allegro

?# œ‰ Œ œ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ
J œ J œ
148
? # >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
156
? # œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœœœ ˙ >>
Œ œœ
Lento
a b
165 œ œ œ
? # œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . Jœ œ œ œ œ
140
a
174 œ œ œ œ œœ œœ œ œœ
? # œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ. œ
œ œ œ. J
piu mosso
183 œ œ œ
? # œœœœœœœœ œœœœœ œ œœœ œœœœ œ œ œ œ œœœ œœœœ œ œ œ ‰ œœœ œœœœ
J
œ œ œ œ œ
~~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
œœœœœœœœ
190
?# œœœ‰ œœœ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œœŒ
J J J J J J J
œ
~~~~~~
œ œœ œ œ œœ œ œ œ œ œœœœœ œœ œ œ œ. œ
199
?# œ‰ œœŒ œœŒ œœœœ œœ
J
œ œ Allegro
œ piu mosso
~~~~~~
~~~~~~
~~~~~~
207
>œ >
?# œ‰ œ‰ œ‰ œ œœœœœ œ
œœœœœœ œœœ œœ œ‰
U
Œ Œ œ
œ J J J 3
J œ
3 3 3 3 3
216 œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
? # œ œ œ œ œ. œ œ œ œ œ . œ œœœ œ œœœ œ
225 œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ
?# œ œ œ œœœœ ‰ œœ
œ ‰œ œ œ ‰ Œ œ œœœœ ‰
J J J œ J
œ œ œ œ œœ œœœœ œœœœ
? # œ œ œ œ œ œ œ œ œ œ œ . œJ
233
œœ œœœœ œœœœ
œ œ
œ œœœ œ œ œ œ œ œœœœœ œ œ œ œ œ >œ > œ œ œ œ œ
~~~~
~~~~
242
?# U
œ‰ œ ‰ j‰ Œ œ
~~
~~
J J œ
œ œ. œ œ
251
? # œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œœ œ œ œ œ œœ
œœ œ œ œ œ œœ
141
piu mosso
259 œœ œ œ œ œ œ œ œ œ U̇
?# œ œ œœ œ > œ > œ >œ œ >œ œ > œ > œ > œ > œ œ œ œ œ
œ œ œ œ œ œ
piu allegro
268
? # œ œ œ œ œ œœœ œœ œ œ Œ > œ > œ >œ œ >œ œ >œ œ >œ œ > œ > œ >œ œ >œ œ > œ > œ
œ œ œ œ œ œ
~~~~~
> > >
? # >œ œ >œ œ œ œ œ œ >œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ
277
œ‰ œœŒ Œ
˙ J œ
? # Œ >œ >œ
287
œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ. œ œ œ
œ œ J‰ œ
˙
œ œ
~~~~~
~~~~~
296
?# œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœœ œœœœœœœ
œ‰ œ‰ œ œ
J J 3 3 3 3 3 3 3 3
accel. c c'
304 œ œ œ œ œ œœ œ œ œ œ œœœ œ œ œœœœœ
? # œœœ œœœœ œ œ œ œ
œ œ œ œ
Prestissimo œ œ
œœœœœ œ œ
~~~~~
œ œœœœ œ U ~~~~~~ U
313
?# œ œ œ œ œ œ œ œ œ‰ œ‰
œ ˙
~
J J ˙
142
4. Yellow Water Ballad
(Chorus)
NARRATOR: We are the sons and daughters of the Yellow River, who arduously strive toward
victory with each passing day!
œ. œ œ œ
(largo espressivo)
b 2 ˙ ˙ ˙ ˙ ˙
œ. œ œ œ
Andante [q = ca.60]
b
& b 4 ˙ ˙ ˙ ˙ ˙
Piano 1
π p
? b 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb 4
œ. œ œ œ
b 2 [French horn solo]
œ. œ œ œ
&bb 4 ∑ ‰ j œœ œœœ œ œ
œ œœ œ ˙ J
p p
˙˙ ˙
b ˙˙
Piano 2
? b 2 ∑ ∑ ∑ ∑ ∑ ˙
bb 4
But each day that the enemy lives, is one more day that we cannot rest.
If you doubt this, then listen to the painful groans of the multitudes on the river to the east.
œ. œ œ œ œ
œ. œ ˙ ˙ n˙ nœ œ ˙ ˙
bb œ œ œ ˙ nœ œ
8
& b ˙ n˙
œ œ œ œ œ ˙
Pno. 1
? b ∑ ∑ ∑ ∑ b ˙˙
bb
œ. œ œ œ œ
b œ. œ œ œ œ œ
&bb J œ œ œ œ œ œ œ j
œ. œ œ œ œ. œ
œ œ J
˙ ˙ n ˙˙˙ œœœ œœ
Pno. 2
? b ˙˙
n # n ˙˙ ˙˙ ˙˙
bb ∑
143
F
[a tempo]
bb
15 Moderato [rall.]
S & b ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ
Yel - low
F
huang shui
& b bb ∑ ∑ ∑ ∑ ∑ ∑ œ
A
œ œ
Yel - low
œœœ
huang shui
U˙
b œ œœ œ œ œ œœ œœœœ ˙ œœ
[a tempo]
œœ œœ
&bb ˙
15
U F P œ œœ
˙
[rall.]
œ œ
Pno. 1
? b b ˙˙ œ œœ œ
œ œœ œ œœ ‰ œ œ
œœœœ ˙
?
b & J
b b U U gg ˙˙˙ ggg ˙˙˙˙ ggg ˙˙˙˙ ggg˙˙˙˙ ggg ˙˙˙

[a tempo]
& b g˙ ≈ œ œœ
œ œ gggg gg
gg ggg gg
gg
ggg ˙ œœœ œ
gg ggg ggg ggg ggg P
U gggg ˙˙ ggg ˙˙ gg ˙ [rall.]
gg ˙˙ ggg ˙˙ ggg ˙
Pno. 2
? b Œ g˙ gg ˙˙ gg ˙ g˙ ggg ˙˙
bb œ ˙ g˙ ˙
˙
144
b œ œœœ œ j
22
S b
& b œ œ œ œ. œ œ. œ œ œœ œ
wa - ters rush to the east for ten thou - sand
ben liu xiang dong fang he liu wan li
b j
A &bb œ œœœ œ œ œ œ œ. œ œ. œ œ œœ œ
wa - ters rush to the east for ten thou - sand
œ œœ œœ œ œ
ben liu xiang dong fang he liu wan li
b œ œ œ œœ œ œœ œ. œ œ. œ œ œ œ
œ œ
22
& b b J
Pno. 1
œœ œœ œœ œœ œœ œœ œœ œœ
? bb ‰ œ
b
œ
J ‰ œ œ
J ‰ œ J
œ ‰ œ œ
J
b œ
&bb ≈ œ œ ≈ œ œ œœ ≈ œœœœœ ≈ œ œœ œ
œ œœ œ œœ œ
œœ œœ
œ
Pno. 2
? b ˙ ˙ ˙ œ
bb ˙ ˙ œ œ
˙ œ
145
26
b , j
&bb œ. œ
˙ ˙ œ œ œ
S
miles. Wa - ters swift, and
b
chang
, shui you ji
&bb j
A
˙ ˙ œ œ œ œ. œ
miles. Wa - ters swift, and

chang shui you ji
b œ. œœœœœ œ. œ
œ œ
26
&bb ˙ œ J
œ œœ œœ œœ œœ œœ œœ œœ
? b ‰ œœ
Pno. 1
bb J
œ ‰ œ J
œ ‰ œ œ
J ‰ œ œ
J
b
&bb ≈ œœœœœœ ≈ œœœœœœ ≈ œœœœœœ ≈ œ œœœœ
œ œ œ œ œ
œ œ ˙
Pno. 2
? b œ ˙
bb ˙ œ œ œ ˙ ˙
˙
146
30
b œ œ œ œ œ œ œ œ œ œ œ
S &bb œ ˙
waves surge high, threat' - ning like a
lang you gao ben teng jiao xiao
b œ
A &bb œ œ œ ˙ œ œ œ
waves surge high, threat' - ning like a
lang you gao ben teng jiao xiao
œ œ œ œ ˙˙ œœ œ œœ œ œœ œ œ œ
30
bb œ œ œ œ
& b
œ œ œ œ
Pno. 1
? b ‰
bb J ‰ J ‰ J ‰ J ‰ Jœ ‰ Jœ
b œ
&bb ≈ œ ≈ œ ≈œœ ≈œœœ ≈ œœ≈ œœ
œ œ œ œ œœ œœœœ œ
œ œ œ
Pno. 2
? b ˙ ˙ œ œ œ œ œ
bb ˙ ˙ œ œ œ œ œ
147
b
34
S &bb œ œ œ œ ˙ ∑ ∑
ti - ger's cry.
b
ru hu lang
&bb œ ˙ ∑ ∑
œ
A
ti - ger's cry.
œœ œ
ru hu lang
œ. ˙
34
b œ. œ œœ œ ˙ œ. œœ œ ˙
&bb
Pno. 1
? bb ‰ œ œ
J ‰ œ œ ‰ J ‰ J
b J &
b
&bb ≈ œ œ œ ≈ œ ≈ œœœœœ ≈ œ œœ
œ œ œ œ œœ œœ œ œ
œœ œœœ œ
Pno. 2
? b œ œ ˙ ˙
bb œ ˙ ˙
œ ˙ ˙
148
b
œœ œœ œ
38
S & b b œ. œ œ. œœ œ ˙
Mass - ive em - bank - ments o - pen ca - nals,
b
kai he qu zhu di fang
A & b b œ. œœ œœ œ œ œ. œœ œ ˙
Mass - ive em - bank - ments o - pen ca - nals,
kai he qu zhu di fang
œœœ
38
bb ≈ œœœœ œœœœœœœ œ œœœœœ œœœ œ
œ œœ
& b ≈ ≈œ ≈
Pno. 1
b œ œ
&bb ≈ œœœœœœ ≈ œœœœœœ ≈ œœ œœœœ ≈œœœœœœœ
œ
b
&bb ∑
œ. œœœœ œ. œœ œ
˙
[melody in celli]
œœ œœ ˙
Pno. 2
? b œ. œ. œœ œ ˙
bb œ œ
Œ œ Œ Œ œ Œ
149
f
bb œ . œ œ œ œ ˙
42
& b œ œ œ œ
S
J
to the east lies lev - el soil,
b f
he dong qian li cheng ping rang
b j
A & b œ. œ œ œ œ œ œ ˙
to the east lies lev - el soil,
he dong qian li cheng ping rang
œœœ œ
œ œ œ œœ œ œ œ
b œ œ
&bb ≈œœœ œ ≈ œ œ œ œ œ ‰ œ œ œœœ
42
Pno. 1
b œ
&bb ≈ œ œ œ œ œœœœœœ ≈ œœœ ‰
œœœ
œœœ œ œ œ œ œ œ œ œ
b j
& b b œ. œ œ œ œ œ œ ˙
j
œ. œ œ œ œ ˙
Pno. 2
? bb œ œ œ œ
b œ Œ œ Œ œ œ Œ
œ
150
œ œœœ œ ˙
[cresc.]
b œ œ œ
46
S &bb œ œ œ œ
fer - tile for sprout-ing wheat and flow - ers of soy,

mai miao er fei a dou hua xiang
b œœ œœ
A &bb œ œ œ œ œ œœ œœ œœ n ˙˙
fer - tile for sprout-ing wheat and flow - ers of soy,
œ œ
mai miao er fei a dou hua xiang
œ œ œ œ
œ œ œ œ œ œ œœœ œ ˙
46
b œ œ œœœ œ ˙
&bb
Pno. 1
p
b ˙ ˙ ˙˙
&bb ˙ ˙ n ˙˙
b
& b b ≈ œœ œ œœ ≈ œ œ œ œœ ≈ œœœœœ ≈ œ nœ œ œ
œ
œ œ œ
Pno. 2 pœœ œ œ nœ
? b ˙ ˙
bb œ œ ˙
˙ ˙ œ œ ˙
151
˙ ,
bb œ
[U] [dim.]
œ. œ œ œ œ œ
50
S & b J œ ˙
all our folk in you re - joice.
,
nan nü lao shao xi yang yang
b
& b b ˙˙ œ. œ
[U]
J œ œ œ ˙
œ œ œ
A
all our folk in you re - joice.

nan nü lao shao xi yang yang
œ. œ œ œ
[U]
œ œ œ œ œ œ
œ. . œ
bb J ˙
50
& b
[dim.]
œ œ œ
Pno. 1
b œ
& b b œœ .. œ œ œ œ
[U]
Œ œ ∑
b gg ˙˙ œœœœ ≈ œœœœœ ≈ œœœœœœ ≈

[U]
b
& b gg n ˙˙ ≈
œ œ œ œ œ œœœ
g œ œ œœ œ
Pno. 2 [dim.]
? b [U]
Œ œ Œ Œ œ Œ
bb ˙ œ œ
œ œ œ
˙ œ
152
[e = ca.80]
Adagio (adagio non molto)
b 4
55
S &bb œ Œ ∑ ∑ ∑ ∑ 4 ∑
b 4
A &bb œ Œ ∑ ∑ ∑ ∑ 4 ∑
f
b 44 j
T Vbb ∑ ∑ ∑ ∑ ∑
œ. œ œ œ œ
When the vil - lians
f
zi cong gui zi
? bb ∑ ∑ ∑ ∑ ∑ 44 œ . œ œ œ œ
B b J
When the vil - lians
j
zi cong gui zi
œ œ œ˙ œ œœœœ
bb b ˙˙ . ˙ ˙˙ ˙˙ 4
55 Adagio
& ∑ 4 ∑
[rit.][dim.]
www>
Pno. 1
b 4
& b b ˙˙ ∑ ?
˙˙ ˙ ˙˙ 4
˙
b ˙ 4
& b b gggg ˙˙˙
Adagio
∑ ∑ ∑ ∑ 4
gg ww
ggg w
g F
[rit.] [dim.]
? b b gggg ˙˙
Pno. 2
œ Œ œ Œ œœœœ ˙ 44 w
b ˙ w
153
j >œ >œ > j unis.

61
bb ∑ ∑ œ .. œ œ œ œœ .. œœ œ œ œ
S & b J J
All a - round is des - o -
j
jian yin shao sha yi pian
b j
&bb ∑ ∑ œ. œ nœ œ nœ. œ ˙
> >
A
All a - round is des - o - la -
j >œ >œ
jian yin shao sha yi pian qi
j unis.
œœ .. œœ œ œ œ
T V bbb ˙
j
œ. œ œ œ œ œ ˙ œ .. œJ œ œ J
came, then dis - as - ter reigned! All a - round is des - o -
lai bai xing zao liao yang jian yin shao sha yi pian
? b ˙ œ. œ œ œ œ œ œ . œ # >œ >œ n œ . œ œ # œ
B bb J ˙ J J
came, then dis - as - ter reigned! All a - round is des - o - la -
lai bai xing zao liao yang jian yin shao sha yi pian qi
b
61
&bb ∑ Ó ‰ œœ ˙
˙ n ˙˙ n ˙˙ .. œœ
œ
P S P
>˙˙ ˙˙
Pno. 1
? b b ˙˙˙ ˙
˙˙
˙ ˙ ∑ ∑
b
b
&bb ˙ ˙ ˙˙ ˙˙ n˙ n ww
˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ w
Pno. 2
? b ˙ #˙ n˙. #œ
bb ˙ ˙ ˙ ˙ ˙ #˙ n˙. #œ
˙ ˙ ˙ ˙
154
, p
bb j œ. œ
65
S & b w œ. œ œ œ J œ œ w
tion. Young and old scat - tered flee-ing death,
b
liang
, p fu laoj xie you si chu tao wang
&bb œ œ œœ j
A
œ œ. œ œ œ œ. œ œ œ œ œ œ œ
œ
tion, des-o - la - tion. Young and old scat - tered flee-ing death, flee-ing death
, p . j
liang qi liang fu lao xie you si chu tao wang tao wang
b n œœ . œœ œœ œ œ. œ œ œ
Vbb w
unis.
T
J J w
liang
, p œ. œ œ œ bœ. œ
fu lao xie you si chu tao wang
? b w J œ w
B bb J œ
liang fu lao xie you si chu tao wang
b
65
& b b wœ œ œ œ œ œœ Œ Ó ˙ œ œ w
œ . œ œ œ b ˙˙˙
Pno. 1
? bb ∑ J œ œ w
b w
b j œ . Jœ
&bb w œ
w n œœ .. œœ œœœ œœ
œ . œ œ w
Pno. 2
? b w œ ˙ w
bb w œ Œ Ó Ó
155
f
[molto rit.] [a tempo]
b Fœ œ. œ œ œ œ œœ 2
œ œ œ œ œ œ
69 (meno mosso)
b ∑
[U]
S & b ˙ 4
Gone are our par - ents, gone are the plac - es we call home!
diu diao le die niang hui bu liao jia xiang
b bF [U]
2 ∑
A & b œ œ. œ œ œ œ œ œ œ œ œ œ ˙ 4
F œ œœ ˙
bbb œ œ œ œ œ œ
[U]
œ. œ œ œ œ n˙ 2 ∑
T V 4
F œ
œ œ œ œ œœ ˙
[U]
? bb œ œ. œ œ œ œ
42 ∑
B b œ œ ˙
>œ >œ
>˙
[U]
œ œœ œ
bb œ
(meno mosso)
n ˙˙ 42 œ œ œ
69
& b ∑
œ œ œ œœ J J
Pno. 1
>œœ >œœ [U]
n >˙˙
? b œ œ 2 œœ œ
[molto rit.]
bb ∑ Ó 4 J J
>œ
bb
(meno mosso)
œœ .. œ œ œ 42 ˙˙
[U]
& b œœ œœ œ œ œ œ œ œ œ œœ œ œœ ˙
œ œ. œ- œœ œœ- œœ œ > n ˙˙
Pno. 2
>
2 ˙˙
[molto rit.]
? b œ œ. œ œ œ œ œ œ
[U]
bb œ œ œ œ ˙ 4 ˙
œ œ . œ- œ œ- œ œ œ œ œ œ œ
> > >˙
156
F
poco piu lento
œ
bb œ œ œ œ œ œ œ œ œ œ
73
S & b ∑ ∑ ∑ ∑
Yel - low wa - ters rush day and
F
huang shui ben liu ri ye
b
&bb ∑ ∑ ∑ ∑ œ œ œ œ œœœ œ œ
œ œ
A
Yel - low wa - ters rush day and

huang shui ben liu ri ye
>œ >œ > >œ œœ

œœœœ œœœœ ˙ ˙ œœ œ œœ œœ œ œ œœ œœ œ œ œ
poco piu lento
b œ œ ˙ œ œ œ œ
&bb œœ œ ˙
73
>> >
œ œ œ œ œ >œ œ ˙˙
[rit.]
œ ˙˙ œ
Pno. 1
? b
bb œœ œ œœ œœ œœ œ œœ œœ œ œ œ
& œ œ œ œ
b ˙
poco piu lento
& b b ˙˙ œœ œœ Œ œœ Œ œœ Œ œœ
œ œ œœœœ ˙ œœ œœ œœ
Pno. 2
>
[rit.]
? b ˙ œ œ ˙ ˙ ˙ ˙ ˙
bb ˙ œ œ
> > ˙ ˙ ˙ ˙ ˙
157
b j œ. œ œ
80
S & b b œ. œ œ œ. œ œ œ œ œ œ œ œ ˙
night while death and des - pair - ing hearts mourn af - ter
mang qi li zi san tian ge yi fang qi li
b j
& b b œ. œ œ œ. œ œ œ œ
œ œ œ ˙
œ. œ œ
A
œ
night while death and des - pair - ing hearts mourn af - ter
mang qi li zi san tian ge yi fang qi li
j
œ œ œ. œ œ œ˙ . œ
80
b œ. œ œ œ œ œ ˙
&bb J
j
Pno. 1
b j œ. œ
& b b œ. œ œ œ. œ œ œ œ œ œ œ ˙ œ
œ.
b œœ
& b b Œ œœ Œ œ
œœ
Œ œœ Œ n œœœ Œ œœ
œœ
Œ œ
œœ
œœ œ
˙
Pno. 2
? b ˙ ˙ ˙ œ œ ˙
bb ˙ ˙ ˙ œ œ ˙ ˙
158
œœœ , [callando] ,
b œ œ œ . œj œ
86
S &bb œ ˙ ˙
∑ ∑
loved ones, fam' lies torn a - part!
b
zi san
, tian ge yi fang
,
&bb œ œœœ œ j ∑ ∑
œ.
A
œ œ œ ˙ ˙
loved ones, fam' lies torn a - part!
zi san tian ge yi fang
œ œ œ j
bb ˙
œ œ˙ . œ œ ˙˙ ˙˙ , œ œ œ œ œ œœ œ
œ œ œ
86
& b ˙ ˙ œ œ Jœ œ
J
œ œ
Pno. 1 [callando]
b œ œ œ. j
&bb œ œ œ œ œ œ œ ˙ ˙ j j œœœ
œ. œ ˙ ˙ ˙ œ œ œ œ
,
b œœ œœ ˙
&bb Œ œ
Œ œœ
œœ
Œ œœ
œœ
Œ œ
œœ œœ
œœ
œœ
˙˙ ˙
œ ˙
˙
Pno. 2 [callando]
? b ˙ ˙ ˙ œ bœ ˙
bb ˙ ˙ ˙ ˙ ˙
˙ œ bœ ˙
œ œ œ œ œ œ œ ˙ U
˙
œ œ œ
b œ œ œ œ œ œ ˙ ˙
93
&bb
U
Pno. 1
b
rit.
&bb œ œ œ œ œ œ œ œ ˙ ˙
U
b œ œœ ˙ ˙
& b b ˙˙ œ ˙˙ ˙˙
Pno. 2 rit.
U
? bb œ œ ˙ ˙
b ˙ ˙ ˙
˙ œ œ
159
5. Musical Dialogue on the River Bank
(Male Duet)
NARRATOR: Families torn apart, wives from husbands, children and parents!
Will we forever be refugees? Listen,* as two villagers dialogue on the Yellow River's bank.
Moderato [q = ca.68]
œ. . œ. œ œ œ œ œ œ. . œ. œ œ œ œ œ
& b 42 œœ .. n œ œœ œ œ œ
œ. œ. œ. œ œ œ œ œ . œ œ œ œ œ œ.
. n œ. . œ. . . œ. œ. œ. œ . . . œ. .
Piano 1 [p] .
? 2 œ. œ œ œ œ. œ œ œ œ œ Œ œ œ
b 4 nœ œ. . œ. œ œ œœ œ œœ œ
œ. . n œ. œ. œ. œ. œœ . . . . .œ
œ. œ. œ.
. .
j œ. œ œ
V b .. œ . n œ œ ‰ œ œ œ œ œ œ œj ‰
7
T1
J œ ‰
Bro ther Zhang, would you please tell me where your hometown is?
zhang lao san wo wen ni ni di jia xiang zai na li
Let me ask, back at home, did you trade or did you sow?
wo wen ni zai jia li zhong tian hai shi zuo sheng yi
T2 V b .. ∑ ∑ ∑ ∑
œ œ œj ‰ œ. œ œ œ œj ‰
& b .. œ . n œ œ ‰ œ œ œ
7
J
Pno. 1
? b .. ∑ ∑ ∑ ∑
*Musical introduction begins after "Listen."

160
11
T1 Vb ∑ ∑ ∑ ∑ ∑
œ. œ j ‰ j œ. œ œ œ
T2 Vb ∑ ∑ œ œ œ œ œ œ ‰
Home for me was Shaan - xi, from the riv - er
wo di jia zai shan xi guo he hai you
Held the hoe, plowed the field, har - vest - ed the
na chu tou geng tian di zhong di gao liang
11
œ. œ j j œ. œ œ œ
&b ∑ ∑ œ ‰ œ œ œ œ œ ‰
Pno. 1
?b ∑ ∑ ∑ ∑ ∑
œ. . œ. œ. œ. œ. œ. œ. .
œ. œ œ œœ œœœ‰
&b œ ∑ ∑ ∑
J
Pno. 2 œ. . œ. œ. œ. œ. œ. œ. j
? œ. œ œ œœ œœœ‰ ∑ ∑ ∑
b œ.
161
[soloists slightly slower]

.. œ . n œ œ ‰ œ œ œj ‰
16
T1 Vb ∑ ∑ ∑
J
Why is it that you bear
..
wei shen me dao ci di
T2 V b œ œ œ œ œj ‰ ∑ ∑ ∑ ∑
three hun-dred li.
san bai li
grains they yield.
he xiao mi
..
16
& b œ œ œ œ œj ‰ ∑ ∑ ∑ ∑
Pno. 1
?b ∑ ∑ ∑ .. ∑ ∑
œ. . œ. œ. œ. œ. œ. œ. œ. j
&b ∑ œ. œ œ œ œ œ œ œ ‰ .. œ . n œ œ œ
œœ œ
.
Pno. 2 .
œ. . œ œ. œ. œ œ œ j ˙ b ˙˙
?b ∑ œ . œ œ œ œ œ œ œœ œ ‰ .. ˙
....œ
.
162
21
b œ. œ œ œ œ œ œ œj ‰ ∑ ∑ ∑
T1 V
sor - row all a - lone out here?
he bian liu lang shou gu qi
œ. œ j
T2 Vb ∑ ∑ ∑ ∑ œ ‰
Please don't ask,
tong xin shi
[a tempo]
21
œ œ œœ œ j
&b ∑ ∑ œ œ œ œ œœ œ œ ‰ ∑
Pno. 1
. . œ
?b ∑ ∑ ∑ ∑ ∑
œ œ œ œ œ œ. œ. j ‰
[a tempo]
&b œ œ œ œ œ œ ˙˙
œ ˙
Pno. 2
œ œœ œœ œ
? œ̇ ∑ ∑ œ
b
163
26
T1 Vb ∑ ∑ ∑ ∑
j œ. œ œ
T2 Vb œ œœ œ œ ‰ œ œ œ œ œ œj ‰ ∑
my heart grieves, home's de - stroyed, I fear the worst.
mo ti qi jia po ren wang wu xiao xi
[a tempo]
œ. œœ œ
26
&b ∑ ∑ ∑
œœ
œ. œ
Pno. 1
?b ∑ ∑ ∑ ∑
œ œ. œ œ œ
[a tempo]
& b œœ œœ ˙ œ œ
œ b ˙˙ œ œ
Pno. 2
œ. œ œ
?b œ œœ œ œ œ œ œœ œ
œ ∑
164
œ. œ
[2nd time rit.]
.. œ . n œ œ ‰ œ œ j œ œ
30
T1 Vb ∑
J œ ‰
Bro - ther Zhang, don't be sad, oh, my fate is
zhang lao san mo shang bei wo di ming yun
Used to trade north of here, fam' - ly's gone at
zai dong bei zuo sheng yi jia xiang ba nian
T2 Vb ∑ .. ∑ ∑ ∑
j œ. œ œ
[2nd time rit.]
& b œ œ œ œ j ‰ .. œ . n œ œ ‰ œ œ œ
30
J œ ‰
œ œ œ œ œœ
Pno. 1
?b ∑ .. ∑ ∑ ∑
& b œ œ œ œ œj ‰ .. œœ
[2nd time rit.]
Œ Œ œœ œœ Œ
œ œ œ
Pno. 2
?b ∑ .. œ Œ Œ œ œ Œ
œ œ œ
165
V b œ œ œ œj ‰
34
T1 ∑ ∑ ∑ ∑
just as bad!
bu ru ni
least eight years.
œ. œ j j
wu xiao xi
T2 Vb ∑ ∑ ∑ œ ‰ œ œœ œ œ ‰
Bro - ther Wang, why is that?
wei shen me wang lao qi
All this said, you and I,
œ . œ œ œ œ œ. œ.
zhe me shuo wo he ni
œ. œ œ œ œ œ œ
& b œ œ œ œj ‰
34
œ œ‰ ∑ ∑
J
Pno. 1 œ. œ
?b ∑ ∑ ∑ œ ‰ œ œ œ œ œJ ‰
J
œ. . œ. œ œ œ œ œ j‰
& b œœ œœ œ. œ œ œ. œ. œ œ. œ œœ Œ Œ
œœ
œ œ . . œ. œ
Pno. 2
?b œ œ œ. œ œ œ œ œ œ j‰ œ Œ Œ œ
œ œ œ. . œ. œ œ. œ. œ œ. œ œ œ
. . œ.
166
2.
1.
..
39
T1 Vb ∑ ∑ ∑ ∑ ∑
[2nd time accel.]
T2 V b œ. œ œ œ œ œœ œ j‰
œ
∑ ∑ .. ∑
Tell me where your home was at?
ni di jia xiang zai he di
Can't be stand - ing id - ly by.
dou shi you jia bu neng hui
œ. œ œ œ œ œ œ œ j
1.
œ. œ œ œ
2.
œ . œ œ œ œ œ œ œ ‰ .. œ . œ œ œ
œ
39
&b ∑ ∑
œ
œ. œ œ
Pno. 1 [2nd time accel.]
? œ œ œœ œ j‰
b œ ∑ ∑ & .. œ Œ
œ
2.
œ . œ œ œ œ œ œ œ j ‰ .. œ
1.
& b œœ Œ œœ œœ œ. . œ. œ œ œ œ œ œ œ
Œ
œ œ œ œ
. . . . . .œ
Pno. 2 [2nd time accel.] .
? Œ œ œ . œ œ œ œ œ œ j ‰ .. œ Œ
b œ œ
œ œ œ œ. . œ. œ œ œ œ œ œœ œ œ
. . . . . .œ
.
167
[q = 132]
œ. œ œ
poco piu animato
.. œ . n œ œ ‰ œ œ j œ
44
T1 Vb ∑
J œ ‰
Ha - tred boils in our hearts, like the Yel - low
chou he hen zai xin li ben teng ru tong
From this day, you and I, broth - ers in a
œ.
wei guo jia dang bing qu tai hang shan shang
.. œ . n œ œ ‰ œ œ j œ œ œ
T2 Vb ∑
J œ ‰
Ha - tred boils in our hearts, like the Yel - low
chou he hen zai xin li ben teng ru tong
From this day, you and I, broth - ers in a
œœœœ j‰
wei guo jia dang bing qu tai hang shan shang
j œ. œ œ
& œ œ œ œ œœ .. œ . n œ œ ‰ œ œ œ
44
b J œ ‰
Pno. 1
j
& b œœ œœ ‰ .. œj ‰ ‰ œj ‰ j
œœ œj ‰
j
œœ ‰ ‰ œœ
j
œœ œœ œ œ œ œ
j œ. œ œ
& b œœœ œ ‰ .. œ . n œ œ ‰
œœ J
œ œ j
œ ‰
œ
j . œj j j œj j j
Pno. 2
?b œ ‰ . œ ‰ ‰ œ ‰ œ œ ‰ œ ‰ ‰ œ
œ œ œ œ œ œ
œ
168
œ. œ j j
V b œ œ œ œj ‰ œ ‰ œ œ œ œ œ ‰ œ. œ œ œ
48
T1
rap - ids charge! We re - solve to fight back, by this Yel - low

huang he shui huang he bian ding zhu yi za men yi tong
com - mon fight! Sol - diers we shall be - come, to de - feat we
œ. œ
da you ji cong jin hou wo he ni yi tong da hui
j j j
T2 Vb œ œ œ œ ‰ œ ‰ œ œ œ œ œ ‰ œ. œ œ œ
rap - ids charge! We re - solve to fight back, by this Yel - low
huang he shui huang he bian ding zhu yi za men yi tong
com - mon fight! Sol - diers we shall be - come, to de - feat we
da you ji cong jin hou wo he ni yi tong da hui
œ. œ j j
& b œ œ œ œj ‰ œ ‰ œ œ œ œ œ ‰ œ. œ œ œ
48
Pno. 1
j j j j j j j?
& b ‰ œœ œœ
j ‰ œœ ‰ ‰ œœ œœ ‰ œ ‰ œ ‰ ‰
œœ œœ œœ
œ œ œ œ œ
j œ. œ j ‰ j
&b œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ. œ œ œ
Pno. 2
j j
? b ‰ œj œ ‰ œ ‰
j
‰ œ œj ‰ j ‰ œj
œ œ œ ‰ œj ‰
œ œ œ œ œ
œ
169
V b œ œ œ œ œj ‰ .. œ .. œ . nœ œ
52 1. 2.
œ œ œ j ‰ ‰
Allegro
T1
œ J
Riv - er pact. won't suc - cumb. Ha - tred boils
da hui qu lao jia qu. chou he hen
From this day,
.. œ .
wei guo jia
œ j
T2 V b œ œ œ œ œj ‰ .. œ œ œ œ j ‰
œ
œ ‰
Riv - er pact. won't suc - cumb. Ha - tred boils
da hui qu lao jia qu. chou he hen
From this day,
wei guo jia
.. .. œ . n œ œJ
1. 2.
S &b ∑ ∑ ‰
Ha - tred boils
chou he hen
From this day,
wei guo jia
A &b ∑ .. ∑ .. œ . n œ œJ ‰
Ha - tred boils
chou he hen
From this day,
.. œ . œ j
wei guo jia
T Vb ∑ .. ∑ œ ‰
Ha - tred boils
chou he hen
From this day,
œ. nœ œ
wei guo jia
? ∑ .. ∑ .. J ‰
B b
Ha - tred boils
chou he hen
From this day,
œ. nœ œ
wei guo jia
& b œ œ œ œ œj ‰ .. œ œ .. œ . n œ œJ
52 1. 2.
œ œ œ ‰
œ œ œ
œ œ j j
? b ‰ œœ œœ ‰ .. ‰ œœ œœ ‰
Pno. 1
J J J J & .. ‰ œœœ ‰ œœœ

œ œ
œ œ œ œ œ nœ œ œ
& b œ œ œ œ œj ‰ .. Œ œ œ .. œ œ
1. 2.
j
j œj ‰ .. ‰ j œj ‰ j
Pno. 2
?b ‰ .. œ ‰ œ ‰
œ œ œ œ œ œ
œ œ
170
j œ. œ œ œ œ j ‰
Vb œ œ œ
55
T1 œ ‰ œ œ
in our hearts, like the Yel - low rap - ids charge!
zai xin li ben teng ru tong huang he shui
you and I, broth - ers in a com - mon fight!
j
dang bing qu tai hang shan shang da you ji
Vb œ œ œ œ œ ‰ œ. œ œ œ œ œœ œ j ‰
œ
T2

œ. œ œ
j œ œ œj ‰
S &b œ œ œ ‰ œ œ
j œ. œ œ œ œ œj ‰
A &b œ œ œ ‰ œ œ
j
œ. œ œ
T Vb œ œ œ œ œ ‰ œ œ œœ œ j ‰
œ
œ œ œ. œ œ
?b œ ‰ œ œ œœ œ j ‰
B J œ
œ œ œ. œ œ œ œ œ
œ œ. œ œ œ
&b œ œ œ œ œ œœœ
55
J ‰ œ œ ‰
J
Pno. 1
j j j
œœœœ ‰ œœœ ‰ œœœ j œœ
&b ‰ œœ ‰ œœ
œ œœ œœ œ œ œœ œœ œœ
œ œ œ œ œ œ œœ œ œ œœ œ œ
œœ œ œ œœ œ œœ
&b
Pno. 2
j j j
? b œj ‰ œ ‰ œ ‰ j j œ ‰
œ œ ‰ œ ‰
œ
œ œ œ œ
171
j œ. œ œ
V b œ. n œ œJ œ œ œ
58
T1 ‰ œ ‰
We re - solve to fight back, by this Yel - low
huang he bian ding zhu yi za men yi tong
Sol - diers we shall be - come, to de - feat we
œ. œ j j œ œ
cong jin hou wo he ni yi tong da hui
T2 Vb œ ‰ œ œ œ œ œ ‰ œ. œ
j œ. œ œ
S & b œ. nœ œ
J
‰ œ œ œ ‰ œ
cong jin hou wo he
j
ni
œ.
yi
œ œ
tong da hui
A & b œ. n œ œJ ‰ œ œ
œ ‰ œ
œ. œ j j
T V b œ ‰ œ œ œ œ œ ‰ œ. œ œ œ
œ.
cong
œ
jin hou wo he ni
œ.
yi
œ œ
tong da hui
?b œ ‰ œ œ œ œ œJ ‰ œ
B J
œ. œ œ. œ œ
œ. œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œœJ œ.
58
&b œ
J
‰ ‰ œ
j j
Pno. 1
& b ‰ œ
œœ ‰ œœ
œœ ‰ œœ
j
œœ
œœ
œœ ‰ œj ‰ œj
œ œ œ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ
& b œ
Pno. 2
j j j j j
?b œ ‰ œ ‰ ‰ œ ‰ j
œ œ œ œ ‰ œ ‰
œ œ œ œ
172
œ œ j‰ ..
61
T1 Vb œ œ ∑ ∑ ∑ ∑ ∑
Riv - er pact.
da hui qu
won't suc - cumb.
lao jia qu
T2 V b œ œ œ œ œj ‰ .. ∑ ∑ ∑ ∑ ∑
Riv - er pact.
da hui qu
won't suc - cumb.
lao
œ œ œj ‰
jia qu
.. œ . œ œ œ ˙ ˙ ˙
S &b œ J
Riv - er pact. To de - feat we won't suc - cumb!
da hui qu yi tong da hui lao jia qu
won't suc - cumb.
œ œ j‰ œœ œœ ˙˙ ˙˙
lao jia qu
&b œ .. œœ .. œœ ˙˙
A œ J
won't suc - cumb.
˙œ
.. œ . œ œœ œœ ˙˙
lao jia qu
V b œ œ œ œ œj ‰ J . œ œ̇ œ
T
J
Riv - er pact. To de - feat we cumb!
da hui qu yi tong da hui qu
won't suc - cumb.
lao jia qu
? œ œ œ œ œj ‰ .. œ . œ œ œ ˙ œ œ ˙
B b J
won't suc - cumb.
lao jia qu
œœœœœœœœ
œ œ œ œ j .. œj ‰ Œ
& b œ œ œ œ œœœ ‰
61
œœ ∑ ∑ ∑
œ œ
œ
œ ‰ œœ ‰
Pno. 1
&b ‰ j œœ ?.
. œj ‰ Œ ∑ ∑ ∑ J
œœ œ œœ J
œ
œ œ œ œ œœ ‰ Œ œœœœœœœœ
&b œ ‰ .. œœ ∑ ∑ ∑
J
J
Pno. 2
j j j
? b œj ‰ œ ‰ .. œ ‰ Œ ∑ ∑ ∑ œ ‰ œj ‰
œ œ œ œ œ
173
67
˙ U̇ œ
S &b J ‰ Œ
U̇
A & b ˙˙ ˙ œœ
J
‰ Œ
˙ U̇˙ œœ
T Vb ˙ J ‰ Œ
?b ˙ U̇ œ
B J ‰ Œ
œ œ U ˙ >œ
œ œ œ œ œ œ
67
˙ œ
&b J ‰ Œ
œ U ˙ >œ
œ
Pno. 1
?b œ ‰ œ ‰ ˙ œ ‰ Œ
J J J
œ œ U ˙ >œ
&b œ œ œ œ œ œ
˙ œ ‰ Œ
J
Pno. 2
j j U ˙ j
?b œ ‰ œ ‰ œ ‰ Œ
œ œ ˙ œ
>
174
Sanxian
( for 5-string banjo, tuning: gCGCD )
j
.
3 3 0
1 T 2 0 0 ‰
A 3
B 5
j j j
. 3
. 3 0
2 0 0 ‰ 0 0 ‰ 0 0 ‰
4 3 0
5 5
j j
3
. 3
3
2 ‰ 0 0 ‰
2 5 0
j
3
4 0 2 0 0 ‰
3
5
j j j j
. . 3
. 3
5 0 2 ‰ 0 0 ‰ 0 0 ‰ 2 0 0 ‰
2 0 0 2 0 4 3 3
5 0 5 5
j j j
3
. 3 .
6 ‰ ‰ 0 2 ‰
2 0 2 0 2 2 0 0 2 0
5 5 0
j j j j
. .
7
10 12 7 5 5 7 5 3
0 ‰ .. 0. 4
0 ‰ 0 0 ‰
3 3
2 0
3
0
3 ‰
5 5
j j j
3
. 3 .
2 ‰ 0 2 0 2 ‰ 0 2
2 0 0 2 0 ‰ ..
5 5 0
6. Yellow River Lament 175
(Soprano Solo)
NARRATOR: Friends! we will fight to regain our homeland! Our country is in such disarray!
Can any man with wife and children bear the enemy's humiliation?
Pesante [e = 64]
b j
& b b b 44 œ . j œ . j j
3
œ œ œ
3 3
œ œ œœœ ˙ œ œœœœ
œ œ- œ ˙ œ œ œ-
f p
œ œ œ . Jœ œ œ œ œ œ
Piano 1
? b b 4 œ. œ œ œ- œ ˙ œ œ œ-
bb 4 Jœ œ œ ˙ œ J J
>œ
3
>œ >œ >œ

3 3
œ >˙
? bb 4 ∑ Œ ‰ œœ œœ œœ ‰Œ Œ œ Ó Ó ˙˙
bb 4 J
Piano 2 f p
? b b b 44
b ∑ Œ ‰ œ œ œj ‰ Œ Œ œ Ó Ó b˙
œœœ œ >
>>> >
Dear compatriots, listen to a woman's sorrowful and tragic singing.
bbbb
[q = 60]
43 ˙
Piangendo
j
5
& œ . œ- œ œ œ œ ‰ Ó ∑ œ ˙.
- .
bUww ˙ œ
Pno. 1
? b b b œ . œ- œ œ œ œ . ‰ Ó 43 ∑
b J -
? b b b n œœœ ... ‰ Ó œœœ ... œJ œ œ œ U

w 43 ˙ .
b & ˙.
U ˙.
Pno. 2
? bb j 3
b b œ. ‰ Ó œ . œ œ œ œ ww 4 ˙˙ .. ˙.
œ.
176
b ˙ œ ˙. j
& b bb œ œ œ œ œ œ œ ˙ . œ. œ œ œ œ ˙
10 3
œ‰
3
? b b ˙. œ œ œ œ œ œ œ ˙.
Pno. 1
˙ œ ˙ œ ˙ œ‰
bb J
3 3
b
& b b b ˙˙ . j
œœœ ‰
œ b ˙˙ .. ˙˙ .. .
n ˙˙˙ .. n ˙˙˙ . b œœ ˙˙˙
? b b b ˙˙ . ˙.
Pno. 2
œ ˙. j
b b˙. ˙. ˙ œ. œ œ œ
œ œ œœ
< <<
[slower]
bb j
&bb ˙
16
Sop. œ ˙. œ œ œ œ. œ ˙. ˙ œ
Ah, wind, please do not howl, Ah,
feng a ni bu yao jiao han yun
bb
&bb ˙˙ .. ˙˙ .. ˙˙ .. ˙˙ .. ˙.
˙. ˙. ˙. ˙. ˙. n˙.
Pno. 1 p
? bb ∑ ∑ ∑ ∑ ∑
bb
b
& b bb ∑ ∑ ∑ ∑ ∑
Pno. 2
? bb b Œ œ œ
b œ Œ Œ œ œ
nœ
nœ
Œ Œ Œ œ œ
œ œ
bœ
< < < < < bœ
œ <
<
177
b j œ ˙ ˙.
& b bb ˙. œ œ œ œ. œ.
21
Sop. œ ˙.
clouds, please do not veil the light. Yel - low Riv - er,
a ni bu yao duo shan huang he a
b œœ ˙˙ ˙˙ ..
& b bb n˙. œ
œ
œœ œœœ œœ
n œœ ..
˙. ˙. œ œ ˙ ˙˙ œ
Pno. 1
? bb ∑ ∑ ∑ ∑ ∑
bb
bb
&bb ∑ ∑ ∑ n ˙˙ .. œœ Œ Œ
Pno. 2
? bb b œ Œ Œ œ Œ œ œ œ
b œ œ œ œ b˙. ˙.
œ œ < < œ b˙.
< < ˙.
,
b
& b bb œ œ œ œ . œ
26
Sop.
J ˙. ˙. œ ˙
please do not shed your tears. This night,
ni bu yao wu ye jin wan
b œœ ˙.
& b bb œ œ œ œ . œ œœœœœœ
3
J ˙. œ
œœœ œœ
œœ œ œ
3
Pno. 1
? bb œœ œœœ
œœ
bb ∑ œœ ∑
œ
3 3
bb
& b b ˙˙ .
3 3 3
œ ˙. ˙. œœœœ œœœ œœ
˙. ˙. œ œ œ œ œ
Pno. 2 p
? bb b ˙ œ
b œ ˙. ˙. ˙.
˙ ˙. ˙. ˙.
178
b j
& b bb œ œ œ œ.
30
Sop. œ œ œ œ ˙. œ
I stand be - fore you pour - ing out my
wo zai ni mian qian ku su wo di
b
& b bb œ œœœ œ œ œœ œœœ
œ
œœœ œœœœ
? b b œœœœ œœ œœœ œœ œ œœ
Pno. 1
bb œ œœ
bb b b œ 3 œ 3œ œ 3 œ œ 3 œ œ3 œ 3 œ
3 3 3
& œœœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno. 2
? bb b œ ˙. ˙.
b ˙ ˙. ˙.
˙ œ
b
& b bb ˙
33
Sop. œ ˙. ∑ ∑
hate and grief.
chou he yuan
b œ ˙˙
& b bb œ œœœ œœ œœ œœœ œœ
œ ˙
˙˙
œœ
œ
˙˙ Œ
Pno. 1
œ œœœ œ œ œ ˙˙ œ
[rit.]
? bb œ œ œ ˙˙ Œ
bb ˙ ˙
œœœœ
b
& b b b œœ œ œœ œ œœ œ œœ œ œœ
˙˙˙ .. œœœœœœ
3 3 3
˙ .. œœ ˙ Œ
œ œ œ œœ
Pno. 2 [rit.]
? bb b ˙ œ ∑ œœ
b ˙ œ ˙.
˙.
179
b
& b bb œ . œ ˙
[a tempo]
œ. œ ˙
37
Sop. œ. œ ˙
Oh, my fate, bit - ter fate, oh, my life,
ming a zhe yang ku sheng huo a
bb
& b b œ. œ ˙ œ. œ ˙ œ. œ ˙
œ. œ œ œ. œ œ œ. œ œ
Pno. 1
œ
[a tempo]
? bb b Œ œ
b
b
& b b b œ œ œ œœ œœ œœ œœ œœ œœ ‰ œ œ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3
œœœ œœ œœœœœœ œœ œœœ œœœ

Pno. 2 [a tempo]
? bb b ˙ . ˙. ˙.
b ˙. ˙. ˙.
bb œ. œ ˙ œ œ œ œ œ
40
Sop. & b b œ. œ ˙
such a strife, oh, my foes, how can you be so
she yang nan gui zi a ni zhe yang mei xin
b œ. œ ˙
& b bb œ . œ ˙ œ œ œ œ œ
œ œ. nœ
? bb b œ œ. œ œ
Pno. 1
œ
b ˙. œœ œ. nœ
J
˙.
œ œ. œ œ œ- œ- œ-
3
bb 3 ‰ œj œ œ
&b b ‰œ œ œœœœœœ Œ œ œ. œ œœ œ œ
3 3
œœ œœœœœœ œœ
œ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Pno. 2 3
? b b ˙. ‰œ œ œ œ œ œ œ
bb
˙. 3 3 3 3 3 3
180
b j
& b bb ˙ .
[molto rit.]
˙.
43
Sop. œ œ. œ ˙. œ œ œ œ œ- œ
-
cruel? Oh, pre - cious child, you died too young, too
gan bao bei a ni si de zhe yang
b
& b bb ˙ . ˙.
n ˙˙˙ ... ˙˙ .. ˙˙ ..
Pno. 1
œ- . œ- œ- œ- œ- œ- ˙.
[molto rit.]
b˙.
? bb b œ . œ œ œ œ œ œœ œ œ œ n ˙ . ˙.
b J n˙.
- œ- œ- œ- n ˙ .
-
bb b b ˙˙ .. ˙.
˙. ∑ ∑ ∑
&
˙. ˙˙ ..
? b b ˙˙ ..
Pno. 2
˙. ∑ ∑ ∑
bb
[piu mosso]
bbbb œ. œ ˙
48
& ∑ ∑
-̇ .
Sop.
soon! In the past,

can wo he ni
b j
& b bb œ ‰
6
œ
œ œ œ œ œ ˙˙ œœ
3 3
˙˙ œœ ˙˙ œ œ œ œœœ œ
f p [piu mosso]
œ œ œ ‰ œœ œœ œœ œœ œœ œœ
Pno. 1
? b b ˙ .. ∑ Œ œ œ
bb ˙ œ
J 3 3
b j
& b bb Œ Œ œ œ œ. œ œ ˙. œ . œ- ˙
6
œ œœœ œ- . œ- œœ œ ˙ .
Pno. 2 f F [piu mosso]
? bb b ∑ ˙ œ ˙ œ
b ˙ œ ˙.
œ ˙ ˙.
181
b œ œ œ.
& b bb œ ˙. œ œ œ œ œ œ
52
Sop.
J
we held no grudge, yet you took
wu chou you wu yuan pian yao wo wu yan
b
& b bb Œ Œ Œ
3 3 3 3 3 3
œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Pno. 1
? bb b Œ Œ Œ
b
3 3 3 3 3 3
b œ œ œ.
& b bb œ
J
˙. œ œ œ œ œ œ
Pno. 2
? bb b ˙ . ˙. ˙.
b ˙.
˙. ˙.
b
& b bb œ .
55
œ ∑ ∑
Sop.
J œ œ ˙.
all I e - ver loved.
tou sheng zai ren jian
œœ œ œ œ œ. œ œ œ œ œ œ
bb
& b b Œ œ œ œ nœ œ œ œ œ œ œ œ œœœ œ . œJ œ œ œ œ œ œ
3 3
œ
p
6
Pno. 1
œ œ œ œœ œ œ
6
˙˙ .. ˙ œ
? bb b Œ œ œ œ œ œ ˙. ˙.
b ˙ .
3 3
n ˙˙ œœ œœ n ˙˙
6
b b œœ
& b bb œ . œ
J œ œ œœ œ œ œ
6
œ œ ˙
œ œ œ œ œœ œ
Pno. 2 3
? bb b ˙ . œ œ œ œ œ œ
3
b œ œ œ œ œ œ ˙. ˙
˙. œ œ œ ˙ œ
˙.
>
182
b œ ˙ ˙. œ œ œ ˙
& b bb 46 œ .
[q = q ]
˙.
59
Sop. ∑
Ah, wild wind, please do not howl,
kuang feng a ni bu yao jiao han
œ. œ ˙ ˙˙ .. œœ œœ œœ ˙˙ ˙˙˙ ...
bb b ˙ . [q = q ] 6 œ . œ ˙ ˙. œ œ œ ˙ ˙.
& b ˙. 4
. ˙. >
? b b ˙˙ . 6 > ˙. ˙. ˙.
Pno. 1
˙.
bb 4 ˙. ˙. ˙.
.
bb ˙˙˙ .. [q = q ]
6 ˙˙ . œœ œœ œ œœ œœ œœ
&bb ˙ .. 4 œ œ
œ bœ œœ œœ œœ œ œ
œ œ œœ œ > œœœœ
Pno. 2
? bb b 46
b ˙. ˙. ˙. b˙. ˙.
˙. ˙. ˙. b˙. ˙.
> >
b œ j œ œ œ œ
[cresc.]
& b bb œ . ˙ œ œ œ œ. œ ˙.
62
Sop.
dark clouds, please do not veil the light, wa - ters of Hwang -

wu yun a ni bu yao duo shan huang he di shui
œ. œ ˙ œ œ œ œ. œ œœœ œ œ œ œ œ œ œ n œ œœœ
bb b œ . œ ˙ œ œ œ œ. œ œ œ œ œ œ œ nœ œ Œ Œ
& b œ
J œ
3
3
n˙. ˙. j
Pno. 1
? b b ˙. ˙.
3
bb œ. œ œ œ œ Œ Œ
œ. œ œ œ œ
bb œ œœ n œœ
& b b œ n œœ œœ œœ œœ œ
œœ œ œ
n œœ œ ˙. œœ Œ
œœ
Œ
> ˙˙ ..
Pno. 2
? bb j
b b ˙. ˙. n˙. œ. œ œ œ œ Œ Œ
n˙. œ. œ œ œ œ
183
. , [a tempo]
bbbb w
[ritardando]
œ œ œ
64
Sop. & œ œ ˙.
huh, please do not shed your tears.
œœ œœ ˙˙˙ ....
a ni bu yao wu ye
bb œœœœœœœœ˙ œ œ œ
& b b ‰ œœ œœ œœ œ œ œ Ó.
3
Œ Œ œœœ
3
3 3 [a tempo]
[ritardando]
˙. œ œœœœœœ
Pno. 1
? bb b w .
b w. œ œœ
3
3
b
& b bb ‰ œ œ ˙˙ ..
3
3 3
œœ œœ œœ œœœ œœœ œœœ œœ œœ ˙˙ .. ˙˙ .. ˙˙ ..

Pno. 2
œœœ [a tempo]
[ritardando]
? bb b w . ˙ œ
b w. œ ˙.
˙ ˙.
œ
bb œ œœ œœ œœ œœ œ œ œ œœ œ œœ œœ œœ œ
& b b œœ œ œ œ œ œ œ œ œ œ œ
66
œ
Pno. 1 f
? b b b ˙˙ . œ ˙˙ . œ
b
ww ..
b b b ww .. ~~ ~~~~ ~~~
& b ~~~ ~
f ~~ ~ ~~~~~
~~
~~~~~
Pno. 2
? bb b ˙ .
~~ ~ ~~~~~
b ˙. ˙ . ~~
184
œœ >œ œ
œœ œ œ œ
b œœ œœ œœ œ œ œ œ œ œœ œ œœ œœ
& b b b œœ œ
67
œ œ œ œ œ
œ
Pno. 1
? bb b ˙ . ˙˙˙. œœ
b
˙˙ .. ˙˙ ..
b b b ˙˙ .. ˙˙ ..
~~~~~~~~
~~~
& b
~~~~~~~~
~~~~~~~~~
? bb œ œ œ œ œ œ œ ~~~~
Pno. 2
~~~~
~~
bb
3 3
˙ . ~~~~
œœ œœ œœ b >œœ œ
b œ œœ œœ œ œ b œ œ œ œœ œ n œœ œœ œœ
& b bb œ œ œ
68
œ œ nœ bœ œ
˙ œ .
n ˙˙ .
Pno. 1
? bb b
b
˙˙˙ ... ˙. ~~
b n ˙˙˙˙ .... ~~~
~ ~~
b b ˙. ~ ~~ ~
&bb ~~ ~~~
~ ~~ ~ ~~~
~~ ~~~
? b b ˙. ~ ~~~
Pno. 2
~ ~~
b b ˙. ˙ . ~~~ ~~~
185
œœ >œœ œ
b œœ œœ œœ œ œ œ œœ œ œœ œœ œœ
& b b b œœ n œœ œ 6
69
œ œ œ œ œ œ 8
œ nœ
Pno. 1
? bb b œ œ œ œ œ œ ˙. 68
b ˙.
3
~ ~n ˙˙˙ .. ˙˙ ..
b
& b bb
. ˙.
~ ~~ ~~~~ 68
~~~~
~~~ ~~~~
Pno. 2
~~ ~~ ~~~
? bb b ˙
b
œ
~~ ~~~~~ &
68
œ ~
˙ ˙ . ~~~~
poco agitato [e = 70]

b
& b b b 68 œ œ . œ œ œ. œ œ œ.
70
Sop. œ œ œ œ
This night I en - ter in - to your em - brace,

jin wan wo yao tou zai ni di huai zhong
bb 6
3
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ
3
&bb 8
3 3 3
j
3 3 3 3 3 3
œ œ
œ œœœ œ œ œ
œ.
Pno. 1
? b b b 68 œ. œ. œ.
b œ. œ . œ. œ.
b œ
& b b b 68 œ œ œ œ œ œ œ. œ œ œ.
~~~
J
Pno. 2
b
& b b b 68 ˙˙ .. œ. œœ ..
œ.
186
b
& b bb œ
œ œ œ œ œ œ œ œ œœ œ œ.
72
Sop.
all my woes and pain wash a - way.

si qing wo di qian chong chou lai wan chong yuan
bb b b œ 3 œ 3 œ œ œœ
œ
3
œ œœœœ œœœœœ œœœœ œœ œ œ œœœœœœœœœœœ

3
&
3 3 3 3 3 3
3
3
œ.
Pno. 1
? bb b œ . œ. œ.
b œ. œ. œ.
&
œ.
b
& b bb œ
œ œ œ œ œ œ œ œ œœ œ œ.
Pno. 2
b œœœœœœ
& b b b œœ .. œ.
œ.
œ.
œ.
?‰
3 3
bb
& b b œ.
74
œ ‰ ‰
Sop.
J
œ œ œ œ
& bbbb J ≈
Pno. 1
b œ
& b bb œ œ œ œ œ œ
J
≈ œ œ œ œ
œ œ
b j
& b bb j œ
3 3
œœ œ
œ œ œœœ œœœ œœ
œ
œœ
œ
œœ
œ
œœ
œ
Pno. 2
j
? bb b œ œ œ.
b œ œ œ.
187
b œ. œ œ œ œ
& b bb œ.
75
Sop.
Hus - band, dear, far from here,

zhang fu a zai tian bian
œ
bb b b J œ œ œ œ œ œJ œ bœ œ œ œ œ
& ≈ œ ≈
Pno. 1
b œ
& b bb J ≈ œ œ œ œJ ≈ œ bœ œ œ œ œ
œ œ œ
b j j
& b b b œœœ ... œ .
œœœ œœœ œœœ œœœ œœœ œœ ...
b œ
3 3
œ œœœ œœœ œœœ œœœ

œ. b œœœ œ œ œ œ
Pno. 2
? bb b
b œ. bœ.
œ. bœ.
b b œ. œ œ , œ œ œ œ
œ œ
76
Sop. &bb œ. œ œ J
in the grave, we'll meet there, bit - ter - ly re - mem - ber
œœ œœ
di xia a zai tuan yuan ni yao xiang xiang qi zi
œ œ œ œ
b œ œ œ œ œ œ œœ œœ œœœ œ œ
& b bb J ≈ nœ nœ œ œ œ œ J ≈ J
Pno. 1
b œ ≈œ œ œ œ œ œ œ œ œ œ œ
& b bb J ≈
œœ œ œ
j J
nœ nœ œ
b j j j
& b b b n œœœ ... œœ .. œœ œœ œœ œœ œœœ ... œœ œœ
3 3
œ œœ œœ œœ œœ œœ .. œ
n œœœ œœ œœ œœ œœ b œœœ œœ œœ œœ œœ œ œ
j
œ.
Pno. 2
? bb œ œ
b b œ. œ. œ. œ œ
œ. œ.
188
U
b
& b bb œ
œ œ œ œ œ 38 œ . 68 œ œ œ œ œ œ
78
œ
œ œ
Sop.
J
how your wife and lit - tle child - ren died. Please, re - mem-ber, and have this
er nü si de zhe yang can ni yao ti wo ba zhe bi
U
œ.
œ œœ œœ œ œœ œœ
bb b b œœ œ œ.
& J œ œ 38 œ . 68 œ œ œ œ œ œ œ
J
U
œ œœ
Pno. 1
b œ œœ œ
& b b b œJ œ œ œ œ 38 œœœ ..
.
? 68
J J
j UU
b
& b b b œœœ ... œœ œœ 38 ‰ œœj œj 68
œœ œ œ œœ œ
œ œ œ œœ œœœ œ œ
j U
? bb b œ .
Pno. 2
œ œ 83 nœ. 68 b œ . œ.
b œ. œ œ nœ. bœ. œ.
œ œ
(q = e.)
b œ œ œ œ œ. œ œ œJ œ œ œ œ ‰ Jœ
L'istesso tempo
& b bb J 43 œ
81
Sop. J J
3
debt re - paid, hon - or our mem' - ries, darl - ing re - claim our
œ œ
xue zhai qing huan ni yao ti wo ba zhe bi xue
bb œ œ œ œ œ. 3 œ œ œJ œ œ œ
&bb 4 œ
J œ œ œ ‰ Jœ
œœ ..
3
? b b b œœ
Pno. 1
œ
b J 43 ∑ ∑ &
b j j
& b b b œ œ œ œ œ œœ .. 43 b œœ œœ œœ œœ œ j j?
œ b œœ œœ œœ œœ œ œœ œœ œœ
Pno. 2
? bb b 43 b ˙ . œ nœ
b œ. œ. œ œ
œ. œ. b˙. nœ
œ
189
˙. ˙. , œ œ ˙.
b œ.
& b bb J œ
84
Sop.
lives! Please re - pay the debt!

zhai qing huan
- - - œ- œœ- œœ- œœ- - œ- √ - - >œ

œ >œ >œ >œ >œ >œœ >œ
b b b b œ œœ œœ œ œœ œ œ- œœ œœ œ U
œ J ‰ Œ œœ ‰ Œ Œ œœ œœ œœ œ œœ
& J ‰ J
ƒ Ï
3 3 3 3
- œ- >œœ >œ >œ >œ >œœ

U >œœ >œ
Pno. 1
- - -
3
œ œ œ œœ œœ
bbbb -
œœ œ œ œœ œœ œ œ- œ œœ œœ œ œ J ‰ Œ œœ ‰ Œ ‰ œJ œ œ œœ
3
& Œ
- œ- œ- œ- - J
3
œœœ >œœœ U >˙ .

3
˙˙˙ .. >œœ
? bb ˙. . œ œ ‰ Œ œœ ‰ Œ ˙.
bb J J Œ
ƒ Ï
Pno. 2
? bb j U j
bb ˙. œ œ ‰ Œ œ ‰ Œ Œ
˙. œ œ œ ˙.
> > ˙.
>
b b ˙. ˙. 4 w
88
Sop. &bb 4
>œ > > > >

œ œ œ œ >œ œ > >
bb b b œ œ œ œ œ œœ œœ >œœ >œ > > œœ> >œœœ
œ
œ ‰ Œ Œ 44 œœœœ
& J œœ œ œœ œœœ œœ œœ œ
œœœ
> > > >>
3 3 3
bb b b >œœ >œ >œ œ œ œ œ œ3 >œ > >œ >œ œ >œ >œ >œ
Pno. 1
44
3 3 3
œ œ œ œœ œ
3
œœ œœ ? œ
& œ œ œ œ œ œ œ œœ œ
œœœ œœ œœ œœ œœ œœ œœ œœœ
>>>>>>
> > > > >œ > > > >
> 3
3
œ œ œ œ œ 3 >œœ
3
? b b ˙. œ œ œ œ >œ > > 3 4 Œ

bb œ œ œ œ œ œ œ œ 4 œœ œœœ œœ
3
> >>>> >>> >>>>>> > >

? bb 4
Pno. 2 3
bb ˙. ˙. 4 w
˙. ˙. w
190
bbb ˙ . œ
91
Sop. & b J ‰ ∑
>œ
œ
bb b œœ ‰ Œ
U
j
& b J œ
j
˙ œ ‰ Œ Ó
œ ˙ œ
> > >
Pno. 1
>œ sfp
? bb J U
bb ‰ Œ j ‰ Œ Ó
œ
j
˙ œ
œ ˙ œ
> > >
>œ U >œ
? b b œœœ ˙
j
œ >˙ œ ‰
bb J ‰ Œ œ
J Œ Ó
>
Pno. 2 sfp
j U
? bb œ ‰ Œ j ‰ Œ Ó
bb œ œ
j
˙ œ
> œ ˙ œ
> > >
191
(Chorus)
NARRATOR: Sons and daughters of China, who among you is willing to be slaughtered
>œ . œ œ œ œœœ >œ . œ œ

Allegro [q = 148-160]
U œ œ œ œ œ. œ œ œ œ œ
2 ∑ ∑ J‰ J‰
&4
f
U >œ . œ œ œ œœœ >œ . œ œ
œ œ œ œ ‰ œ. œ œ œ œ
Piano 1
œ
& 42 ∑ ∑
J
J‰
U j j j j ‰ ‰ j ‰ j œj ‰ j j
& 42 ∑ ∑ œœ ‰ ‰ œœ ‰ œœ œj ‰ œœ œœ œœ œœ œœ ‰ ‰ œœ
œ œ œ œ œ œ œ œœ œœ
Piano 2 U f F f
? 42 ˙ ˙ j‰ ‰ j ‰ j j‰ j j
˙ ˙ œ œ œ œœ œ ‰ ‰ œ ‰ œj œj ‰ j
œ‰ ‰œ
j
like pigs and sheep? We must resolve to be victorious, to defend the Yellow River!
To defend northern China! To defend all of China!
8 œ œœœ
Pno. 1
œ œ œ œ? œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ
j j
& œœœ ‰ ‰ œœœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
? œj ‰ ‰ œj
Pno. 2
œ œ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
192
f
œ œ
13
& ∑ ∑ ∑ ∑
S
œ
Strong winds
f
feng zai
& ∑ ∑ ∑ ∑ œ œ
A
œ
Strong winds
f
feng zai
V ∑ ∑ ∑ ∑ œ œ
T
œ
Strong winds
fœ œ
feng zai
B
? ∑ ∑ ∑ ∑ œ
Strong winds
feng zai
œ œ
13
& œ œ œ œ œ œ œ œ
p œ f
Pno. 1
? œ œ œ œ œ œ œ œ
& œ œ
œ
œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ
œ œœ
Pno. 2
p
? j j
˙ ˙ ˙ ˙ œ‰ œ ‰
˙ ˙ ˙ ˙ œ
193
, , j j
œ œ j j
œ œ œ
18
S & ˙ œ ˙ œ œ œ œ œ
howl, hor - ses neigh, Hwang-huh is roar - ing, Hwang-huh is
, ,
hou ma zai jiao huang he zai pao xiao huang he zai
œ œ j j j j
A & ˙ œ ˙ œ œ œ œ œ œ œ œ
, ,
œ œ j j j j
T V ˙ œ ˙ œ œ œ œ œ œ œ œ
, œ œ , œ œ
? ˙ œ ˙ œ œ œ œ œ œ
B
J J J J
˙ œ œ ˙ œ œ œ œ œ
18
œ œ œ J œ
& J J J
Pno. 1
œ œ j j j j
& ˙ œ ˙ œ œ œ œ œ œ œ œ
& œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
œ œœ œ œ œ œ œ œœ œœ œœ œ
œ
œœ œ
œ
œœ œ
œ œ œ
j
Pno. 2
? œj ‰ j ‰ œj ‰ j j j j j j j j
œ œ ‰ œ‰ œ‰ œ ‰ œ ‰ œ‰ œ‰ œ ‰
œ œ ‰
194
œ œ j ‰ œ. œ œ œ
24
S & œ. œ œ œ œ œ œ œ œ œ œ
roar - ring, to the west are moun - tains high, to the east the grains have rip - ened.
pao xiao he xi shan gang wan zhang gao he dong he bei gao liang shou liao
A & œ œ œ. œ œ œ œ œ œ
j ‰ œ. œ œ
œ œ œ œ œ
œ œ j ‰ œ. œ œ œ
T V œ. œ œ œ œ œ œ œ œ œ œ
œ œ
? œ. œ œ œ œ œ œ ‰ œ. œ œ œ œ œ œ œ
B
J
œ œ œ. œ œ œ
j œ œ œ œ
24
& œ. œ œ œ œœ œ œœ ‰
Pno. 1
& œ œ œœ
j‰ ‰ j
œœ j ‰ œ. œ œ œ œ œ œ œ
œ œ œ œ œ
j j ‰
& œœ œ œ œœ œ
œœ œœœ œœ œ œ œ œ ‰ œœj ‰ ‰ j œ
œœ œ œ œœ
œ œœ œ œ œ œ œ
j j
? œj ‰ j ‰
Pno. 2
œ‰ ‰ j œ œ‰ j
œ œ œ œ ‰ j œ œ œ ‰
195
29
j œ œ œ œ j j
S & œ. œ œ œ. œ. œ ˙ œ. œ
In the moun - tains bat - tle plans we must de - cide! Count - less
wan shan cong zhong kang ri ying xiong zhen bu shao qing sha
j œ œ œ œ j j
A & œ. œ œ œ. œ. œ ˙ œ. œ
j j j
œ œ œ œ
T V œ. œ œ œ. œ. œ ˙ œ. œ
wan shan
œ
cong zhong
œ œ œ
kang ri ying xiong zhen bu shao qing sha
? œ. œ œ œ. œ. œ ˙ œ. œ
B J J J
œ. œ œ. œ. ˙ œ.
J J J
29
&
Pno. 1
j œ œ œ œ j j
& œ. œ œ œ. œ. œ ˙ œ. œ
& ‰ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œœ œœ
Pno. 2
j j j j j
? œ ‰ œ ‰ j‰ œ ‰ j ‰ œ‰ œ‰ œ‰
j‰ œ œ œ œ œ œ œœœœ j‰
œ œ J œ œœ œ œ
196
œ œ j
& œ œ ˙
35
S
œ œ. œ. œ
he - roes in the green tents there re - side!
œ œ j
zhang li you ji jian er cheng ying hao
A & œ œ œ. œ œ. œ ˙
œ œ j
T V œ œ œ. œ œ. œ ˙
œ œ
? œ œ ˙
œ œ. œ. œ
B J
œ œ.
œ œ œ œ. œ œ œ œ œ œ œ œ œ
œ J
35
&
Pno. 1
œ œ j œ œ œ œ œ œ œ œ
& œ œ œ. œ œ. œ
& œœ œœ œœ œœ œ œ œ œ j ‰ œ œ œ œ
œœ œœ œœ œœ œ œ œ œ œœ
Pno. 2
j j
? œ ‰ j‰ œ ‰ j ‰ œ ‰ j‰
œ
j ‰ Œ
œ œ œ œ œ œ
J œ
197
œ œ Œ œ œ Œ
39
S & œ œ œ œ œ œ œ œ œ œ
Ga - ther-ing arms for bat - tle, ga - ther - ing arms for bat - tle,
duan qi le tu qiang yang qiang hui dong zhe da dao chang mao
A & œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ
œ œ Œ œ œ Œ
T V œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
? œ œ œ œ œ œ œ œ œ
œ Œ Œ
B
œ œ
œœœœ
J ‰ J ‰ œ œœœ
39
& Œ Œ Œ Œ
œ œ œ œ œ œJ ‰
Pno. 1
& J ‰ Œ Œ Œ Œ
œ œœœ
œœ j œœ œœ Œ
& œœ ‰ Œ œœ œœ Œ œœ ‰ Œ
J œœ œœ œ œ œ
> > > > >
Pno. 2
? j ‰ Œ j ‰
œ œ œ Œ œ
Œ
œ œ
Œ
œ œ œ œ œ œ
> > > > >
198
œ œ œ ,
œ œ œ
& œ. œ œ œ œ
43
S Œ œ. œ œ. œ œ. œ
save a vil - lage! Save the Hwang-huh! Save our home-land! Chi - na we'll de - fend!
bao wei jia xiang bao wei huang he bao wei hua bei bao wei
œ œ
quan zhong guo
œ ,
A & œ. œ œ œ Œ œ. œ œ œ œ. œ œ. œ œ œ
œ œ œ
bao wei jia xiang bao wei huang he bao wei hua bei bao wei quan zhong guo
œ œ œ
T V œ. œ œ œ Œ œ. œ œ. œ œ. œ œ
œ œ œ
œ œ œ œ œ œ
? œ. œ œ. œ œ. œ œ. œ
B Œ
> > œœ œœ œœ œœ œœ œœ
43
œ . œ œœ œœ œ. œ œ œ œ. œ œ œ œ. œ œ œ œœ
œ
& Œ
> >
Pno. 1
œ œ œ œ œ œ
& œ. œ œ œ Œ œ. œ œ. œ œ. œ œ
& Œ œœœœ ∑ œœ œœ Œ œœ œ
œ œ >
œ
>
œ œœ œœœ œ . œ œ
œœ œ œœœ
Pno. 2
> > S > >
? Œ œ œ Œ œ œ Œ œ œ Œ œ
œ œ >œ >œ >œ œ œ œ œ
œ
œ
> > > > > > œ
199
p , ,
& œ œ œ œ
48
S
œ ˙ œ ˙
Strong winds howl, hor - ses neigh,
p
feng zai hou
, ma zai jiao
,
A & œ œ
œ ˙ œ œ
œ ˙
Strong winds howl, hor - ses neigh,
,p ,
feng zai hou ma zai jiao
T V ˙ œ œ
œ ˙ œ œ
œ
Strong winds howl, hor - ses
˙ ,pœ œ , œ œ
feng zai hou ma zai
? œ ˙ œ
B
Strong winds howl, hor - ses

feng zai hou ma zai
. œ.
& œ œ. œ.
48
œ. Œ œ. Œ
œ. œ.
p
œ. œ. œ. œ. œ.
Pno. 1
& ∑ ? œ. Œ œ.
& ∑ ∑ ∑ ∑
p
? œœœœœ œ œœ œ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ
Pno. 2
200
j j j œ œ
& œj œ œ œ
52
S œ œ œ œ
Hwang-huh is roar - ing, Hwang-huh is roar - ing,
j j
huang he zai pao xiao huang he zai pao xiao
& œj œ œ œ œ œ œ j œ œ
A œ
Hwang-huh is roar - ing, Hwang - huh is roar - ing,
huang he zai
, pao xiao huang he zai
j
pao xiao
j j œ œ œ œ j
T V ˙ œ œ œ œ
,
neigh, Hwang-huh is roar - ing, Hwang - huh is
œ œ œ œ
? ˙ œ
jiao huang he zai pao xiao huang he zai
œ œ J œ
B
J J J
neigh, Hwang-huh is roar - ing, Hwang - huh is
jiao huang he zai pao xiao huang he zai
j œ. œ. j j œ. œ.
& œj œ
52
œ. œ. œ. œ.
. .
œ. œ. œ. œ.
? œ. œ. œ.
Pno. 1
Œ œ. œ. J J
J J
& ∑ ∑ ∑ ∑
œ œœœœœœœ œœœœœœœœ
? œœœœœœœ œœœœœœœœ
Pno. 2
œ
201
j ‰
56
S & œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
to the west are moun - tains high, to the east the grains have rip - ened.
he xi shan gang wan zhang gao he dong he bei gao liang shou liao
j
A & œ. œ œ œ œ œ œ ‰ œ. œ œ œ œ œ œ œ
to the west are moun - tains high, to the east the grains have rip - ened.
he xi shan gang wan zhang gao he dong he bei gao liang shou liao
œ œ œœ œ j ‰ œ œ
T V œ. œ œ œ œ. œ
œ œ
roar - ing, to the west are moun-tains high, to the east the
œ. œœ œ œ. œ œ
pao xiao he xi shan gang wan zhang gao he dong he bei
? œ œ œ ‰ œ
B
J
roar - ing, to the west are moun-tains high, to the east the
pao xiao he xi shan gang wan zhang gao he dong he bei
j ‰
56
& œ. . œ. œ. œ. œ. œ. œ. œ. . œ. œ œ
. . œ. œ. œ. œ.
œ. œ. œ. . œ. œ. œ. œ. . œ. œ. œ.
Pno. 1
? œ. œ. œ. ‰
J
& ∑ ∑ œœ œ œ œœœœ œ œ œœ œ œ œ
œ
œ
? œœœœ œ œ œœ œ œ œ œ œ œ œ
Pno. 2
∑ ∑
202
60
j œ œ œ œ j
S & œ. œ œ œ. œ. œ
In the moun - tains bat - tle plans we must de -
j j
wan shan cong zhong kang ri ying xiong zhen bu
œ œ œ œ
A & œ. œ œ œ. œ. œ
In the moun - tains bat - tle plans we must de -
j œ œ
wan shan cong zhong kang ri ying xiong zhen bu
V œ œ. œ œ œ. œ
T
œ œ œ œ
grains have rip - ened. In the moun - tains bat - tle plans we
gao liang shou liao wan shan
œ
cong zhong kang
œ œ œ
ri ying xiong
? œ œ. œ œ.
B œ œ œ J œ
grains have rip - ened. In the moun - tains bat - tle plans we
gao liang shou liao wan shan cong zhong kang ri ying xiong
j . . j
œ. .œ . œ œ œ.
60
& œ. . œ. œ. œ. . œ.
œ. œ. œ. œ. œ.
œ. . œ. .
Pno. 1
? œ. œ. œ. œ. J œ.
œ œœœœ œ
& ∑ ∑ œœœœ œ œ œ œ œœ
œœœœœœ œ œœœ œ œ œ œ
Pno. 2
? œœ ∑ ∑
203
, poco a poco cresc.

j œ œ
œ œ
64
S & ˙ œ. œ œ œ.
cide! Count - less he - roes in the green tents
shao
, qing
j
sha zhang li you ji jian
œ œ
er
& ˙ œ. œ œ œ. œ
A
œ
,
cide! Count - less he - roes in the green tents
j j
shao qing sha zhang li you ji jian er
V œ. œ œ. œ œ
T
˙ œ
must de - cide! Count - less he - roes
zhen
œ
bu shao
, qing
œ
sha
œ
zhang li
B
? œ. J ˙ œ.
J œ
must de - cide! Count - less he - roes
zhen bu shao qing sha zhang li
64
Œ j œ œ œ œ
& œ œ. œ œ œ.
.
œ.
poco a poco cresc.
? œ. .
Pno. 1
J œ. Œ ∑ ∑
œ œ œ #œ
& œœœœœœœ œœœœ
œ œœœœœœ
œœ œœœœœœœœ
œ
Pno. 2
? œ. œ
poco a poco cresc.
∑ ∑ œ œ
œ. œ œ
J
204
j , F
˙
68
S & œ. œ œ œ œ œ œ
,
there re - side! Ga - ther - ing arms for
j
cheng ying hao duan qi le tu qiang
œ ˙
A & œ. œ œ œ œ œ
,
there re - side! Ga - ther - ing arms for
œ œ j
cheng ying hao duan qi le tu qiang
T V œ. œ œ. œ ˙
in the green tents there re - side!
you
œ œ
ji jian
œ
er cheng ying
œ ˙
hao
,
B
? œ. œ.
J
in the green tents there re - side!
you ji jian er cheng ying hao
œ œ œ
j œ œ œ œ œ œ œ œ œ
œ
68
& œ. œ
Pno. 1 P
œ
? ∑ ≈ œ œ œ œ œ œ
& œ œ œ œ œ
œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Œ ?
Pno. 2
œ œ œ œ
? œ. œ œ œ. œ ‰ Œ
œ. œ œ. œ œ
J J
205
œ œ
& œ œ
71
Œ Œ
S œ œ œ œ œ
bat - tle, ga - ther - ing arms for bat - tle,
yang qiang hui dong zhe da dao chang mao
& œ œ Œ œ œ Œ
A œ œ œ œ œ
bat - tle, ga - ther - ing arms for bat - tle,
yang qiang hui dong zhe da dao chang mao
F
œ œ Œ
T V œ œ œ œ œ œ œ œ œ œ
Ga - ther - ing arms for bat - tle, ga - ther - ing arms for
duan qi le tu qiang yang qiang hui dong zhe da dao
œ œ
B
? œ œ œ œ œ Œ œ œ œ œ œ
œœ œœ œœœ œœœ
71
& Œ Œ
Pno. 1
œ œ
& œ œ Œ œ œ œ œ œ Œ
œ œ
? œ œ œ œ œ Œ œ œ œ œ œ
Pno. 2 P
? œ œ Œ
206
œ œ œ œ
œ œ œ
74
S & œ. Œ œ. œ œ. œ œ. œ
save a vil - lage! Save the Hwang-huh! Save our home-land! Chi - na
A & œ. œ œ œ Œ œ. œ œ œ
œ. œ œ œ œ. œ
save a vil - lage! Save the Hwang-huh! Save our home-land! Chi - na
œ œ
T V œ œ Œ œ. œ œ œ œ. œ œ œ œ. œ
bat - tle, save a vil - lage! Save the Hwang-huh! Save our home-land!
œ œ œ œ œ œ
œ. œ œ œ
chang mao bao wei jia xiang bao wei huang he bao wei hua bei
? Œ œ. œ œ. œ
B
bat - tle, save a vil - lage! Save the Hwang-huh! Save our home-land!
chang mao bao wei jia xiang bao wei huang he bao wei hua bei
74
œ. œ œœœ œœœ œ. œ œœ
œ
œœ
œ œ. œ œœœ œœœ œ. œ
& Œ
Pno. 1
œ œ œ œ
& œ. œ œ œ Œ œ. œ œ. œ œ. œ
?
œ œ
œ. œ œ œ œ. œ œ œ
œ. œ œ œ
Œ &
Pno. 2
? œ œ Œ œ œ œ œ
œ. œ œ œ œ. œ œ. œ
207
œ. , f ,
œ œ œ œ
78
S & œ ˙ œ œ œ œ
we'll de - fend! Strong winds howl, (long - guh long - guh
, f ,
quan zhong guo feng zai hou (long ge long ge
œ. œ œ œ œ
A & œ ˙ œ œ œ œ
we'll de - fend! Strong winds howl, (long - guh long - guh
f ,
quan zhong guo feng zai hou (long ge long ge
V œ. œ œ Œ œ œ ˙
T œ œ œ
Chi - na we'll de - fend! Strong winds howl,
fœ
bao wei quan zhong guo feng zai hou
œ œ
B
? œ. œ œ ˙ ∑ œ
Chi - na we'll de - fend! Strong winds
bao wei quan zhong guo feng zai
œœ œœ œœ
78
œ œœ œ
& ∑ ∑ ∑
Pno. 1
œ œ œ ∑ ∑ ∑
&
j j
& œœœ ‰ œœ ‰
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Pno. 2
fj
? œ. œ œ œ œ ‰ j j j j j
œ. œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ œ œ œ œ
208
j ,
& œ œ œ ‰ œ œ œ
82
S
œ ˙ œ œ œ
long - guh long) hor - ses neigh! (long - guh long - guh
,
long ge long) ma zai jiao (long ge long ge
j
A & œ œ œ ‰ œ œ
œ ˙ œ œ œ
œ
long - guh long) hor - ses neigh! (long - guh long - guh
long ge long) ma zai jiao (long ge long ge
,
V œ œ œ œ œ œ œj ‰ œ œ ˙
T
œ
(long - guh long - guh long - guh long) hor - ses neigh!
(long ge long ge
, long ge long)
œ œ œ
ma zai
œ
jiao
œ
B
? ˙ œ œ œ œ J ‰ œ
howl, (long - guh long - guh long - guh long) hor - ses
hou (long ge long ge long ge long) ma zai
& œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œj ‰ j j j j
Pno. 2
‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰
œ œ œ œ
j ,
& œ œ œj ‰ j œ œ œ œ œ œ
86
S
œ œ œ
long - guh long) Hwang-huh is roar - ing, (long - guh long - guh
long ge long) huang he zai
j
pao xiao
, (long ge long ge
A & œ œ œj ‰ j
long ge long) huang he zai pao xiao
j
(long ge long ge
,
T V œ œ œ œ œ œ œj ‰ j
œ œ œ œ œ
(long - guh long - guh long - guh long) Hwang-huh is roar - ing,
, œ
œ œ œ
(long ge long ge long ge long) huang he zai pao xiao
? ˙ œ œ œ ‰ œ œ œ
B
J J J
neigh! (long - guh long - guh long - guh long) Hwang-huh is
jiao (long ge long ge long ge long) huang he zai
? œj ‰ j j j j
Pno. 2
‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰
œ œ œ œ
209
j , œ œ œ
j œ œ
& œ œ œj ‰
90
S œ œ œ œ
long ge long)
j
huang he zai pao xiao
, œ œ œ
(long ge long ge
& œ œ œj ‰ œ œ j œ œ œ
A œ
,
long ge long) huang he zai pao xiao (long ge long ge
j j œ œ
T V œ œ œ œ œ œ œ
j ‰ œ œ œ
(long - guh long - guh long - guh long) Hwang-huh is roar - ing,
,
? œ œ œ œ œ œ
(long ge long ge long ge long) huang he zai pao xiao
œ œ œ ‰ œ œ œ
B
J J J
roar - ing, (long - guh long - guh long - guh long) Hwang-huh is
pao xiao (long ge long ge long ge long) huang he zai
? œj ‰ j j j j
Pno. 2
œ ‰ œ ‰ œj ‰ œ ‰ œj ‰ œ ‰ œj ‰
œ
& œ œ œJ ‰ j œ œ œ ‰
94
S œ. œ œ œ œ œ œ ‰ J
long - guh long) to the west are moun - tains high, (long - guh long
long ge long) he xi shan gang wan zhang gao (long ge long
A & œ œ œJ ‰ œ. œ œ œ œ œ œ
j ‰ œ œ œ ‰
J
long - guh long) to the west are moun - tains high, (long - guh long
long ge long) he xi shan gang wan zhang gao (long ge long
œ œ œ œ œ œ ‰ j ‰
T V œ J œ. œ œ œ œ œ œ
œ œ œ
(long - guh long - guh long - guh long) to the west are moun -tains high,
œ œ
(long ge long ge
, œ long ge long)
œ œ
he
œ
xi shan gang wan zhang gao
œ œ œ
? J ‰ œ.
B
roar - ing, (long - guh long - guh long - guh long) to the west are
pao xiao (long ge long ge long ge long) he xi shan gang
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œj ‰ j j j j
Pno. 2
‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰
œ œ œ œ œ
210
j œ œ
98
S & œ œ œ ‰ œ. œ œ œ œ œ œ œ œ œ
long - guh long) to the east the grains have rip - ened. (long - guh long - guh
long ge long) he dong he bei gao liang shou liao (long ge long ge
j œ œ
A & œ œ œ ‰ œ. œ œ œ œ œ œ œ œ œ
long - guh long) to the east the grains have rip - ened. (long - guh long - guh
long ge long) he dong he bei gao liang shou liao (long ge long ge
T V œ œ œ ‰
J œ œ œ
j ‰ œ. œ œ œ œ œ œ œ
(long - guh long long - guh long) to the east the grains have rip - ened.
œ œ œ
(long ge long long ge long) he dong he bei gao liang shou liao
? œ œ œ ‰ J ‰ œ œ œ ‰ œ. œ œ œ
B
J J
moun - tains high, (long - guh long long - guh long) to the east the
wan zhang gao (long ge long long ge long) he dong he bei
& œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œj ‰ j j j
Pno. 2
j ‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰
œ œ œ œ
102
j j œ œ œ œ
S & œ œ œ ‰ œ. œ œ œ.
long - guh long) In the moun - tains, bat - tle plans we
j j œ œ
long ge long) wan shan cong zhong kang ri ying xiong
& œ œ œ ‰ œ. œ œ œ. œ
A
œ
long - guh long) In the moun - tains, bat - tle plans we
j
long ge long) wan shan cong zhong kang ri ying xiong
j ‰
T V œ œ
œ œ œ œ œ œ. œ œ
œ
(long - guh long - guh long - guh long) In the moun - tains,
œ œ
œ œ œJ ‰ œ
(long ge long ge long ge long) wan shan cong zhong
? œ œ œ œ œ œ.
B œ J
grains have rip - ened. (long - guh long - guh long - guh long) In the
gao liang shou liao (long ge long ge long ge long) wan shan
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œj j j j
Pno. 2
‰ j ‰ œ ‰ œj ‰ œ ‰ œj ‰ œ ‰ j ‰
œ œ
j , 211
œ œ œ
106
S & œ. œ ˙ œ œ œ œ J ‰
must de - cide! (long - guh long - guh long - guh long)
,
zhen bu shao (long ge long ge long ge long)
j œ œ œ
A & œ. œ ˙ œ œ œ œ J ‰
must de - cide! (long - guh long - guh long - guh long)
j ,
zhen bu shao (long ge long ge long ge long)
œ œ œ œ œ
T V œ. œ. œ ˙ œ œ
bat - tle plans we must de - cide! (long - guh long - guh
œ œ ,
? œ œ
kang ri ying xiong zhen bu shao (long ge long ge
œ œ. œ. œ ˙
B J
moun - tains, bat - tle plans we must de - cide!
cong zhong kang ri ying xiong zhen bu shao
& œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œj ‰ j j j
Pno. 2
j ‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰
œ œ œ œ
110
j œ œ œ œ j
S & œ. œ œ œ. œ. œ
Count - less he - roes in the green tents there re -
j œ œ j
qing sha zhang li you ji jian er cheng ying
& œ. œ œ œ. œ œ. œ
A
œ
Count - less he - roes in the green tents there re -
j
qing sha zhang li you ji jian er cheng ying
œ œ
T V œ œ œJ ‰ œ. œ œ
œ œ. œ
long - guh long) Count - less he - roes in the green tents
œ œ
long ge long) qing
œ sha zhang li
œ œ
you ji jian er
B
? œ œ œ œ J ‰ œ.
J œ
(long - guh long - guh long - guh long) Count - less he - roes
(long ge long ge long ge long) qing sha zhang li
? œj ‰ j j j j
Pno. 2
‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰
œ œ œ œ
212
, œ œ œ œ
& ˙ œ œ œ œ
114
S œ œ œ œ œ
side. (long - guh long - guh long - guh long - guh) Ga - ther-ing arms for
, œ œ œ œ
hao (long ge long ge long ge long ge) duan qi le tu qiang
A & ˙ œ œ œ œ œ œ œ œ œ
, long
side. (long - guh long - guh long - guh long - guh) Ga - ther-ing arms for
j œ œ œ œ œ œ
hao (long ge long ge ge long ge) duan qi le tu qiang
T V œ. œ ˙ œ œ
there re - side. (long - guh long - guh long - guh long - guh)
cheng
œ œ ying
œ
hao
˙
(long ge long ge
,
long ge long ge)
? œ. œ. œ œ œ œ œ
B J
in the green tents there re - side. (long - guh long - guh
you ji jian er cheng ying hao (long ge long ge
œœ œœ œœ œœœ œœœ œœœ œ œ œœ œœœ œœœ œœœ œ

114
œœ œ œ œ œ œœ œœ œœ œ œ œ œ œ
& Œ
5
f
œ œ œ œœ œœ œœ j
Pno. 1
& Œ œ œ œ œ œ œœ œœ œœ œ œ œ œœœ œœœ œœ œœœ œœœ œœœ œœ ‰ Œ

œ
5
& œœ j ‰ Œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Pno. 2
? œj ‰ j
œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
213
œ
& œ œ œ œ œ
118
Œ œ œ
S
œ œ œ
bat - tle, (long - guh long long - guh long - guh long - guh)
yang qiang (long ge long long ge long ge long ge)
œ
A & œ œ Œ œ œ œ œ œ œ œ œ
bat - tle, (long - guh long long - guh long - guh long - guh)
yang qiang (long ge long long ge long ge long ge)
œ œ Œ œ œ
T V œ œ œ œ œ œ œ œ
Ga - ther - ing arms for bat - tle, (long - guh long long-guh
œ œ
duan qi le tu qiang yang qiang (long ge long long ge
B
? œ œ œ œ œ œ œ œ œ Œ
long - guh long - guh) Ga - ther - ing arms for bat - tle,
long ge long ge) duan qi le tu qiang yang qiang
œœ œœ
œ œ
118
& Œ ∑ ∑
œœ œœ
Pno. 1
& œœœ œœ Œ ? œ œ œ œ œ œ œ Œ
œ
œœ œœ Œ ∑
Pno. 2
? œ œ œ œ œ œ
œ œ œ œ œ œ
214
121
Œ
S & œ œ œ œ œ œ
ga - ther - ing arms for bat - tle, (long - guh long - guh long - guh)
hui dong zhe da dao chang mao (long ge long ge long ge)
œ œ Œ œ œ œ œ œ
A & œ œ œ œ œ œ
ga - ther - ing arms for bat - tle, (long - guh long - guh long - guh)
hui dong zhe da dao chang mao (long ge long ge long ge)
V œ œ œ œ œ Œ
T œ œ œ œ œ œ
long - guh long - guh) ga - ther - ing arms for bat - tle,
œ œ œ œ
long ge long ge) hui dong zhe da dao chang mao
? œ œ œ œ œ œ œ œ œ œ
B
(long - guh long long - guh long - guh long - guh) ga - ther - ing arms for
(long ge long long ge long ge long ge) hui dong zhe da dao
œœ œ œ œ œ œœœœ œœœœ
& œ
121
Œ ∑
Pno. 1 œœ œœ
? ∑ Œ œ œ œ œ œ
j œ œ
& œœ ‰ Œ œ œ œ œ œ
œœ
Pno. 2
? œ œ œ œ œ œ
215
œ œ
œ œ œ
124
S & œ. œ œ œ œ œ. œ
save a vil - lage! long - guh long - guh long - guh) Save the
bao wei jia xiang (long ge long ge long ge) bao wei
œ œ
A & œ. œ œ œ
œ œ œ œ œ. œ
save a vil - lage! long - guh long - guh long - guh) Save the
bao wei jia xiang (long ge long ge long ge) bao wei
œ œ œ
T V œ œ œ œ. œ œ œ œ œ
(long - guh long - guh long - guh) save a vil - lage! Save the
(long ge long ge long ge) bao wei jia xiang bao wei
? Œ œ œ.
B
bat - tle, (long-guh long - guh long - guh) save a vil - lage!
chang mao (long ge long ge long ge) bao wei jia xiang
124
& ∑ ∑ ∑
Pno. 1
œ œ
? Œ ∑ ∑
& œ Œ ∑ ˙
œœ
œœ œ p ˙
Pno. 2
? œ œ
œ œ œ œ ˙ ˙
œ œ ˙ ˙
216
œ œ œ œ œ œ œ ˙
127
S & œ. œ œ. œ
Hwang-huh! Save our home-land! Chi - na we'll de - fend!
huang he bao wei hua bei bao wei quan zhong guo
œ œ œ
A & œ œ œ. œ œ. œ œ œ ˙
Hwang-huh! Save our home-land! Chi - na we'll de - fend!
huang he bao wei hua bei bao wei quan zhong guo
T V œ œ. œ
Hwang - huh! Save our home - land! Chi - na we'll de -
huang
œ
he
œ
bao
œ œ
wei hua bei bao wei quan zhong
? œ. œ œ. œ œ. œ œ œ ˙˙
B
Save the Hwang-huh! Save our home-land! Chi - na we'll de - fend!

bao wei huang he bao wei hua bei bao wei quan zhong guo
œœ ˙˙
œ ˙
127
& ∑ ∑ Œ
Pno. 1
F
? ∑ ∑ Œ œœ ˙˙
&
˙ ˙ œ œ ˙
& ˙ ˙ œ œ ˙
Pno. 2
? œ ˙
˙ ˙ œ
˙ ˙ œ œ ˙
217
& ˙
131
S b ∑ ∑ ∑ ∑ ∑
A & ˙ b ∑ ∑ ∑ ∑ ∑
T V ˙ b ∑ ∑ ∑ ∑ ∑
fend!
guo
B
? ˙˙ b ∑ ∑ ∑ ∑ ∑
œœ œ œ b œ œ œ œ œ œ œ ˙ œ œ ˙
œœ œ
œ œ œ ˙ œ œœ ˙
œ œ Jœ
131
& b œ œ
J
Pno. 1
f
œ œ b œJ ‰ œj ‰ j j j j j j j j
& œœ œ œ b œ œ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
j > >
& Œ b œœ b œœ ‰ Œ ‰ œœ ˙˙ œœ œ œœ ˙˙
œ œ œœ œœ œœ œœ œœ œ
F f
œ œ œ œ œ œ œ œ œ œœ œ œ œ
Pno. 2
? ˙ b œœ œ œ œ œ œ œœ
œœœ œ œ œ œœœ œ œ œ œ œœœ
˙ œ
218
œ œ œ œ œ œœ œœ œœœœ
œ œ œœ œ œœœ œ œœœœœ œ
œœœ œœœœ œœœ
137
&b J J
Pno. 1
& b œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ Œ ∑

œ œ œ œ
œ
& b œJ ‰ Œ ∑ ∑ ∑ ∑ ∑
. œ œ. œ œ œ
? œ œ œ œ œ œ œ œ œ œ œœ . œ œœ œ
Pno. 2 marcato
œ œ œ œ
b œ œ œ œ œ œœ œ œ œ œ œ œ. œ œ œ
œœœ œœœ œ
œœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ

143
b œœœœ
&
Pno. 1
œœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
&b œœœœœœ
&b ∑
œ
j œ œœ œ
œ. œ œ.
Pno. 2
? œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
œ œ œ
219
œ
147 œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœ
&b
œ
œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœ
Pno. 1
& b œ
&b . œ
j j ‰ œ
j œ
œ œ œ œ. œ
Pno. 2
? œ œ œ œ œ
b œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œœ œ
œœœœ œ œ œ œ œ œ œ >œœœ >œœ

œ œœ œ œ
œœœœ œœœ
œœœœœœœœ œœœ
151
&b
> >œœ
Pno. 1
&b œœœœŒ ∑ ∑ œ œ œ œ œ œœœ œŒ
j j
&b . œœ œ j
œ œ œ ‰ œœ ‰ Œ œ œœ œ œ œ œ
œ œ. œ œœ œ
Pno. 2 > > >
? œ œ œ œ œ
b œ œ œœ œ œ
j‰ Œ œ œŒ
œ > >
>
220
>>
œ œ œ œ œ œœœ œœœ >œœ >œœ >œ >œ œ œ œ œœ œœ œ œ œ œ b œœœ œœœ œ œ œ œ
œœ œœ œ œ œ
156
&b Œ œœŒ
Pno. 1
j œœ œœ œ œ œ œ œœ œœ œ œ œ œ
& b œœ ‰ Œ œœ œœ œ . œ œœ œœ œ . œ œœ œ œ œœ bœ œ
œ œœ œœ œ œœ œ œ œ
> >> >> > >
œœ >œœ >œ >œ
>œ >œ œœ œœ œœ
œ
&b œ œ œ œ œœ œœ Œ Œ Œ œœ œœ Œ Œ
œ œ b œœ œœ
œ œ
Pno. 2
? b œj ‰ Œ œœŒ
œ œŒ
œœŒ œ œ Œ œ œ œ œ Œ
œ œœ œœ œ œ œ œ
> >> >> >>
œ œ
b œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ
œ
œœ œ œ œ bbb
162
&b
Pno. 1 p
&b œ œ œ b œ œ œ œ œ œ œ b œ œ œ b œ œ œ œ œ œ b œ œ œ œ œ œ ? bbb
œœ œ
& b œœ ‰ œ ‰ b œœ ‰ œœ ‰ b œœ b œœœ b œœœœ b œœœ œœ

œœ bbb
œœ œœ œ
Pno. 2 p bœ bœ œ bœ
? b œj ‰ j ‰ j‰ j‰ bœ œ œ bœ œ bœ bbb
bœ œ œ bœ œ œ bœ œ œ
œ bœ œ œ œ bœ œ œ
221
, œ ,
bb œ œ œ j
166
& b œ ˙ œ ˙ œ œ œ
S
J
Strong winds howl, hor - ses neigh, Hwang-huh is
feng zai hou
, ma zai jiao
, huang he zai
b œ œ œ œ j
A &bb œ ˙ œ ˙ œ œ œ
J
, œ ,
feng zai hou ma zai jiao huang he zai
b œ œ œ j
T Vbb œ ˙ œ ˙ œ œ œ
J
œ
feng
œ
zai hou
˙ , œ
ma zai
œ jiao
˙ ,
huang he zai
œ
? b œ œ œ œ J
B bb J
feng zai hou ma zai jiao huang he zai
œ
bb œ œ œ œ j
166
& b œ ˙ œ ˙ œ œ œ
J
œ œ œœ œœ œœ œœ œœ œœ œœ œ
? b œœ ‰ œœ œ ‰ œœ ‰
Pno. 1
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
bb J J J J J J J J J J
j
bbœœ ‰
& b œœ œ . œ
œœ .. œœ œœ .. œœ œœ .. œœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœ œœœ ... œœ
- œ . œ- œ . œ- - - - - œ- œ-
j j j j j
Pno. 2
? b b œ ‰ œj ‰ œ ‰ œj ‰ œ ‰ œj ‰ œ ‰ œj ‰ œ ‰ œj ‰
b œ œ œ œ œ œ œ œ
œ œ
222
, j œ œ ,
bb œ œ œ œ œ. œ œ
171
S & b J œ œ
roar - ing Hwang-huh is roar - ing, to the west are
b œ
pao xiao
œ , huang he
j
zai pao xiao
, he xi shan gang
&bb œ œ œ œœ œœ œ. œ œ œ
A
J
, ,
pao xiao huang he zai pao xiao he xi shan gang
b œ œ œ œ j œ œ œ. œ œ
T Vbb J œ œ
œ
pao
œ
xiao
, œ œ
huang he zai pao xiao
, œ.
he
œ œ
xi shan gang
? b J œ œ œ œ
B bb J
pao xiao huang he zai pao xiao he xi shan gang
b œ œ œ œ j œ œ œ œ
œ.
171
&bb J œ œ
œ œ œœ œœ œœ œœ
? b œœ ‰ œœ ‰
Pno. 1
œ œ œ œ
bb J J J ‰ J ‰ J ‰ J ‰ & œj ‰ j
œœ ‰
œœ œ
b
& b b œ. œ œ. œœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœ œœ .. œœ œ . œ œ. œ
œœ .. œœ œœ .. œ- - - œ- œ . œ- œœ .. œ-œ œœ .. œ-œ
-
Pno. 2
j j j j
? b œ ‰ j ‰ œ ‰ œj ‰ œ ‰ œj ‰ œ ‰ j
bb œ œ œ œ œ ‰
œ œ œ œ œ
223
b j œ. œ œ œ œ. œ
175
S &bb œ œ œ ‰ œ œ œ œ J
moun -tains high, to the east the grains have rip - ened. In the
wan zhang gao he dong he bei gao liang shou liao wan shan
A &bb œ œ œ ‰ œ œ œ œ J
T Vbb œ œ œ ‰ œ œ œ œ J
œ. œ œ œ œ
? b œ œ œ ‰ œ œ œ œ.
B bb J œ J
175
&bb œ œ œ ‰ œ œ œ œ J
Pno. 1
b
& b b œj ‰ œœ
j ‰ j‰
œœœ
j ‰
œœœ œœ
j ‰
œœ
j ‰ œœ .. œœ œœ .. œœ
œœ œ œ œ œ. œ œ. œ
b œ. œ
& b b œ. œœ œœ .. œœ œœ .. œœ œœ ..
œœ .. œ- œ . œ œ . œ- œ .
œœ
œ- œœœ ... œœ œœ ..
œ- œ .
œœ
œ-
J
Pno. 2
j j j j
? bb œ ‰ j ‰ œ ‰ œj ‰ œ ‰ j œ ‰ œj ‰
b œ œ œ œ ‰
œ œ œ œ œ œ
224
œ œ ,
bb œ œ. œ œ. œ œ. œ
179
S & b œ J ˙ J
moun - tains bat - tle plans we must de - cide! Count - less
,
cong zhong kang ri ying xiong zhen bu shao qing sha
b œ œ. œ œ œ. œ œ. œ
A &bb œ œ J ˙ J
œ œ ,
b œ œ. œ œ. œ œ. œ
T Vbb œ J ˙ J
œ
cong zhong kang ri ying xiong
œ. œ œ
zhen
œ. œ
bu shao
,
qing
œ.
sha
œ
? b œ œ J ˙ J
B bb
œ œ œœ œ. œ
bbb œ œ œ œœœ J
œ. œ. œœœœ
179
& œ J 5
Pno. 1
b
& b b œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œ . œ œj ‰ Œ œ. œ
J
œ. œ œ. œ œ. œ œ. œ œ . œ œœ .. œœ œ
b œ œ œ œ œ ˙
& b b œ œ . œ. œœ œœ œœ œœ œœ œœ
J œ œœœ œœ
j
? b œj ‰ j ‰ j j j œ œ
Pno. 2
œ ‰ j œ ‰ œj ‰ œ ‰ œ ‰
bb œ œ ‰ œ œ‰ œ‰
œ œ œ œ œ œ œ J J
225
œ œ ,
bb œ œ. œ œ. œ ˙
184
S & b œ J
he - roes in the green tents there re - side.
,
A & bbb œ œ œ. œ œ œ œ. œ
J
˙
œ œ ,
b œ œ. œ œ. œ ˙
T Vbb œ J
œ ˙ ,
œ œ. œ œ œ œ. œ
? bb J
B b
œœœœœœœœ
œ œ œ œ
œ œ. œ. œ
b J
184
&bb
œ œ œœœœœœœœ
Pno. 1
b œ œ. œ œ. œ
&bb œ J
b j
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ ‰ Œ
œ œœœ œœ œ œœ œ œœ œ œœœ œœ œ
Pno. 2
j j j œ j
? b œ ‰ œ ‰ œ ‰ œ ‰ j œ ‰
bb œ œ œ œ œ ‰ œ ‰ œ
Œ
J J œ
226
b œ œ
œ œ œ œ œ œ
188
S &bb œ œ Œ œ œ
b
A &bb œ œ œ œ œ œœ œœ Œ œ œ œ œ œ
b œ œ
T Vbb œ œ œ œ œ Œ œ œ œ œ œ
? b œ œ œ œ œ œ œ œ œ œ œ œ
B bb Œ
œ œ
œ œ œ œ
b
&bb J J
188
‰ Œ Œ ‰ Œ
œ œ
œ œ œ œ
Pno. 1
b œ œœ œœ
b
& b œ œ œ œ œ œ œ œ œ
b j
& b b œœ ‰ Œ œœ œœ Œ ∑
œ œ œ
? b œj
Pno. 2
‰ Œ Œ j
bb œ œ œ ‰ Œ
œ œ œ œ
227
b œ œ Œ œ. œ œ œ œ. œ œ œ œ. œ
191
S &bb Œ
bat - tle, save a vil - lage! Save the Hwang-huh! Save our
chang mao bao wei jia xiang bao wei huang he bao wei
b
A &bb œ œ Œ œ. œ œ œ Œ œ. œ œœ œœ œ . œ
b œ œ Œ œ. œ œ œ œ. œ œ œ œ. œ
T Vbb Œ
? bb œ œ œ. œ œ œ œ. œ œ œ œ.
œ
B b Œ Œ
œ œ œœ œœ œ. œ œœ œœ œ œ
bb œœ œœ œ œ œ œ . œ œ .
191
& b Œ
Pno. 1
b œ œ œœ œœ .
& b b œœ œœ œ œ œ œ œ . œ Œ œ. œ œ œ
œ œ
b
&bb ∑ Œ œ œ
œ œ
∑ œœ œœ Œ
œ œ
Pno. 2 S
? bb œ œ œ œ Œ
b œ œ Œ Œ
œ œ œœœ Œ œ œ
œ œ œœœ
>>>
228
œ œ œ ƒ
195
bb œ. œ œ œ ˙ ˙
S & b
home - land! Chi - na we'll de - fend!
ƒ
hua bei bao wei quan zhong guo
b œ œœ œ. œ œœ œœ œœ ˙˙ ˙˙
A &bb œ
ƒ˙
œ œ œ œ œœ ˙˙
T V b bb œ. œ ˙
œ œ ƒ
œ. œ œ œ œ ˙ ˙
? b œ ˙ ˙
B bb
œœ œœ œœ œœœ œœ ˙˙ ˙˙
œ œ œ. œ œœ œ œœ ˙ ˙
b
195
&bb
ƒ
b œœ œœ
Pno. 1
œ. œ ˙ œ
&bb œœ
œ
œœœ œ
œ ˙ ˙
b œ ˙ ˙
& b b œœœ œœ
œ
Œ Œ
Pno. 2
ƒ
? b œ œ Œ œ ˙ ˙
bb œ œ œ œ ˙ ˙
œ
229
b ˙ ˙ ˙ ˙ œ ‰ Œ
199
S &bb J
b ˙ ˙˙ ˙˙ ˙˙ œœ ‰ Œ
A &bb ˙ J
b b b ˙˙ ˙˙ ˙˙ ˙˙ œœ
T V J ‰ Œ
? b b ˙˙ ˙˙ ˙˙ ˙˙ œœ
‰ Œ
B b J
œ ˙ ˙ >œ
˙˙ œ ˙ ˙ œ
b ˙ œ œ J ‰ Œ
199
&bb
>œ
Pno. 1
b ˙ ˙
&bb ˙ ˙ ˙ ˙ œ ‰ Œ
J
˙ œ œ ˙ ˙ ˙ ˙ >œœ
b ˙ œ œ J
&bb
j
Pno. 2
? b ˙ ˙ ˙ ˙ œ ‰ Œ
bb ˙ ˙ ˙ ˙ œ
>
230
8. Roar, Yellow River!
(Chorus)
w ˙ ˙ œ œ
gg n ˙˙˙˙ ggg ˙˙˙ gg www œ
Poco adagio [e = 98]
& bb 22 gggg n www gg ggg ggg Ó Œ œ ˙ œ œ

gg ggg ggg ggg
ggg ggg
ggg P gg ggg
ggg gg ggg
22 gggg w
Piano 1
b ggg ˙˙ ggg ˙˙ ggg www ˙ ˙
&b ggg n ww gg n ˙˙ gg ˙˙ ∑ ?
w ˙ ˙ w w w w w w
b 2 ˙
&b 2 w ˙
P w w w
w w
Piano 2
? b 2 w w w w w
b 2
˙ U
6
bb ˙ Ó Ó Œ œ ˙ œ œ ˙. 2
& ˙ 4
œ œ œ ˙. œ ˙ œ œ w
f
œ. nœ ˙ œ ˙
Pno. 1 [rit.]
? bb J Œ ∑ ∑ ∑ ∑ & 42
w w w w w w ˙. ˙. U
bb 2
6
& 4
œ ˙ œ œ w
[rit.]
f
Pno. 2
w w w ˙.
? bb w w w ˙. U
œ ˙˙ œ œ w 42
œ œ œ w
231
NARRATOR: Listen, the Pearl River roars angrily! The Yangtze River is raging on!
œ œ nœ œ #œ œ œ nœ
Allegretto [performance tempo is faster]
bb 2 œ n œ œ # œ œ # œ
& 4 œ #œ œ #œ œ œ nœ œ #œ œ
12 6
p
6 6
6
Pno. 1
bb 2 œ œ nœ œ #œ œ œ nœ
6
6 6
& 4 œ œ n œ œ # œ œ # œ
œ #œ œ #œ œ œ nœ œ #œ 6
b
& b 42 œ œœ
12
œœ œœ œ
œ œ œ
œ
Pno. 2 p
? b 2
b 4 ˙ ˙
˙ ˙
œ nœ bœ œ bœ œ
n œ b œ œ 6b œ œ b œ œ 6
bb nœ bœ œ bœ œ nœ bœ œ bœ r
6
œ bœ œ ‰. Œ
14
&
6
Pno. 1
b œ nœ bœ œ bœ œ nœ bœ
6
&b œ bœ œ bœ œ nœ bœ r ‰. Œ
6 6
œ bœ œ nœ bœ œ bœ œ bœ œ
6
b œ
&b œ œœ j
14
œ œ œœ œœ ‰ ∑
œ
F
>œ . >œ >œ >
Pno. 2
? bb >œ œœ .. œœ œ œœœ
˙ œ. J
˙ œ.
232
Ah! Yellow River! Raise up your angry waves, let loose your wild bellows,
œœœ œ œ œJ
b
&b œœœœœ J ‰ œœœœœ
17
∑ ‰ ∑
F F f
7
f
Pno. 1 7
œœœœœœœœ
bb j ‰
7
∑ œ œ œJ ‰
?
7
& œ œ œ œ
œœœ œœœ œ œ œ
b
17
&b ∑ ∑ ∑ œ. œœ œ
F f f
Pno. 2 >œ . œ> œ> > F œœ .. œœ œœ œ
? b œ > œœ .. œ œ œœ œ j œ
b œ j Jœ œ œ œ J
œ
œ
sound the battle cry for all of China's oppressed people!
b œ œœœœœœœœ
21
&b ∑ œœœ œ œœœœ œœœœœœœœ œœœœ œœœ

Pno. 1
œ œ œœœ œ œ œ
? b ∑ ∑ ∑ ∑
b
b 3
21
& b œ œ œ. ‰ œ œ œ œ. œ
3
œ œ ˙ œ. œ. œ œ œ
œ. œ ˙ œ. œœ .. œœ œœ œ œœ œ3 œœ œœ .. œœ
Pno. 2
? b œœ œœ œœ œ œ œ
3
b J
233
>œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ . >œ >œ >œ

bb œ œ œ œ œ œ œ œ U̇ œ œ œ œ
26
&
Pno. 1
ƒ
U > >
? b ∑ ∑ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œœ œ
b
> > > > >>
b U >œœ .. >œœ >œ >œœ

œœœ œ .
26
&b ˙ ˙ œ œœ œ
œœœ ... œœœ œœœ .. œœœ œœœ .. œœœ œœœ ..
> >. >. >.
ƒ
Pno. 2
˙ U̇˙ >œ . >œ œ> >œ
? bb ˙ œ œ œ œ œ. œœ œ
>œœœ>œœœ >œœœ>œœœ >
234
[f ]
bb ‰ œj 44 œ . œ œ ‰ œj œ . œ œ œ Œ ‰ œj
31
S & Œ œ Œ
Rage on for - e - ver! Our Yel - low Riv - er! Keep
nu hou ba huang he nu hou ba huang he nu
[f ]
b ‰ œj 44 œ . œ œ ‰ œj œ . œ œ œ Œ ‰ œj
A &b Œ œ Œ
[f ]
T V bb Œ ‰ œj 44 œ . œ œ œ Œ ‰ œj œ . œ œ œ Œ ‰ œj
œ. œ œ œ
[f ]œ. œ œ
B
? bb Œ ‰ Jœ 44 œ Œ ‰ œJ Œ ‰ Jœ
b œ œ> >œ >œ . >œ >œ > œ

‰ œj 44 œ . œ œ j œœ ‰ œj
31
&b œ œœ œœ ‰ œ œ œ
> > > > > > > > >
>œ . >œ >œ >œ œ>œ >œœ
b œ ? ‰ œ 4 >œ . >œ >œ >œœ >œ
Pno. 1
>œ œœ ‰ œ œ œ‰ œ
b
& œ œ J 4 œ J J
> >>
>œ >œœ >œ >œ

31
bb œœœ Œ 4 Ó œœ œŒ Ó œœ œœ ‰ œ
& 4 J
>
Pno. 2
? bb œ Œ 44 Ó œ œŒ Ó œ œŒ
œ>
œ œ œ œ
>> >>
235
rit. molto a tempo
œœ œj j
b œœ .. œ. œ ww
J ‰ ˙
34
S & b
rag - ing on, Hwang - - huh!
hou ba huang he
b œ ‰ ˙
A & b œ. œ
J #w
rag - ing on, Hwang - - - huh!
hou ba huang he
œœ œj j
b œœ .. œ. œ ww
T V b J ‰ ˙
rag - ing on, Hwang - - huh!
œ
hou ba huang he
B
? bb œ . œ
J ‰ ˙ w
rag - ing on, Hwang - - - huh!
hou ba huang he
j
b œ. œ œœj ‰ œ˙ . œ
&b œ ‰
34
œ œ œ nœ
J œ nœ #œ œ œ œ œ œ œ œ
œ œj j
rit. molto
œœ . œœ ‰ œ˙˙ . œ
Pno. 1 a tempo
? bb œ J
œ œ œ nœ
‰ œ nœ #œ œ œ œ œ œ œ œ
œœ . œ œj j
œ ‰
34
bb J œ˙ . œ w
& # www
Pno. 2 rit. molto a tempo
? b Ó Œ w
b œ
œ w
>
236
36
b w œœ ‰ Œ #
S &b w J
Ó ∑
b j #
A &b w œ ‰Œ Ó ∑
b w œœ ‰ Œ #
T Vb w J
Ó ∑
? b w œ ‰Œ Ó ∑ #
B b J
# œ œ œ n œ œ œ œ >œ . # >œœœ >œœœ >œœœ >œ

œœ œœ n œœœ œœ œœ
œ #œ nœ œ #
b nœ
& b œ nœ œ œ œ œ œ œ
36
œ
? b œ nœ œ œ œ œ œ
Pno. 1
œ œœ .. œœ œœ œœ œœ œœ n œœœ œœ œœ #
& nœ #œ œ œ nœ œ œ
?
b # œœ .. œœ œœ œœ œœ œœ # œ n œ œ
> >>> >
>œ . >œ >œ >œ >œ œœ n œœœ œœ œ

b w # œœ .. œœ œœ œœ œœ œ #œ #
36
& b www
?
&
Pno. 2
? b w œ. œœœ œ œ œ nœ #œ #
b
w œ œœœ œ œ œ nœ #œ
>. >>> >
237
[F ]
# œ j œ. œ
œ ‰
39
S & Ó œ œ œ œ J
Raise up your bil - lows, roar
[F ]
xian qi ni di nu tao fa chu
# Œ Œ Œ œ. œ
A & œ œ œ. œ œ œ
Raise your ang - ry bil - lows, roar
[F ]
# œ. j
V œ. œ œ œ œ œ Œ œ œ œ œ ‰
T
œ
Raise up your an - gry bil - lows, raise up your bil - lows,
xian qi ni di nu tao ni di nu tao
[F ]
œ. œ œ œ œ œ œ. œ
B
?# Ó Œ œ Œ
Raise up your an -gry bil - lows, roar
# j
œ. œ œ
39
œ œ.
& Œ œ œ œ œ œœ . œ œ
œ œ Œ
Pno. 1 [for rehearsal only]
œ œ œœ . œ j
œ. œ œ. œ œ
?# œ œ œ
œ œ œ œ œ. œ
39
#
& ww ˙. œ
w ˙. œ
Pno. 2
?# w ˙. œ
w ˙. œ
238
41
# œ œ œ
S & œ ˙
out your an - - - ger,
ni di kuang jiao
# œ œ œ ‰ j œ œ
& œ œ
A
œ
out your an - ger, and sum - mon
ni di kuang jiao quan shi jie
# œ. œ ‰
V œ œ œ œ œ
T
J
roar out your an - - - ger,
œ œ
fa chu ni di kuang jiao
B
?# œ œ œ Ó
out your an - ger,
ni di kuang jiao
41
# œœ œœ œœ œ
‰
œ œ
& œœ ˙
œ
œ. œ
Pno. 1
œœ œœ œœ œ œ
?# œ œ
Ó
41
#
& wœ œœ ˙˙
œ
Pno. 2
?# w
w
239
42
# Ó œ œ œ
S &
and sum - mon
quan shi jie
# œ œ
A & œ œ ˙
all earth's peo - - - ple,
lao dong di ren min
# ‰ j œ
T V œ œ œ œ œ œ œ
and sum - mon all earth's peo - ple,
quan shi jie lao dong di ren min
?# œ œ œ œ
B œ œ œ œ
and sum - mon all earth's peo - - -
quan shi jie lao dong di ren
42
# œ œ œ œ œ
& œ œ œ
Pno. 1
‰ œ œ œ œ œ œœ
?# œ œœ
œ œ œ œ œ œ
42
#
& ˙ ˙
˙ ˙
Pno. 2
?# ˙ ˙
˙ ˙
240
43
# œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ. œ
S & œ J
all earth's peo - ple, sound out, sound out the loud bat - tle
lao dong di ren min fa chu zhan dou di jing
# ‰ œ
& œ œ œ œ œ ˙ œ œ
A œ
œ
sound out the loud bat - tle cry!
fa chu zhan dou di jing hao
# œ. œ œ œ œ œ w
T V œ
œ
sound out the loud bat - tle cry!
?# œ ‰ œ œ œ œ œ œ œ w
B J œ
ple, sound out the loud bat - tle cry!
min fa chu zhan dou di jing hao
43
# ‰
œ œœ . œ œ
j
& œ œœ œ œ œ
œ œœ œ œ œœ œ˙ œ œ œ
‰ J œ
Pno. 1
œ. j œ œœ œ œ w
œ œœ
?# œ
J ‰
œ œ œ œœ w
43
#
& ˙˙ œœ œœ œœ ˙w. œ
˙ œ
œ
Pno. 2
?# ˙ œ œ œ œ ˙. œ
˙ œ ˙. œ
241
Andante
[ q = ca.60]
45
# 3
S & w ˙ œ ‰ Œ
J
∑ 4 ∑
cry!
hao
# j 3
A & w ˙ œ ‰ Œ ∑ 4 ∑
# w ˙ œ 3
T V J ‰ Œ ∑ 4 ∑
?# w ˙ œ 3
B J ‰ Œ ∑ 4 ∑
Andante
45
# ‰ œœ œœ œœ œ œœ œœ œœ .. œœ ‰ Œ
[ q = ca.60]
3 œœœœ œ
& ˙˙ œ œ. œ œ œ ˙. 4 J J
œ œ œ œœ œ J J œœ œœ ˙˙ ..
p
œœ œœ œœ œœ œœœ
Pno. 1
˙
?# ˙ Ó Ó ‰ œœœ œ ∑ 3
4 ∑
Andante
# w
[ q = ca.60]
3
45
& w w 4 ∑
w w w
Pno. 2 p
?# w w w 3
w w w 4 ˙.
œ Œ œ
< <
242
[p ]
49
# ∑ ∑ ∑ ˙. ˙ œœ ˙ œ
S &
Ah
a
[p ]
#
A & ∑ ∑ ∑ ˙ œ œ . œJ œ œ œœœœ
Ah
a
#
T V ∑ ∑ ∑ ∑ ∑ ∑
B
?# ∑ ∑ ∑ ∑ ∑ ∑
˙˙ . ˙œ œ œœ œ ˙œ œ œ œ œ
# œ . J œ
& œ ˙
49
˙ œ œ ˙
Pno. 1
?# ∑ ∑ ∑ ˙. ˙. ˙.
& ˙. ˙. ˙ œ
49
# œ œ œ œ œ n œ œ œ . Jœ œ œ œ œ œ œ œ ˙˙ . ˙ œ œœ œ ˙œ œ œ
& J J œ œ. J œ œœ
Pno. 2
?# ∑ ∑ ∑
˙. Œ ˙. Œ ˙. Œ Œ
œ œ œ œ œ
< < < < <
243
55
# ˙. ˙. œ ‰ Œ Œ ∑ ∑
S & J
# j
A & œ. œœœ œ ˙ œ œ ‰ Œ Œ ∑ ∑
# [p ]
T V ∑ ˙. ˙ œ œ ˙ œ ˙.
Ah
a
[p ] ˙ œ œ ˙˙ œ. j
B
?# ∑ ∑ œœ ˙. œ œ œ
Ah
j
a
˙. œœœ œ ˙˙ . œ
55
# œ. œ œ
& J ‰ Œ Œ ∑ ∑
œ œ ˙˙ j
Pno. 1
# ˙. ˙. ˙˙ œœ œ. œ œ œ
& ˙.
? . ˙.
˙.
55
# ˙. œœœ œ ˙˙ .
& œ. œ ˙ œ œ ˙ œ ˙˙..
Pno. 2
?# ˙.
∑ ˙. ˙. ˙˙ .
˙. ˙ œ .
244
60
# ∑ ∑ ∑
S &
[F ]
# ,
& œ œ œj œ œ œ ˙ œ œ œ œ œ œœ œ
A
J
Five thou - sand years of hard - ship, we have long en -
wu qian nian di min zu ku nan zhen bu
# œ
T V J ‰ Œ Œ ∑ ∑
j
œ
?# œ ‰ Œ
B J Œ ∑ ∑
60
#
&
˙. ˙. ˙.
Pno. 1
? # ˙. ˙. ˙˙ ..
˙. ˙. ˙.
# œ j j
‰ œ œ œ œ œ œ œœ œ œ œ œ œœ œ
60
& œ œ œ œ œ
˙. ˙ ˙
? # j ‰ œj ‰ œj ‰ j ‰ œj ‰ œj
Pno. 2
j
œ œ ‰ œj ‰ j ‰ œ
‰
œ œ œ
245
63
# ∑ ∑ ∑ ∑
S &
# j‰ Œ Œ
& ∑ ∑
A
˙. œ
dured!
shao
[F ]
# œ œ œj œ œ œ œ ˙ ˙.
T V ∑ J
Suf - fered cruel op - pres - sion,
tie ti xia di min zhong
B
?# ∑ ∑ ∑ ∑
j œ œ ˙
# Œ ‰ œ œ œ œ
œ œ œ œ œ œ.
63
& J
˙. ˙˙ .. ˙˙ ..
Œ ‰ œj œ œ
Pno. 1
? # ˙˙ .. ˙. ˙. j
˙. ˙. ˙. œ
œ œ œ.
&
# j j
œ œ œ œ œ ˙ ˙. œ œ
63
œ œ
& œ˙ .œ œ œ œ œ ˙ . œ œ J
˙. œ.
? # j ‰ j ‰ j ‰ j ‰ œj ‰ œj ‰ j ‰ œj ‰ œj ‰
Pno. 2
j j
œ œ œ œ œ ‰ œ ‰ œj ‰ œ œ
œ œ œœ œ œ œ œ œ œ œ
246
67
# ∑ ∑ ∑
S &
[F ]
# œ œ œj œ œ
& ∑ ∑
A
J
suf - fered cruel op -
tie ti xia di
#
T V œ œ œ œ œ œ œ œ ˙. ˙.
pain we can no long - er bear.
ku tong shou bu liao
[F ]
?# œ œ œ œ œ œ ˙
B ∑ J J
Five thou - sand years of hard - ship,
wu qian nian di min zu
˙ œ œœ ˙˙ .. ˙˙ ..
67
# ˙ œ ˙. ˙.
&
Pno. 1
# œ œ œ œ œ
& œœ . œ ˙ Jœ œ ?
J J œ ˙
œ
#
67
& ˙. .
œ̇ œ œ œ œ
J J
? # œj ‰ j ‰ œj ‰ j
Pno. 2
œ j ‰ œ ‰ œj ‰ j
œ ‰ œj ‰ œj ‰
œ œ œ œ œ
œ œ œ œ œ
247
[F ]
70
# ∑ œ œ œj œ œ œ œ ˙
S & J
suf - fered cruel op - pres - sion,
tie ti xia di min zhong
[F ]
# œ œ ˙
A & œ œ œ œ œ œ œ œ ˙.
pres - sion, pain we can no long - er bear,
œ
min zhong ku tong shou bu liao
# œ œ œ
T V œ œ œ ˙ œ œ œ œ œ œ
we have long en - dured, pain we can no
œ
shou bu liao shou bu liao shou bu liao
B
? # œ œ œ œ œ œ œ ˙. œ œ œ œ œ
we have long en - dured, we have long en-dured,
ku nan zhen bu shao tie ti xia di min
# œœœ œœœ œœœ œœ ˙˙ .. œ˙ . œ ˙

œ ˙. ˙.
70
&
œ œ œ œœ œ œ œ œ œœ
Pno. 1
? # œ œ œ œ œ œ œ œ˙ . œ œ œ
J J
# j
& œœœ œ œ˙ œ œ œ˙ œ œj œ œ œ œœ ˙œ œ ˙˙
70
œ œ .
j j
? # j ‰ œ ‰ œj j
Pno. 2
j œ ‰ œ ‰ œj ‰
œ ‰ œ ‰ œj ‰ j ‰
œ œ œ
248
[U ]
73
# œ œ œ œ 2
S & œ œ œ œ ˙. 4
pain we can no long - er bear.
ku tong shou bu liao
[U]
#
A & ˙ œ œ ˙. 42
no long - er bear.
shou bu liao
# [U]
T V ˙ œ ˙. 42
long - - - er bear.
shou bu liao
[U]
?# œ ‰ œ œ œ œ ˙. 2
B J 4
we can no long - er bear.
zhong ku nan shou bu liao
j [U]
# œœ˙ ... œœ œœ ˙˙ .
˙ .. 42
73
&
[U ]
˙ œ
Pno. 1
? # œ. œ œ œ ˙. 2
J ˙. & 4
# œ œ œ
œœ œœ œ œ œ ˙˙ . 42
73
& œ. .
J œ œ œœœœ
œœ œœœ œœ œ
~
~~~~~
j œ
Pno. 2
?# j ‰ j œ œ j 2
œ ‰ œ ‰ œ œ 4
~~~~~
œ œ œ œ
œ œ
249
œ œ
Allegretto [performed Presto]
75
# 2 œ . œ œ œ œ œ œ œ œ . œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ
& 4 J œœœœœœ
Pno. 1 [f ]
# 2 œ œ j
& 4 œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ ‰ Œ
?
#
Allegretto [performed Presto]
j j
& 42 œœ ‰ ‰ œj œj ‰ ‰ œj œj ‰
75
j‰ œœ œœ œœ œœ œœ œœ œœ œœ ‰ Œ
œ œ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
~~
~ ~~ ~
[f ]
j j j
Pno. 2
? # 42 œ ‰ ‰ œ œ ‰ ‰ œj œj ‰ j
~~ ~ ~
œ ‰ j‰ Œ
œ œ œ œ œœœœœœ œ
250
80
# [ff ] Œ œ œ œ œ œ œ œ œ œ œ
S & œ œ œ œ œ Œ
Chi - na, dawn - ing a new be - gin-ning, mil - lions and mil - lions have
dan shi xin zhong guo yi jing po xiao si wan wan wu qian wan
# [ff ]
A & œ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
[ff ]
# œ œ œ œ œ œ œ œ œ œ œ
T V œ œ Œ œ œ Œ
[ff ]
?# œ œ Œ œ œ Œ œ œ œ œ œ œ
B œ œ œ œ œ
# œœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
80
& œ œ œœœœ œ ‰ Œ œœ œ œ œ œ œ
> >œ œ œ œ œ J
Pno. 1
>œ >œ œ œ œœ œœ œœ
?# œ œ Œ ∑ Œ ‰ œ œ œJ ‰
œœœ œœ œœ œ œœ œœ œœ œœ œœ
80
# œ> œœ> œ œ œœ œœœ œœ œœœ œ œ œ œ œ
& œ œ Œ œ Œ
Pno. 2
j j j
?# j œ œ Œ œ ‰
œ œœ Œ œ ‰ œ ‰
œ œ œ œ œ ‰
œ
œ œ
> >
251
# œ œ ˙ œ œ œ
84
S & œJ œ œ œ
J
œ
J
gath - ered to pro - tect and de - fend, our
min zhong yi jing tuan jie qi lai shi si
# j j j
A & œ œ œ œ œ œ œ ˙ œ œ œ
gath - ered to pro - tect and de - fend, our
min zhong yi jing tuan jie qi lai shi si
# œ œ ‰ œ œ œ œ œ œ œ
T V J œ œ œ œ œ
J
œ
J J
gath - ered to pro - tect and de - fend, here to de - fend our
min zhong yi jing tuan jie qi lai tuan jie qi lai shi si
j œ œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ ‰
B J J J
gath - ered to pro - tect and de - fend, here to de - fend our
min zhong yi jing tuan jie qi lai tuan jie qi lai shi si
84
# j j j j œœ ‰ œœ œœ œœœ ‰ Œ
& œœ ‰ ‰ œœ œœ ‰ ‰ œœ œ #œ
œ œ œ œ J J
Pno. 1
œ œ œ œœ œœ œœ œœ œœ œœ œœœœ œœ
? # ‰ œœ œœ œœ ‰ ‰ œ œœ ‰ ‰ œ œ #œ œ ‰ Œ
J
J J
œ j
œ œ̇œ œœ
84
# œœ œœ œ œ œ œœ œ #œ œ
J ‰ œœ œœ
& œJ œ œ œ
J
œ
J œ œ
j j j œ œ œ œ œ œ
œ ‰ œj ‰
Pno. 2
?# œ ‰ œ ‰ j
œ œ œ ‰ œ œ œ œ œ œ
œ œ œ
252
# j ‰ ‰ pj j ‰ Œ ‰ œj ˙ ˙
88
& œ. œ œ œ œ Œ
S
œ œ
coun - try and our land! Oh hark, oh hark,
p
tong ba guo tu bao ni ting ni ting
# œ. œ œ œ
& œ ‰ ‰ j œj ‰ Œ Œ ‰ œj ˙ ˙
A
J œ
# . p
V œ œ œ œ œ ‰Œ Œ ‰ j œj ‰ ‰ œj ˙ ˙
T
J œ
p
? # œ. œ œ œ œ ‰Œ œ ‰ ‰ œ ˙ ˙
J Œ ‰ œ J J
B
J
œœ. œœ. œœ œœ œ. œ. œ ˙˙˙ ˙˙˙

88
# œœœ ˙ ˙
& ∑ ∑ ‰
j p
. .
Pno. 1
? # œ. œ œ œ œ ‰Œ ‰ œœ œœ œœ œœ œœ œœ œœ ˙ ˙
œ & ˙ ˙
œ. œ œ œ . .
# j j ‰ œj ˙˙ ˙˙
88
& œœ .. œ œœ œœ œœ ‰ ‰ œj œœ ‰ Œ Œ
œ . œœ œ œ œ œœ œ ˙ ˙
Pno. 2
j p j œj j
? # œ. œ œ œ œ ‰Œ Œ ‰ œ ‰ ‰ œ ˙ ˙
œ. œ œ œ œ œ œ œ ˙ ˙
253
94
# ˙ ˙ œ. œ œ œ œ œ Œ
S &
Song - hwa Riv - er's call - ing,
song hua jiang zai hu hao
#
A & ˙ ˙ œ. œ œ œ œ œ Œ
# ˙ ˙ œ. œ œ œ œ œ
T V Œ
B
?# ˙ ˙ œ. œ œ œ œ œ Œ
˙ ˙
94
# ˙˙˙ ˙˙ œœ .. œœ œœ œœ œœœ œœœ
& œ. œ œ œ Œ
~
~ ~~ ~
~~ ~~
#
Pno. 1
& ˙˙ ˙˙ ?œ
~ ~~~
˙˙ ˙˙ œœ .. œœ œœ œœ œœ œœ &
œœœœ
œ œœ
œœ œ>œœ œ>œœ œ>œœ
94
# œ œœ œ œ œ œœ œœ œœ
& œ œœœœœ J ‰ Œ Œ
3
Pno. 2
?# ˙ ˙ j 3
˙ ˙ œ ‰ Œ Œ œ œ œ
œ œ œ œ
> > >
254
98
# œ. œ œ œ œ œ Œ œ œ œ œ œ œ œ œ
S & J J
Hey - long Riv - er's call - ing, Hark, oh hark, Pearl Riv - er is
hei long jiang zai hu hao zhu jiang fa chu le ying yong di
# Œ j j
A & œ. œ œ œ œ œ œ œ œ œ œ œ œ œ
# œ. œ œ œ œ œ Œ œ œ œ œ œ œ œ Jœ
T V J
œ
B
? # œ. œ œ œ œ œ Œ J J
# œ. œ œ œ œœ œœ œœ œœ œœ œœ œ œ œj
& œ. œ œ œ
98
Œ œ œœ œœ œœ
~~~~~
J
~~ ~
~ ~~ ~
~~~~~~
Pno. 1
#
~ ~~ ~
& œ. œ œ œ œ œ
? j j
œ & œœ œœ œ œœ œœ œœ œœ
~ ~~ ~
œ. œ œ œ œ œ œ
>œ >œœ >œœ >œœ >œ
œ
98
# œœ n œœ œœ œœ œœ
œ
œœ
œœ ‰
œœ
œœ
œœ
œœ
œœ
œœ
& J ‰ Œ Œ
J
‰
J
3
J J
Pno. 2
>œ j
œ œ œ
3
?# j‰ Œ Œ œ œ œ ‰ œ ‰
œ >>> J J J
>
255
# œ œœ .. ˙˙ ,
œ. œ œ œ œ
102
& J œ J œ
S
J
call - ing! Bea - con lights are burn - ing a -
,
jiao xiao yang zi jiang shang ran bian le
# j j
& œ œ. ˙ œ. œ œ œ œ œ œ
A
J
# œ œœ .. ˙˙ , œ. œœ œœ œ œœ œœ
œ. œ œœ
T V J J J
, œ
B
? # œJ œ . ˙ . œ œ œ œ œ
J
œ
J
œ. œ œ œ œ
# œ
102
œ œ œ œ œœœœœ œœ .. œœ œœ œœ œœ œœ œœ
& œœœœœœœ œ J J
œ
j
Pno. 1
# j
& ≈ œœœ œœ .. œœ œœ œœ œœ
˙˙ œœœœ œ. œ œ
œ
œ œ œ
œœ
œ
œ œœ .. ˙˙
# œœ œœ .. ˙˙
œœ
102
& J œ œ œ œ œœœ
Pno. 2
j j j
?# œ œ. ˙ œ. œ œ œ œ œ œ
œ œ. ˙ œ. œ œ œ œ œ œ
256
106
# œ œ œ œ œ˙ ∑ ∑
S & œ œ ˙
long the Yang-tze Riv - er!
kang ri di feng huo
# œ œœ œ ∑ ∑
& œ
œ˙ ˙
A
œ
long the Yang-tze Ri
Riv - er!
kang ri di feng huo
# œ œ œ œ œ œ˙ œ ˙
T V œ œ œ œ œ œ˙ œ ˙ ∑ ∑
kang ri di feng huo
?# œ œ œœ œ
œ˙ œ ˙ ∑ ∑
B

kang ri di feng huo
œœœœ œœœœ
# œœ œ œ œœ œ œ œœ œœ œœ œ œœ œœœ œœœ œœœ œœœ œœ œœœ
œ œ œ œ œœ œ œ œ œœ œ œ
106
& œ Œ Œ
3
3
Pno. 1
# œœ œœ œœ œœ œ œœ œ œ œ œ >œœœ >œœ œ œ œ œ >œœœ >œœ
3
j j ‰
3
& œœ ‰ œœ œ œ œ œ
œ œœ œœ œœ œœ œœ œ œ œ œ œœ œ
œ
œ œ
106
# ˙ ˙
& œ œ œœ ˙ ˙ œ œ œ œ œœ œ œ œ œ œ œœ œ
œœ œœ
Pno. 2 >> >>
?# œ œ œœ ˙ ˙ œ œ œ œœ œ œ œ œ œœ œ
œ œ œœ ˙ ˙ œœ œœ
>> >>
257
bœ œ œ nœ bœ œ œ nœ bœ œ œ nœ œ œ
bœ œ bœ œ œ bœ œ œ
111
# œœ
& Œ Œ
# b œ œ œ n œ b >œœœ >œœ b œ œ œ n œ b >œœœ >œœ b œ œ œ n œ œ œ b œ œ b œ œ œ œ

Pno. 1
& bœ œ œ œ
# j j j j
œ œ
111
& b œ œ œ n œ b œœ œœ b œ œ b œ
œ n œ b œœ œœ n œœ ‰ œ ‰
œ b œ
b b œœœ ‰ n œœ ‰
œ> > œ> > b œœ
> j
Pno. 2
> j j
? # b œ œ œ n œ œ> œ b œ œ œ n œ œ> œ n œ ‰ œj ‰ bœ ‰ nœ ‰
œ bœ œ bœ nœ bœ nœ
œ
b œ n œ n - b œœ- œœ-
œ
œ œ œ œ œ
# bœ œ œ nœ œ œ bœ œ bœ œ œ œ n œœ œœ œœ b œœ œœ b œœ b œ n œ n œ œ œ b
Allargando
115
& b œ œ œ œ nœ œ œ œ bœ b
3 3
Pno. 1 3
#
3
bœ œ œ nœ œ œ bb
3
œ
3 3 3
& bœ œ bœ œ œ bœ œ œ œ œ b œ n œ n œ œ
- - -
œ nœ œ œ œ bœ œ
# j
3
œ œ œ b œœ œœ b
3
& n b œœœ ‰ œj ‰ b œj ‰ n œj ‰
115
n œ œœ œ œœ œœ b œœœ n b œœœ œœ œœ œœœ b œœ- œœ- b

3 3
bœ œœ b œœ œœ n œœ œ œ œ b œ œ b œ -
j
Pno. 2
j j
? # n œ ‰ œj ‰ b œ ‰ n œ ‰
3 3
nœ œ bœ œ œ b
33
nœ œ bœ nœ n œ œ œ b œ œ œ bb œœ œ œ n œ œ œ b
nœ œ œ nœ œ œ
- --
258
[ff ] meno mosso

œœ , [F ]
a tempo
b j œ œ ˙ j œ œ œ œ œ œ
œ
119
œœ
S &b J ‰ œ œ J J J J J
Ah! Hwang - huh! Keep roar - ing, keep roar - ing, keep roar - ing,
[ff ] , [F ]
a huang he nu hou ba nu hou ba nu hou
& bb œ
j œ ‰
J œ œ ˙
j
œ œ œ j j j
œ œ œ j
A
J œ œ œ
[ff ]
j œœ œ œ ˙ , [F ] œ œ œ
V bb œœ
J ‰ j
œ œ œ œ œ
J J J œ
J
T
J
[ff ] , [F ]
œ j
? b J ‰ œ œ ˙ œ œ œ œ
j
b
œ
J œ œ œ œ J J œ
B
J J
œœ œ œœ ˙˙ œœ œœ œœ
œœ œœœ œœ œœ œœœ œœ
œœ ˙˙ œœ œœœ œ œ œ œ œ œ
bb J ‰ J J
119
& œ J J J
J
[ff ] meno mosso a tempo
œ œ
Pno. 1
b j œ œ œ œ
&b œ ‰ œœœ œœœ ˙
˙ ˙ œ œ
œ
J J J J J
J
b j j j j j
j œœ œœœ œœœ œœœ œœœ œœœ
119
&b œœ ‰ œ œ ˙
j
œœ œœœ œ
œœ
œ
œœ œœ œœ ˙ ˙ œ
Pno. 2 [ff ] meno mosso a tempo
? b j œ ˙
b œ ‰ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
259
[ff ] œœ œ
b ˙ ˙ œœ
[rit.]
œ 4
124
S & b J ‰ Œ 4
on! Hwang - - - huh!
[ff ]
ba nu hou ba
& bb ˙ ˙ œ œ œ ‰ Œ 4
4
A
J
on! Hwang - - - huh!
ba nu hou ba
[ff ]
œ œœ œœ œ
b œ
T V b œJ œ œ
J
œ
J J œ ‰ Œ
J
44
keep roar - ing, keep roar - ing Hwang - - - huh!
bu hou ba nu hou ba nu hou ba
[ff ] œ
? b j œ œ œ œ œ œ œ J ‰ Œ 4
B b œ J J J 4
keep roar - ing, keep roar - ing Hwang - - - huh!
nu hou ba nu hou ba nu hou ba
œœ œœ œœ œœ œœ œœ œœœ œœ œœ
œ œ
b œJ œ œ
J
œ
J
œ
J
œ
J ‰ Œ 4
124
& b 4
œ œ
[rit.]
b ˙ ˙ œ
Pno. 1
4
&b ˙ ˙ œ œ œ ‰ Œ
J 4
124
b œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ Œ 4
&b œ œ œ œ œ œ œ œ œ 4
J J J J J
j
[rit.]
j
Pno. 2
? bb j j œ œ œ œ œ œ 44
œ œ ‰ Œ
œ œœ œ œ œ œ œ œ
J
œ
260
Maestoso [ q = 72 ]
b 4 [f ]
œ œ œ œ œ œ
œ ˙
128
S & b 4 œ. œ œ œ. œ
To the suf - f'ring souls and peo - ple of Chi - na. here we
bb 4 [f ]
xiang zhe quan zhong guo shou nan di ren min fa chu
A & 4 œ. œ œ œ œ œ œ œ œ œ ˙ œ. œ
bb 4 [f ] œ . œ œ œ œ œ œ œ œ œ ˙
T V 4 œ. œ
[f ]
B
? b b 44 œ . œ œ œ œ œ œ œ œ œ ˙ œ. œ
œ œœ œœ œœ œœ œ œœ ˙˙
œœœ œœœ œœ œ œ œ œ
Maestoso [ q = 72 ]
b 4 œœ .. œ œ ˙ œœœ ... œœœ
& b 4 œ.
128
[f ]
œœ
Pno. 1
b œœ œœ œ
& b 44 œœ .. œœ œœœ
œ œœ
œœ œ
œ œ œ œ œœ
œ
˙˙
˙ œœ .. œœ
œ. œ œ. œ
Maestoso [ q = 72 ]
b
& b 44 œœ ..
128
œœ œœ œœ
œœœ œœœ œœ
œ œ
œœ
œ œ œœ ˙˙ œœ .. œœ
œ. œ
œ ˙
Pno. 2 [f ]
? b 4 œ .. œ œ œ œ œ œ œ œ œ œ œ œ .
b 4 œ œ œ œ œ œ œ œ œ œ œœ œœ
œ œ œ œ œ
.
261
b œj œ j
œ œœ œœ ww
130
& b J
S
J
sound out the bat - tle cry!
zhan dou di jing hao
b j j
A &b œ œ œ œ œ w
b œ œ œ ww
V b œJ œ
T J
œœ
? b œJ œ
œ
œ œ w
w
B b J œ œ

œœ œœ œœ ww
œœ
b œœœ œ œ œ œ w
130
& b J J
j
b j œœ œœœ œœ .. œœ œœ œœ œ œœ œœœ
Pno. 1
œœ
3
œœ
& b œœœ œœœ œ œ œ. œ œ œ œ œœ œ
b j j
130
&b œ.
3
œœœ œœ œœœ œœœ œœœ œœ ..

œœ œœ
œ œ œœ œœ œ œœ œœœ
œ œ œ œ œ
Pno. 2
? b œ œ j
œ ˙ w
b œ œ
i
J œ ˙ w
262
tempo di marcia [ q = 100 with constant accel. to the end]

b œœ .. œœ œœ œœ œœ œœ œœ œœ œœ w
132
S &b
3 3
Fac - ing all the earth's la - bor - ing peo - ple,
xiang zhe quan shi jie lao dong di ren min
b œ.
A &b œ œ œ œ œ œ œ œ w
3 3
b œœ .. œœ œœ œœ œœ œœ œœ œœ œœ w
T Vb
3 3
B
? bb œ . œ œ œ œ œ œ œ œ w
3 3

œœ .. œœ œœ œœ œœ œœ œœ œœ œœ ww
bb œœ .. œœ œœ œœ œœ œœ œœ œœ œœ ww
132
&
3 3
Pno. 1
b .
3 3 3
& b œœœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œœ
3
œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œ
œ

bb
132 3
œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
3 3 3
&
œœœ ... œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ
Pno. 2
? bb œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ
263
b œœ .. œœ œœ œœ œœ ˙˙ b ww
134
S & b
3
let the bat - tle cry sound forth!
b
A & b œ. œ œ œ œ ˙ w
3
b b œœ .. œœ œœ œœ œœ ˙˙ b ww
T V
3
? b œ. œ œ œ œ ˙ w
B b
3
œœœ .. œœœ œœœ œœœ œœœ ˙˙˙ b www

bb œ .. œ œ œ œ ˙ w
134
&
3
Pno. 1
b .
3 3
& b œœœ .. œœ œœ œœ œœ ˙˙ b œœ œ œ œ œ œœ œœ œœ œœ œ œœ
3
œ œ œ œ ˙ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œ
œ
bb
134 3
œ œœœ œ
3 3
&
œœœ ... œœœ œœœ œœœ œœœ ˙˙˙ b œœœ œœœ œœœ œœœ œœ œœœ œœ œœ œœ œœ œœœ œœ
œ
Pno. 2
? b œ œ bœ œ
b œ œ œ œ œ œ
œ œ œ bœ
œ œ
264
poco a poco accel...
b b œœ .. œœ œœ œœ œœ œœ œœ œœ œœ b ww
136
S & b
3 3
b œ.
A &b œ œ œ œ œ œ œ œ w
3 3
b œ .. œœ œœ œœ œœ œœ œœ œœ œœ b ww
T V b bœ
3 3
? b œ. œ œ œ œ œ œ œ œ w
B b
3 3
b œœœ ... œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ b www
b œ. w
136
& b
3 3
poco a poco accel...
Pno. 1
b .
3 3 3
& b b œœœ .. œœ œœ œœ œœ œœ œœ œœ œœ b œœ œ œ œ œ œœ œœ œœ œœ œ œœ
3
œ œ œ œ œ œ œ œ œ b œœ œœ œœ œœ œœ œ œ œ œ œœ œ
œ
bb
136 3
œ œœœ œ
3 3 3
& b œœœ ... œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœ œœœ œœ œœ œœ œœ œœœ œœ
œ
Pno. 2 poco a poco accel...
? bb œ bœ œ œ bœ œ
bœ œ œ bœ œ œ
œ œ œ œ
265
b b œœ .. œœ œœ œœ œœ ˙˙ b ww
138
S & b
3
b œ.
A &b œ œ œ œ ˙ bw
3
b œ .. œœ œœ œœ œœ ˙˙ b ww
T V b bœ
3
? b œ. œ œ œ œ ˙ bw
B b
3
b œœœ ... œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
˙˙
˙˙
w
b b www
b œ.
138
& b
3
Pno. 1 3
b .
3
& b b œœœ .. œœ œœ œœ œœ ˙˙ b b œœœ b œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
3
œ œ œ œ ˙
bœ
bb
138 3
œœ œœ œœ œœ œ œœ b œœœ œœœ œœœ œœœ œœ œœœ

3 3
& b œœœ ... œœ œœ œœ œœ ˙˙ b

œ œ œ œ ˙ b œ œ œ œ œœ œ œ
Pno. 2
? bb œ œ œ bœ
bœ bœ bœ œ
bœ œ œ bœ œ
œ œ œ
266
b b œœ .. œœ œœ œœ œœ œœ œœ œœ œœ b ww
140
S & b
3 3
b
& b bœ.
3 3
A œ œ œ œ œ œ œ œ bw
b b b œœ .. œœ œœ œœ3 œœ œœ œœ3 œœ œœ b ww
T V
? b bœ. œ œ œ œ œ œ œ œ bw
B b
3 3
b b œœœ ... œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
w
b b www
b œ.
140
& b
3 3
Pno. 1
b bœ.
3 3 3
œœ œœ œœ œœ œœ œœ œœ œœ b b œœœ œœ œœ œœ œ œœ œœœ œœœ œœœ œœœ œœ œœœ

& b b œœ ..
3
œ œ œ œ œ œ œ œ b œ œ œ b œœ œ œ
bb
140 3
œœ b œœœ œœœ œœœ œœœ œœ œœœ

3 3 3
& œ. œœ œœ œœ œœ œœ œœ œœ œœ œ œœœ
b b œœ .. œ œ œ œ œ œ œ œ b b œœ œœ œœ œœ œœœ œ œ
Pno. 2
? b bœ œ bœ bœ œ bœ
b œ bœ œ œ bœ œ
bœ œ bœ œ
267
b b œœ .. œœ œœ œœ œœ ˙˙ ww
142
S & b
3
bb b œ œ œ 3œ œ ˙ nw
A & .
b b b œœ .. œœ œœ œœ œœ ˙˙ ww
T V
3
? b bœ. œ œ œ œ ˙ nw
B b
3
b b œœœ ... œœœ œœœ œœœ œœœ ˙˙˙ w

n www
b œ. œ œ œ œ ˙
142
&b
3
Pno. 1
b .
3
& b b b œœœ .. œœœ œœœ œœœ œœœ ˙˙˙

3
œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ

3
nœ œ œ œ œ œ
3
b œ œ œ œ œ œ
142
&b
3
n œœ œœœ œœœ œœœ œœ œœœ œœ œœ œœ œœ œœœ œœ

3
œ. œ œ œ œ ˙
b b œœ .. œœ œœ œœ œœ ˙˙ œ
œ
Pno. 2
? bb b œ œ bœ œ œ
œ bœ œ œ œ œ œ
bœ œ œ
268
b œœ .. œœ œœ œœ œœ œœ œœ œœ œœ ww
144
S & b
3 3
Fa - cing all the earth's la - bor - ing peo - ple,
b
& b œ.
3 3
A œ œ œ œ œ œ œ œ w
b b œœ .. œœ œœ œœ œœ œœ œœ œœ œœ ww
T V
3 3
? b œ. œ œ œ œ œ œ œ œ w
B b
3 3
œœ ... œœ œœ œœ œœ œœ œœ œœ œœ ww
b œœ . œœ œœ œœ œœ œœ œœ œœ œœ ww
144
& b
3 3
Pno. 1
bb œœ
3
œœ œœ œœ œœ œ œœ œœœ œœœ œœœ œœœ œœ œœœ

3
3 3
& œœ . œœ œœ œœ œœ œœ œœ œœ œœ
œ .. œ œ œ œ œ œ œ œ œ œ œ œœ œ œ
b œ. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

& b œœœ ...
144 3
œ œœœ œ
3
œ œ œ œ œ œ œ œ œœ œœœ œœœ œœœ œœ œœœ œœ œœ œœ œœ œœœ œœ

œ œ
œ œ
Pno. 2 3 3
? b œ œ œ œ
b œ œ œ œ œ œ œ
œ œ œ
269
Vivace
[ff ]
bb œœ .. œœ œœ œœ œœ ˙U˙ w
riten.
w
146
S &
3
U
[ff ]
bb w
3
A & œ. œ œ œ œ ˙
[ff ]
U w
bb œœ .. œœ œœ œœ œœ ˙˙ w
T V
3
U̇ [ff ]
? b œ. œ œ œ œ w
B b w
3
˙U˙
Vivace
œœ ... œœ œœ œœ œœ
b œœ . œœ œœ œœ œœ ˙˙
146
& b
riten. 3
Pno. 1
b œ. œ œ œœ œœ U˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b œœœ ... œœœ œœœ œœ œœ ˙˙˙
3
Vivace
U œœ œœ œœ œ œœ œœœ œœ œœ œœ œ œœ
bb
3
œœ
146
œ œ œ œœ œ
3
& œ œ œ œ œœ œ
œœœ ... œœœ œœœ œœœ œœœ ˙˙
Pno. 2
riten.
3
U 3
? b œ. œ œ œ œ ˙
b œ. œ œ œ œ ˙ w
w
270
bb ww w
w
148
S &
b
A &b w w
w w
bb w w
T V
? b w w
B b w w
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ
b
148
&b
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Pno. 1
&
œ œœ
bb œœ œœ œœ œœ œ œœ œœœ œœ œœ œœ œ œœ œ œœ œœ œœ œ œœ œœœ œœœ œœœ œœœ œœ œœœ
3 3
148
& œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ
Pno. 2 3 3
? bb w w
w w
271
bb œœ
150
S & J ‰ Œ Ó ∑
b
A & b œJ ‰ Œ Ó ∑
œ
b b œ ‰ Œ Ó ∑
T V J
? b œ ‰ Œ Ó ∑
b œ
J
B
œ
b
&b J
150
‰ Œ Ó ∑
[Z ] U
˙ w
Pno. 1
b
& b œJ ‰ Œ ?
˙ w
bb œœœ U
150
& J ‰ Œ
˙ w
Pno. 2 [Z ]
? b j U
b œ ‰ Œ ˙ w
œ ˙ w
272
APPENDIX A: TRANSLATION
《黄河大合唱》
黄河大合唱》
黄河大合唱
yellow river big combine sing
Yellow River Cantata
[1] 黄河船夫曲
黄河船夫曲
yellow river boat men song
Song of the Yellow River Boatmen
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
朋友！
朋友！你到过黄河吗？
你到过黄河吗？
朋友你到过黄河吗
friends you been before yellow river ?
Friends! Have you seen the Yellow River?
你渡过黄河吗？
你渡过黄河吗
you cross over yellow river ?
Have you crossed the Yellow River?
你还记得河上的船夫，
你还记得河上的船夫
you still remember river on the boat men
Do you remember scenes of the boatmen
273
拼着性命和惊涛骇浪1
拼着性命和惊涛骇浪
stake their lives with frightening big waves startling waves
搏战的情景吗？
搏战的情景吗
combat fight the situation circumstance ?
risking their lives to battle the perilous waves?
如果你已经忘掉的话，
如果你已经忘掉的话
if you already forgotten lost if
If you have forgotten,
那么，
那么，你听吧！
你听吧！
那么你听吧
then you listen !
then listen!
（合唱）
合唱）
合唱
combine sing
Chorus
咳哟！
咳哟！划哟！
划哟！
咳哟划哟
hai yo row yo
Hai-yo! Row!
划哟，
划哟，冲上前！
冲上前！咳哟！
咳哟！
划哟冲上前咳哟
row yo charge on forward hai yo
Row, forge ahead! Hai-yo!
1
惊涛骇浪: can also mean a situation or life full of perils
274
乌云哪
乌云哪，遮满天！
遮满天！
乌云哪遮满天
black clouds - cover fully sky
Stormy clouds veil the sky!
波涛哪
波涛哪，高如山！
高如山！
波涛哪高如山
surging big waves - high as mountains
Surging waves as high as mountains!
冷风哪
冷风哪，扑上脸！
扑上脸！
冷风哪扑上脸
cold winds - slap on faces
Cold winds slap our faces!
浪花哪
浪花哪，打进船！
打进船！咳哟！
咳哟！
浪花哪打进船咳哟
wave sprays - thrash into boat hai yo
Surfs crash into the boat!
伙伴2 哪，睁开眼！
睁开眼！
伙伴哪睁开眼
partners comrades - open eyes
Fellow boatmen, keep a lookout!
舵手哪
舵手哪，把住腕！
把住腕！
舵手哪把住腕
helmsman - tightly hold wrist
Helmsman, hold firm!
当心哪
当心哪，别偷懒！
别偷懒！
当心哪别偷懒
watch out - do not slack off
Stay alert, do not slack off!
2
伙伴: partisans
275
拼命哪
拼命哪，莫胆寒！
莫胆寒！
拼命哪莫胆寒
stake lives - do not be terrified
Fight for your lives, do not be afraid!
咳！划哟！
划哟！
咳划哟
hai row yo
Hai! Row!
not fear that thousand ten feet surging big waves high as mountains
sailing boat is like going to front line
团结一心冲上前！咳！划哟！
划哟！
团结一心冲上前咳划哟
group bind one heart charge on forward hai row yo
Unite and forge ahead! Hai! Row!
划哟，
咳哟！（大笑）
大笑）哈哈哈哈哈
划哟冲上前咳哟大笑哈哈哈
row yo charge on forward hai yo big laugh hahaha
Row, forge ahead! Hai-yo! Hahaha!
我们看见了河岸，
我们看见了河岸
we see - river shore
The shore is in our view,
276
我们登上了河岸。
我们登上了河岸
we step onto - river shore
now we have reached the shore.
心哪，安一安，
安一安，
心哪安一安
hearts - calm awhile calm
Hearts, calm down,
气哪，喘一喘。
喘一喘。
气哪喘一喘
breath - pant awhile pant
catch a breath.
回头来，再和那黄河怒涛
回头来再和那黄河怒涛
turn around come again with that yellow river raging waves
Soon, we will again risk our lives fighting those raging waves!
决一死战！
决一死战！咳哟！
咳哟！划哟！
划哟！哎！
决一死战咳哟划哟哎
do or die hai yo row yo hey
Hai-yo! Row! Hey!
277
[2] 黄河颂
黄河颂
yellow river ode
Ode to the Yellow River
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
啊！朋友！
朋友！黄河以它英雄的气魄，
黄河以它英雄的气魄，
啊朋友黄河以它英雄的气魄
ah friends yellow river with its heroic - breath soul
Ah! My friends! The heroic spirit of the Yellow River
出现在亚洲的原野，
出现在亚洲的原野
appear on Asia ‘s level plains
dominates the plains of Asia,
它表现出我们民族的
它表现出我们民族的精神，
精神，
它表现出我们民族的精神
it represents our people race - energy spirit
representing the vigor of our nation,
伟大而又坚强
伟大而又坚强！
又坚强！
伟大而又坚强
mighty and also strong powerful
mighty and strong!
这里，
这里，我们向着黄河，
我们向着黄河，
这里我们向着黄河
here we face towards yellow river
Here, facing the Yellow River,
278
唱出我们的赞歌。
唱出我们的赞歌
sing out our - praise song
we sing our song of praise.
（独唱）
独唱）
独唱
single sing
Solo
我站在高山之巅，
我站在高山之巅
I stand on high mountain ’s summit
I stand on the mountain peak,
望黄河滚滚，
望黄河滚滚，奔向东南。
奔向东南。
望黄河滚滚奔向东南
gaze yellow river billows rushing towards east south
gazing at the Yellow River rolling towards the southeast.
金涛澎湃，掀起万丈3 狂澜；
金涛澎湃，狂澜；
金涛澎湃掀起万丈
golden big waves surge rise up ten thousand ten feet
狂澜
violent swelling waters
Golden waves surge, lofty waters rise;
宛转，结成九曲4 连环；
浊流宛转
浊流宛转，连环；
浊流宛转结成九曲连环
muddy currents winding turning form nine bends linked loops
muddy swirling rapids mark its sinuous course
3
万丈: lofty
4
九曲: zigzag
279
从昆仑山下，
从昆仑山下，奔向黄海之边；
奔向黄海之边；
从昆仑山下奔向黄海之边
from Kunlun mountain down rushing towards yellow sea - side
down from the Kunlun mountain, rushing toward the Yellow Sea;
把中原大地，
把中原大地，
把中原大地
making central plains expansive land
dividing the central plains of China
劈成南
劈成南北两面。
北两面。
劈成南北两面
cut become south north two sides
into southern and northern parts.
啊，黄河！
黄河！你是中华民族的摇篮！
你是中华民族的摇篮！
啊黄河你是中华民族的摇篮
ah yellow River you are China people race ’s cradle
Ah, Yellow River! You are the cradle of the Chinese people!
五千年的古国文化，
五千年的古国文化
five thousand years - ancient nation culture
从你这儿
从你这儿发源；
发源；
从你这儿发源
from you here develop origin
You have nurtured five thousand years of ancient culture;
多少英雄的故事，
多少英雄的故事，在你的身边扮演！
在你的身边扮演！
多少英雄的故事在你的身边扮演
how many heroic - tales at your body side played acted
280
啊，黄河！你是伟大坚强，
你是伟大坚强，
啊黄河你是伟大坚强
ah yellow river you are mighty strong powerful
Ah, Yellow River! You are mighty and strong,
像一个巨人，
像一个巨人，出现在亚洲平原之上，
出现在亚洲平原之上，
像一个巨人出现在亚洲平原之上
like a gigantic person appear on Asia level plains above
like a giant you appear on the plains of Asia,
用你那英雄的体魄5 ，
用你那英雄的体魄
using you that heroic body soul
using your heroic physique
筑成我们民族的屏障。
筑成我们民族的屏障
build become our people race ’s protective shield
to build our people’s defense.
黄河！你一泻万丈6 ，
啊，黄河！
啊黄河你一泻万丈
ah yellow river you one flow swiftly ten thousand ten feet
Ah, Yellow River! You rush along to the horizon,
浩浩荡荡，
浩浩荡荡，向南北两岸，
向南北两岸，
浩浩荡荡向南北两岸
majestic, grandiose towards south north two shores
majestic, extending your arms like countless strips of iron
伸出千万条铁的臂膀
伸出千万条铁的臂膀。
千万条铁的臂膀。
stretch out thousand ten thousand strips iron - arms
towards both northern and southern shores.
5
体魄: physique
6
万丈: lofty
281
我们民族的伟大精神，
我们民族的伟大精神
our people race ’s mighty energy spirit
Our people’s mighty spirit
将要在你的保
将要在你的保育下，
育下，发扬滋长！
发扬滋长！
将要在你的保育下发扬滋长
shall in your protection care under develop nourish grow
will flourish under your nurture!
我们祖国的英雄儿女，
我们祖国英雄儿女
our forefathers country heroic sons daughters
将要学习你的榜样，
将要学习你的榜样
will learn your example
From your example, our homeland’s heroic sons and daughters will learn
像你一样地伟大坚强！
像你一样地伟大坚强！
像你一样地伟大坚强
emulate you the same mighty strength power
to become just as mighty and strong as you!
282
[3] 黄河之水天上来
黄河之水天上来
yellow river - water sky above come
Yellow River’s Water from Heaven Descends
（配乐7 诗朗诵）
诗朗诵）
配乐诗朗诵
match music poetry clear read aloud
Incidental music to recited poetry
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
黄河！我们要学习你的榜样，
我们要学习你的榜样，
黄河我们要学习你的榜样
yellow river we want to learn your example
Yellow River! We want to learn
像你一样地
像你一样地伟大坚强。
伟大坚强。
emulate you the same mighty strength power
to become as mighty and strong as you!
这里，
这里，我们要在你面前，
我们要在你面前，献上一首诗，
献上一首诗，
这里我们要在你面前献上一首诗
here we want to in your presence offer up a poem
Here, before you, we offer a poem,
7
配乐: incidental music
283
诉我们民族的灾难8 。
倾诉我们民族的灾难
pour out tell our people race ’s calamities hardships
confiding in you the catastrophes suffered by our people.
（朗诵，
朗诵，三弦伴奏）
三弦伴奏）
朗诵三弦伴奏
clear read aloud three strings accompany tune
Recitation, accompanied by the Sanxian
黄河之水天上来，
yellow river - water sky above come
Yellow River’s water, descended from heaven –
排山倒海9 ，汹涌澎湃10 ，
排山倒海汹涌澎湃
topple mountain overturn sea tumultuous rush forth sound of waves
sweeping, surging forward;
奔腾11 叫啸，
叫啸，使人肝胆12 破裂！
破裂！
奔腾叫啸使人肝胆破裂
rush gallop cries hiss cause people’s liver gall break split
它是中国的大动脉，
是中国的大动脉，在它的周身，
在它的周身，
它是中国的大动脉在它的周身
it is China ’s major artery through its entire body
The river is China’s major artery, rapidly circulating
8
灾难: disaster, catastrophe
9
排山倒海: sweeping
10
澎湃: surge
11
奔腾: (of waves) to surge forward
12
肝胆: courage
284
奔流13 着民族的热血。
着民族的热血。
奔流着民族的热血
rush circulate - people race ’s fervent blood
the people’s lifeblood throughout the land.

红日高照，
红日高照，水上金光迸裂。
水上金光迸裂。
红日高照水上金光迸裂
red sun high shines water top gold rays burst split
月出东山，
月出东山，河面银光似雪。
河面银光似雪。
月出东山河面银光似雪
moon rise east mountains river surface silver beams like snow
The moon rises over the mountains east, its silver beams on the river glimmer like
snow.
它震动着，
它震动着，跳跃着，
跳跃着，
它震动着跳跃着
it shakes moves - jumps leaps -
The river shakes, and leaps,
像一条飞龙，
像一条飞龙，
像一条飞龙
like a flying dragon
like a flying dragon,
日行万里14 ，注入浩浩的东海。
日行万注入浩浩的东海。
日行万里注入浩浩的东海
day travel ten thousand miles pour into vast - eastern sea
traversing ten thousand miles each day, emptying into the vast eastern sea.
13
奔流: flow at great speed
14
里: Chinese mile (500 meters, or c. 1640 feet)
285
虎口15龙门16，摆成天上的奇阵17；
虎口龙门摆成天上的奇阵
tiger mouth dragon gate display sky above ’s strange battle formation
From Hukou to Longmen, strange battle formations are displayed in the sky;
人，不敢在它身边挨近；
不敢在它身边挨近；
人不敢在它身边挨近
people do not dare at its body side lean close
people do not dare lean close to the riverside;
就是毒龙，
就是毒龙，
就是毒龙
even if poisonous dragon
even a poisonous dragon
也不敢
也不敢在水底存身。
在水底存身。
也不敢在水底存身
too will not dare in water bed survive life
does not dare dwell on the river bottom.
从十里外，
十里外，
从十里外
from ten miles away
From ten miles away,
仰望着它的浓烟上升；
仰望着它的浓烟上升
look see - its thick smoke upwards rising
see the thick plumes of smoke rising upwards,
15
虎口 (壶口/Hukou/Kettle Mouth) is a gushing waterfall on the Yellow River. It is also where the
poet Guang Weiran was so impressed by the force of the river that he was inspired to write the
text to this cantata.
16
龙门 (Dragon Gate) is downstream from 虎口 and is the narrowest (hence the swiftest) part of
the Yellow River in that region. It is nearly impossible to navigate from Hukou to Longmen. That
part of the river is like a dragon that cannot be tamed.
17
From 虎口 to 龙门, the river is flanked by mountain ridges so high that it looks as though the
286
象烧着漫天大火，
象烧着漫天大火
like burning entire sky large fire
as from a large blazing fire, blanketing the entire sky;
使你感到热血沸腾
你感到热血沸腾；
血沸腾；
cause you feel to fervent blood boil rise
this cauldron brings our lifeblood to a rolling boil;
其实，
其实，凉气逼来
凉气逼来，
逼来，
其实凉气逼来
in fact cold air closes in
in fact, when the cold air closes in,
你会周身
你会周身感到寒冷。
感到寒冷。
你会周身感到寒冷
you will whole body feel trembling cold
your whole body trembles.
它呻吟着，
它呻吟着，震荡着，
震荡着，
它呻吟着震荡着
it groans moans - quakes shakes -
The river groans and quakes,
发出十万万匹马力，
发出十万万匹马力，摇动了地壳，
摇动了地壳，
发出十万万匹马力摇动了
emitting one thousand million - horse power rocking moving -
地壳
earth’s crust
emitting the power of a billion horses, shaking the earth’s crust
287
冲散了天上的乌云。
冲散了天上的乌云
wash out scatter - sky above ’s dark clouds
and dispersing the dark clouds in the sky.

啊，黄河！
黄河！河中之王！
河中之王！
啊黄河河中之王
ah yellow river river within of king
Ah, Yellow River! The king of rivers!
它是一匹疯狂的野兽
它是一匹疯狂的野兽啊
野兽啊，
it is a mad ferocious - wild beast -
When enraged, it is a mad wild beast,
发起怒来，
发起怒来，赛过千万条毒蟒；
赛过千万条毒蟒；
发起怒来赛过千万
develop rise anger come surpasses thousand ten thousand
条毒蟒
- poisonous pythons
worse than ten million poisonous pythons;
它要作浪兴波，
它要作浪兴波
it wants to make waves stir storms
making waves, stirring up storms,
冲破人间的堤防18 ；
冲破人间的堤防
collide break human world ’s dike protection
and wrecking the people’s embankment;
18
堤防: embankment
288
于是，
于是，黄河两岸，
黄河两岸，
于是黄河两岸
therefore yellow river two shores
therefore, on both shores of the Yellow River,
遭到可怕
遭到可怕的
可怕的灾殃：
灾殃：
遭到可怕的灾殃
suffered terrible - disasters calamities
terrible calamities took place:
它吞食了两岸的人民，
它吞食了两岸的人民
it devoured - two shores - people
the river devoured people on both shores,19
削平了数百里外的村庄，
削平了数百里外的村庄
destroyed leveled - many hundred miles surrounding - villages farms
it leveled over hundreds of miles of villages,
使千百万同胞，
使千百万同胞
cause thousand hundred ten thousand fellow countrymen
causing tens of thousands of fellow countrymen to be exiled
扶老携幼，
扶老携幼，流亡他乡，
流亡他乡，
扶老携幼流亡他乡
escorting elderly carrying young exiled alien land
into an unfamiliar land, old and young,
19
The 1887 flood killed an estimated 900,000 to 2 million people, and the 1931 flood claimed 1 to
3.7 million lives. On May 11, 1938, Nationalist Chinese troops under the command of General
Chiang Kai-Shek deliberately broke levees along the Yellow River in an attempt to stop the
advancing Japanese troops. Approximately 500,000 to 900,000 people perished in the resulting
flood.
289
挣扎在饥饿线上，
挣扎在饥饿线上，死亡线上。
死亡线上。
挣扎在饥饿线上死亡线上
struggling at starvation line on death line on
struggling on the brink of starvation, hanging on the verge of death.

如今，
如今，两岸的人民，
两岸的人民，
如今两岸的人民
nowadays two shores ’ people
Today, people on the two shores
又受到空前的灾难
又受到空前的灾难：
的灾难：
again suffer unprecedented - calamities hardships
once again suffer unprecedented calamities:
东方的海盗，
东方的海盗，在亚洲的原野，
在亚洲的原野，
东方的海盗在亚洲的原野
the East ’s pirates on Asia ’s level plains
pirates from the East are letting out murderous fumes of death
放出杀人的毒焰
放出杀人的毒焰；
杀人的毒焰；
let out murderous - poisonous flames
on Asia’s level plains;
饥饿和死亡，像黑热病20 一样，
饥饿和死亡，一样，
饥饿和死亡像黑热病一样
starvation and death like cachectic fever the same
starvation and death are like the cachectic fever,
20
黑热病: a chronic disease occurring in India, China, Pakistan, the Mediterranean littoral, the
Middle East, South and Central America, Asia, and Africa caused by parasites transmitted by the
bite of a species of sandfly; the organisms grow and multiply in the lungs, then the parasites
spread throughout the body.
290
在黄河的两岸传染。
在黄河两岸传染
on yellow river two shores spread infect
spreading infection on the shores of the Yellow River.

啊，黄河！
黄河！
啊黄河
ah yellow river
Ah, Yellow River!
你抚育着我们民族的成长
抚育着我们民族的成长：
着我们民族的成长：
you nurture - our people race ’s formation growth
you nurture our people’s growth:
你亲眼看见，
你亲眼看见，
你亲眼看见
your own eyes seen
you have seen with your own eyes
这五千年来的古国遭受过多少灾难
这五千年来的古国遭受过多少灾难！
遭受过多少灾难！
这五千年来的古国
these five thousand years of - ancient nation
遭受过多少灾难
suffered how much calamity hardship
the calamities that this ancient nation has suffered for five thousand years!
自古以来，
自古以来，在黄河边上
自古以来在黄河边上
from ancient times since on yellow river side
Since ancient times,
291
展开了无数血战，
展开了无数血战
unfolded started - un- numbered bloody battles
numerous bloody battles have unfolded on the shores of the Yellow River.
让垒垒白骨
让垒垒白骨，堆满你的河身，
堆满你的河身，
让垒垒白骨堆满你的河身
let piles of white bones stack fill your river body
Piles of white bones fill your body,
殷殷鲜血，
殷殷鲜血，染红你的河面
染红你的河面！
你的河面！
殷殷鲜血染红你的河面
dark red fresh blood dye red your river surface
and your surface is stained dark red with blood!
但你从没有看见，
但你从没有看见
yet you never have seen
Yet, you have never seen
敌人的残暴，
敌人的残暴，如同今天这般；
如同今天这般；
敌人的残暴如同今天这般
enemy ’s cruelty violence as today this manner
ruthlessness like that unleashed today;
也从没有看见，黄帝21 的子孙
也从没有看见，
也从没有看见黄帝的子孙
also never have seen yellow emperor ’s sons grandsons
nor have you seen the Yellow Emperor’s sons and grandsons
像今天这样，
像今天这样，开始了全国动员。
开始了全国动员。
像今天这样开始了全国动员
like today this way began - entire country to mobilize
mobilizing the entire country as they do today.

21
黄帝 is a well known ancestor of the Chinese race.
292
在黄河两岸，
在黄河两岸，
在黄河两岸
at yellow river two shores
On the shores of the Yellow River,
游击兵团，
游击兵团，野战兵团，
野战兵团，
游击兵团野战兵团
guerilla warfare corps field operations corps
scores of guerilla fighters and field units
星罗棋布22 ，散布在敌人后面；
散布在敌人后面；
星罗棋布散布在敌人后面
stars cover chess spread scattered spread at enemy’s rear
are scattered like stars, spread out like chess pieces behind the enemy;
在万山丛中，
在万山丛中，在青纱帐里，
在青纱帐里，
在万山丛中在青纱帐里
in ten thousand mountains clusters midst in green muslin tents within
展开了英勇的
展开了英勇的血战！
血战！
展开了英勇的血战
launched started - brave valiant - bloody battles

啊，黄河！
黄河！
啊黄河
ah yellow river
Ah, Yellow River!
22
星罗棋布: spread all over the place
293
你记载着我们民族的年代；
你记载着我们民族的年代
you record - our people race ’s years dynasties
You record our people’s history through the dynasties;
古往今来，
古往今来，在你的身边
古往今来在你的身边
ancient to present come at your body side
from ancient to present,
兴起了
兴起了多少英雄豪杰！
多少英雄豪杰！
兴起了多少英雄豪杰
flourished rose - how many heroes grand illustrious
many heroes rose along your banks!
但是，
但是，你从不曾看见
但是你从不曾看见
however you never before seen
However, never before have you seen
四万万同胞，
四万万同胞，像今天这样
四万万同胞像今天这样
forty thousand ten thousand fellow countrymen like today this manner
four hundred million fellow countrymen
团结得如钢似铁；
团结得如钢似铁
group bind - as steel like iron
united like steel and iron;
千百万民族英雄，
千百万民族英雄
thousand hundred ten thousand people race heroes
hundreds of thousands of heroes
294
为了保卫祖国
为了保卫祖国
in order to defend guard forefathers country
spill their blood to
洒尽他们的热血；
洒尽他们的热血
spilled all their fervent blood
defend the country of their forefathers;
英雄的故事，
英雄的故事，像黄河怒涛，
像黄河怒涛，
英雄的故事像黄河怒涛
heroes ’ tales like yellow river raging waves
the brave and honorable tales of these heroes are your raging waves,
山岳一
山岳一般地壮烈！
般地壮烈！
山岳一般地壮烈
kops characteristic of strong intense

啊，黄河！
黄河！
啊黄河
ah yellow river
Ah, Yellow River!
你可曾听见，
你可曾听见，在你的身旁
你可曾听见在你的身旁
you have ever before heard at your body side
Have you ever heard
响彻了胜利的凯歌？
响彻了胜利的凯歌
sounds penetrating - victory ’s triumphant songs
victory’s triumphant songs sung on your shores?
295
你可曾看见，
你可曾看见，祖国的铁军
你可曾看见祖国的铁军
you have ever before seen forefathers country ’s iron army
Have you ever seen the iron army of our home country
在敌人的
在敌人的后方，
后方，
在敌人的后方
at enemy ’s rear direction
ambush the enemy,
布成了地网天罗？
布成了地网天罗
spread to form - earth net sky cover
他们把守着黄河两岸，
他们把守着黄河两岸
they guard - yellow river two shores
They guard your shores,
不让敌人渡过！
不让敌人渡过
not letting enemy cross over
preventing the enemy from crossing over!
他们要把疯狂的敌人
they want to take mad ferocious - enemy
Their goal is to bury the ferocious enemy
埋葬在滚滚的黄河！
埋葬在滚滚的黄河
bury in billowing - yellow river
beneath your billowing waves!

296
啊，黄河！
黄河！
啊黄河
ah yellow river
Ah, Yellow River!
你奔流着，
你奔流着，怒吼着，
怒吼着，
你奔流着怒吼着
you rush flow - angrily roar -
You rush and roar,
替法西斯的恶魔
ridding fascists ’ evil demons
angrily ridding the fascists’ evil demons,
唱着灭亡的葬歌！
唱着灭亡的葬歌
singing - destruction ’s burial song
singing their burial song!
你怒吼着，
你怒吼着，叫啸着，
叫啸着，
你怒吼着叫啸着
you angrily roar - cries hiss -
Your deafening roar
向着祖国
向着祖国的原野
祖国的原野，
的原野，
facing towards forefathers country ’s level plains
travels across our homeland’s plains,
响应我们伟大民族的胜利的凯歌！
响应我们伟大民族的胜利的凯歌
responding to our mighty people race ’s victory ’s triumphant song
297
向着祖国的原野，
facing towards forefathers country ’s level plains
Roar out loud, across our homeland’s plains,
响应我们伟大民族的胜利的凯歌
responding to our mighty people race ’s victory ’s triumphant song
298
[4] 黄水谣
黄水谣
yellow water ballad
Yellow Water Ballad
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
我们是黄河的儿女，
我们是黄河的儿女
we are yellow river ’s sons daughters
We are sons and daughters of the Yellow River,
我们艰苦奋斗，
我们艰苦奋斗，一天天地接近胜利！
一天天地接近胜利！
我们艰苦奋斗一天天地接近胜利
we arduously strive day by day - nearer to victory
但是，
但是，敌人一天不消灭，
敌人一天不消灭，
但是敌人一天不消灭
However enemy one day not destroyed
But each day that the enemy is not destroyed,
我们便一天不能安身；
我们便一天不能安身
we then one day cannot rest bodies
is one more day that we cannot rest.
不信，
不信，你听听，
你听听，
不信你听听
do not believe you listen
if you doubt this,
299
河东民众痛苦的呻吟。
河东民众痛苦的呻吟
river east people multitudes aching painful - groans moans
then listen to the painful groans of the multitudes of people on the river to the east.
（合唱）
合唱）
合唱
combine sing
Chorus
黄水奔流向东方，
黄水奔流向东方
yellow water rush flow towards east direction
Yellow water, rushing eastward,
河流万里长
河流万里长。
万里长。
河流万里长
river flow ten thousand miles long
flowing for ten thousand miles.
水又急，
水又急，浪又高，
浪又高，
水又急浪又高
water both swift waves also high
rush gallop cry hiss like tigers wolves
racing rapids sound like the cries of tigers and wolves.
开河渠，
开河渠，筑堤防
筑堤防，
开河渠筑堤防
open river canals build dike defenses
Open canals and build embankments,
300
河东千里成平壤。
千里成平壤。
河东千里成平壤
river east thousand miles become level soil
for to the east lies level soil
麦苗儿肥啊，
麦苗儿肥啊，豆花儿香，
豆花儿香，
麦苗儿肥啊豆花儿香
wheat sprouts fertile - soy flowers fragrant
fertile for sprouting wheat and fragrant soy flowers.
男女老少喜洋洋。
男女老少喜洋洋
male female old young jubilant full of
Men and women, young and old, live in happy prosperity.
自从鬼子来，
自从鬼子来，百姓遭了殃！
百姓遭了殃！
自从鬼子来百姓遭了殃
since devil came common folks met - calamities
奸淫烧杀，
奸淫烧杀，一片凄凉；
一片凄凉；
奸淫烧杀一片凄凉
treachery wickedness burning killing a sheet desolation
扶老携幼，四处23 逃亡；
扶老携幼，逃亡；
扶老携幼四处逃亡
escorting elderly carrying young four directions flee death
people escorting the elderly and carrying the young disperse in all directions to
flee death;
丢掉了爹娘，
丢掉了爹娘，回不了家乡！
回不了家乡！
丢掉了爹娘回不了家乡
throw away - fathers mothers return unable home village
23
四处: all over the place
301
黄水奔流日夜忙，
黄水奔流日夜忙
yellow waters rush flow day night busy
Yellow waters rush along day and night,
妻离子散，
妻离子散，天各一方！
天各一方！
妻离子散天各一方
wives separated children scattered sky each a direction
as families are torn apart!
302
[5] 河边对口曲
河边对口曲
river bank dialogue song
Musical Dialogue on the River Bank
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
妻离子散，
天各一方！
wives separated children scattered sky each a direction
但是，
但是，我们难道永远逃亡？
我们难道永远逃亡？
但是我们难道永远逃亡
but we is it that forever refugees
Will we forever be refugees?
你听听吧，
你听听吧，这是黄河边上，
这是黄河边上，
你听听吧这是黄河边上
you listen this is yellow river bank on
两个老乡的对唱。
两个老乡的对唱
two fellow villagers ’ musical dialogue
Listen, as two villagers dialogue on the Yellow River’s bank.
（甲）张老24 三，我问你，
我问你，
甲张老三我问你
A Zhang No. 3 I ask you
A: Zhang No. 3, let me ask you,
24
老: a prefix used before the number indicating the order of birth of the children in the family as a
form of address that shows affection or familiarity.
303
你的家乡在哪里？
你的家乡在哪里
your home village at where
Where is your hometown?
（乙）我的家，
我的家，在山西，
在山西，
乙我的家在山西
B my home at Shanxi
B: My home is in Shaanxi,
过河还有三百里。
过河还有三百里
cross river still have three hundred miles
three hundred miles from the river.
（甲）我问你，
我问你，在家里
在家里，
甲我问你在家里
A I ask you at home in
A: Let me ask you, in your hometown,
种田还是做生意？
种田还是做生意
plant fields or do business
did you farm the land or trade?
（乙）拿锄头，
拿锄头，耕田地，
耕田地，种的高梁和小米。
种的高梁和小米。
乙拿锄头耕田地种的高梁和小米
B held hoe plowed fields plant - sorghum and millets
（甲）为什么，
为什么，到此地，
到此地，
甲为什么到此地
A why come this place
A: Why then are you here,
304
河边流浪受孤凄？
河边流浪受孤凄
river bank wander bearing loneliness sorrow
wandering the bank, lonely and sorrowful?
（乙）痛心事，
痛心事，莫提起，
莫提起，
乙痛心事莫提起
B painful heart matters do not bring up
B: Please don’t bring up painful matters,
家破人亡无消息。
家破人亡无消息
family destroyed people deaths no news
（甲）张老三，
张老三，莫伤悲，
莫伤悲，
甲张老三莫伤悲
A Zhang No. 3 do not hurt sorrow
A: Zhang No. 3, don’t be sad,
我的命运不如你！
我的命运不如你
my fate not as good as you
my fate is worse than yours!
（乙）为什么，
为什么，王老七，
王老七，你的家乡在何地？
你的家乡在何地？
乙为什么王老七你的家乡在何地
B why Wang No. 7 your home village at which place
B: Why, Wang No. 7, where is your hometown?
（甲）在东北，
在东北，做生意，
做生意，
甲在东北做生意
A at east north do business
A: I used to do business in the northeast;
305
家乡八年无消息。
家乡八年无消息
home village eight years no news
eight long years I’ve had no news from home.
（乙）这么说
这么说，我和你，
我和你，
乙这么说我和你
B this said me and you
B: All this said, you and I,
都是有家不能回！
都是有家不能回
all have homes not able to return
both have homes we can’t return to!
（甲/乙合唱
乙合唱）
乙合唱）
甲乙合唱
A B together sing
A & B duet
仇和恨，
仇和恨，在心里，
在心里，
仇和恨在心里
enmity and hatred at heart inside
Within our hearts, enmity and hatred
奔腾如同黄河水！
奔腾如同黄河水
rush gallop like yellow river water
swirl like the rapids of the Yellow River!
黄河边，定主意，
定主意，咱们一同打回去！
咱们一同打回去！
黄河边定主意咱们一同打回去
yellow river bank set plans let us together fight back
On the Yellow River’s bank, let us both resolve to fight back!
306
为国家，
为国家，当兵去，
当兵去，
为国家当兵去
for country home become soldiers go
For our country, we will become soldiers,
太行山上打游击！
太行山上打游击
Taihang mountain on fight guerilla warfare
go up Taihang mountain to fight as guerillas!
从今后，
从今后，我和你，
我和你，
从今后我和你
from today onwards me and you
From this day, you and I
一同打回老家去！
一同打回老家去
together fight regain old homes go
together will fight to regain our homeland!
307
[6] 黄河怨
黄河怨
yellow river lament
Yellow River Lament
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
朋友！
朋友！我们要打回老家去！
我们要打回老家去！
朋友我们要打回老家去
friends we want to fight regain old homes go
Friends! We will fight and regain our homeland!
老家已经太不成话了！
老家已经太不成话
old homes already too disheveled
Our country is in such disarray!
谁没有妻子儿女，
谁没有妻子儿女
who does not have wife son daughter
Can any man with wife and children
谁能忍受敌人的
能忍受敌人的欺凌
受敌人的欺凌？
欺凌？
谁能忍受敌人的欺凌
who can endure bear enemy ’s humiliation
bear the enemy’s humiliation?
亲爱的同胞们啊
亲爱的同胞们啊，你听听，
你听听，
亲爱的同胞们啊你听听
dearest compatriots - you listen
Dear compatriots,
308
一个妇人悲惨的歌声。
一个妇人悲惨的歌声
a woman sorrow tragic - singing
listen to a woman’s sorrowful and tragic singing.
（独唱）
独唱
single sing
Solo
风啊，你不要叫喊！
你不要叫喊！
风啊你不要叫喊
wind oh you do not call shout
云啊，
云啊，你不要躲闪！
你不要躲闪！
云啊你不要躲闪
clouds oh you do not hide
Oh clouds, do not hide!
黄河啊，
黄河啊，你不要呜咽！
你不要呜咽！
黄河啊你不要呜咽
yellow river oh you do not whimper
今晚，
今晚，我在你面前，
我在你面前，
今晚我在你面前
tonight I am you in front of
Tonight, I stand before you in tears,
哭诉我的仇和怨。
哭诉我的仇和怨
sob tell my hatred and grief
to pour out my hatred and grief.
309
命啊，这样苦！
这样苦！生活啊，
生活啊，这样难！
这样难！
命啊这样苦生活啊这样难
fate oh so bitter life oh so hard
Oh fate, so bitter! Oh life, so hard!
鬼子啊，你这样没心肝25 ！
鬼子啊，
鬼子啊你这样没心肝
devils oh you so no heart liver
My enemy, you have no conscience!
宝贝啊，
宝贝啊，你死得这样惨！
你死得这样惨！
宝贝啊你死得这样惨
precious child oh you died so horribly
My precious child, you died so horribly!
我和你无仇又无怨
我和你无仇又无怨，
me and you no hatred also no grudges
There was no hatred or grudge between us,
偏让我无颜偷生在人间！
偏让我无颜偷生在人间！
偏让我无颜偷生在人间
still let me no name existence in world
yet you left me to a nameless existence in this world!
狂风啊，
狂风啊，你不要叫喊！
你不要叫喊！
狂风啊你不要叫喊
fierce wind oh you do not call shout
乌云啊，
乌云啊，你不要躲闪，
你不要躲闪，
乌云啊你不要躲闪
dark clouds oh you do not hide
Oh dark clouds, do not hide!
25
心肝: conscience
310
黄河的水啊，
黄河的水啊，你不要呜咽！
你不要呜咽！
黄河的水啊你不要呜咽
yellow river ’s water oh you do not whimper
今晚，
今晚，我要投在你的怀中，
我要投在你的怀中，
今晚我要投在你的怀中
tonight I will throw in your bosom into
Tonight, I will throw myself into your embrace,
洗清我的千重愁来万重冤！
洗清我的千重愁来
washing clear my thousand-fold sorrows come
万重冤
ten thousand-fold injustice
to wash away my myriad sorrows and sufferings!
丈夫啊，
丈夫啊，在天边！
在天边！地下啊，
地下啊，再团圆！
再团圆！
丈夫啊在天边地下啊再团圆
husband oh at sky edge earth below oh again reunite
Oh husband, you’re as far away as the the horizon!
We shall reunite again below the earth!
你要想想妻子儿女死得这样惨！
你要想想妻子儿女死得这样惨
you will think of wife son daughter died this tragically
你要替我把这笔血债清算！
你要替我把这笔血债清算
you must on behalf of me to this blood debt settle
You must settle this blood debt for me!
311
你要替我把这笔血债清还！
你要替我把这笔血债清还
you must on behalf of me to this blood debt clear return
You must have this debt repaid for me!
312
[7] 保卫黄河
保卫黄河
保卫黄河
defend yellow river
Defend the Yellow River
（朗诵）
朗诵
clear read aloud
Recitation
但是，
但是，中华民族的儿女啊，
中华民族的儿女啊，
但是中华民族的儿女啊
however China people race ’s sons daughters -
Sons and daughters of China,
谁愿意像猪羊一般，
谁愿意像猪羊一般，任人宰割？
任人宰割？
谁愿意像猪羊一般任人宰割
who willing as pigs sheep the same let people slaughter slice
who is willing to be slaughtered like pigs and sheep?
我们要
我们要抱定必胜的决心，
抱定必胜的决心，
我们要抱定必胜的决心
we must hold firm certainty victory - determination
We must resolve to be victorious,
保卫黄河！
保卫黄河！保卫华北！
保卫华北！保卫全中国！
保卫全中国！
保卫黄河保卫华北保卫全中国
defend yellow river defend China north defend all of China
to defend the Yellow River! To defend northern China! To defend all of China!
（多声部合唱）
多声部合唱）
多声部合唱
multiple voice parts combine sing
Chorus
313
风在吼，
风在吼，马在叫，
马在叫，
风在吼马在叫
wind is howling horses are neighing
The wind howls, horses neigh,
黄河在咆哮！
黄河在咆哮！
黄河在咆哮
yellow river is roaring
the Yellow River roars!
河西山冈万丈高，
河西山冈万丈高
river west hill ten thousand ten feet high
To the west stands a towering hill,
河东河北，
河东河北，高梁熟了。
高梁熟了。
河东河北高梁熟了
river east river north sorghum ripened already
East and north of the river, sorghum has ripened.
万山丛中，
万山丛中，抗日英雄真不少！
抗日英雄真不少！
万山丛中抗日
ten thousand mountain clusters amidst resistance Japanese
英雄真不少
heroes really not few
Amid thousands of mountain clusters are many heroes!
青纱帐
青纱帐里，游击健儿逞英豪！
游击健儿逞英豪！
青纱帐里游击健儿逞英豪
green muslin tents inside guerilla warfare valiant fighter boast heroes
Inside green muslin tents there are valiant guerilla warriors!
314
端起了土枪洋枪，
端起了土枪洋枪
carrying - local guns foreign guns
Armed with local guns and foreign-made guns,
挥动着大
挥动着大刀长矛，
刀长矛，
挥动着大刀长矛
waving large knives long spears
waving large knives and long spears,
保卫家乡！
保卫家乡！保卫黄河！
保卫黄河！
保卫家乡保卫黄河
defending home village defending yellow river
they defend our hometowns! Defend the Yellow River!
保卫华北！
保卫全中国！
保卫华北保卫全中国
defending China north defending all of China
Defend northern China! Defend all of China!
315
[8] 怒吼吧，
怒吼吧，黄河！
黄河！
怒吼吧黄河
angrily roar - yellow river
Roar, Yellow River!
（朗诵）
朗诵）
朗诵
clear read aloud
Recitation
听啊，珠江26 在怒吼！
听啊，在怒吼！
听啊珠江在怒吼
listen - pearl river is angrily roaring
Listen, the Pearl River roars angrily!
扬子江在怒吼！
扬子江在怒吼
Yangtze River is angrily roaring
The Yangtze River is raging on!
啊！黄河！
黄河！
啊黄河
ah yellow river
Ah! Yellow River!
掀起你的怒涛，
掀起你的怒涛，发出你的狂叫，
发出你的狂叫，
掀起你的怒涛发出你的狂叫
raise up your angry waves let out your maniacal calls
Raise up your angry waves, let loose your wild bellows,
向着全中国被压迫的人民，
向着全中国被压迫的人民
facing all of China - oppressed - people
sound the battle cry for all of China’s oppressed people,
26
珠江: a river in southeast China that flows into the South China Sea.
316
发出你战斗的警号吧
发出你战斗的警号吧！
let out your battle - warning signal -
sound the battle cry!
（合唱）
合唱）
合唱
combine sing
Chorus
怒吼吧，
黄河！
怒吼吧黄河
angrily roar - yellow river
Roar, Yellow River!
掀起你的怒涛，发出你的狂叫！
发出你的狂叫！
掀起你的怒涛发出你的狂叫
raise up your angry waves let out your maniacal calls
Raise up your angry waves, let loose your wild bellows!
全世界劳动
全世界劳动的人民
劳动的人民，
的人民，发出战斗的警号！
发出战斗的警号！
全世界劳动的人民发出战斗的警号
whole world laboring people let out battle - warning signal
Workers across the land cry out for battle!
啊 —— 五千年的民族，
五千年的民族，
啊五千年的民族
ah five thousand years of people race
苦难真不少！
苦难真不少！
苦难真不少
bitter hardships really not few
For such an ancient nation to suffer so much!
317
铁蹄27 下的民众，
下的民众，苦痛受不了！
苦痛受不了！
铁蹄下的民众苦痛受不了
iron heel under - people multitudes bitter pain bear unable
Our cruelly oppressed people can no longer bear the torment!
但是，
但是，新中国已经破晓；
新中国已经破晓；
但是新中国已经破晓
however new China already dawning
But for China, a new day is already dawning;
四万万五千万民众已经团结起来
四万万五千万民众已经团结起来，
已经团结起来，
四万万五千万民众已经
four hundred million fifty million people multitudes already
团结起来
group bind together
four hundred and fifty million people have united,
誓死同把国土保！
誓死同把国土保
vow die together - country soil defend
pledging their lives to defend this soil!
你听：
你听：松花江在呼号，
松花江在呼号，
你听松花江在呼号
you listen Songhua river is calling signaling
Listen: the Songhua River is calling,
黑龙江在呼号；
黑龙江在呼号
Heilong river is calling signaling
the Heilong River is calling;
27
铁蹄: cruel oppression
318
珠江发出了英勇的叫啸；
珠江发出了英勇的叫啸
pearl river let out valiant - cries hiss
the mighty Pearl River roars its defiance;
扬子江上，
扬子江上，燃遍了抗日的烽火！
燃遍了抗日的烽火！
扬子江上燃遍了抗日的烽火
Yangtze river on burning everywhere - Japanese resistance signal fire
啊！黄河！
黄河！怒吼吧！
怒吼吧！
啊黄河怒吼吧
ah yellow river angrily roar -
Ah! Yellow River! Roar on!
向着全中国受难的人民，
向着全中国受难的人民
towards entire China suffering - people
To all of China’s suffering people,
发出战斗的警号
let out battle - warning signal
向着全世界劳动的
向着全世界劳动的人民
世界劳动的人民，
人民，
towards entire world labor - people
To laborers all over the world,
let out battle - warning signal
319
APPENDIX B: TRANSLITERATION
International Phonetic Alphabet (IPA) Pronunciation Guide
Below lists the IPA symbols used for the sounds of the Mandarin characters in
the libretto.
VOWELS
IPA Examples
Examples in English except where indicated
[a] French “à”; German “Wahn”
[aɪ] High
[aʊ] Now
[e] French “des”; Italian “chè”; German “den”
[eɪ] May
[ɛ] Net
[Ә] Her
[i] Seed
[ɤ] The vowel produced when buzzing on “z” but without the buzz
[o] French “faux”; German “Sohn”
[oʊ] Know
[ɔ] Not
[u] Boot
[y] French “tu”; German “kühl”
320
CONSONANTS
IPA Examples
xamples in English
[b] Bat
[d] Dog
[ʤ] Joy
[dz] Kids
[f] Fair
[g] Gut
[h] Hot
[hw] What
[j] Yam
[k] Kid
[l] Leg
[m] Map
[n] Nut
[ŋ] Sing
[p] Pod
[r] Red
[s] Sun
[ʃ] Shy
[t] Tip
[ts] Dots
[tʃ] Chat
[w] Wall
321
《黄河大合唱》
黄河大合唱》Yellow River Cantata
黄河大合唱
huáng hé dà hé chàng
hwaŋ hә da hә ʧaŋ
[1] 黄河船夫曲 Song of the Yellow River Boatmen

黄河船夫曲
huáng hé chuán fū qǔ
hwaŋ hә ʧwan fu ʧy
（朗诵）
朗诵）Recitation
朗诵
lǎng sòng
laŋ soŋ
朋友！
朋友！你到过黄河吗？
你到过黄河吗？Friends! Have you seen the Yellow River?
朋友你到过黄河吗
péng yǒu nǐ dào guò huáng hé mā
pәŋ joʊ ni daʊ gwɔ hwaŋ hә ma
你渡过黄河吗？Have you crossed the Yellow River?
你渡过黄河吗
nǐ dù guò huáng hé mā
ni du gwɔ hwaŋ hә ma
你还记得河上的船夫，Do you remember scenes of the boatmen
你还记得河上的船夫
nǐ hái jì dé hé shàng dè chuán fū
ni haɪ dzi dә hә ʃaŋ dә ʧwan fu
拼着性命和惊涛骇浪1
拼着性命和惊涛骇浪
pīn zhe xìng mìng hé jīng tāo hài làng
pin ʤә siŋ miŋ hә dziŋ taʊ haɪ laŋ
搏战的情景吗？risking their lives to battle the perilous waves?
搏战的情景吗
bó zhàn de qíng jǐng ma
bwɔ ʤan dә tsiŋ dziŋ ma
1
惊涛骇浪: can also mean a situation or life full of perils
322
如果你已经忘掉的话，If you have forgotten,
如果你已经忘掉的话
rú guǒ nǐ yǐ jīng wàng diào dè huà
ru gwɔ ni ji dziŋ waŋ djaʊ dә hwa
那么，
那么，你听吧！
你听吧！then listen!
那么你听吧
nà me nǐ tīng bà
na mә ni tiŋ ba
（合唱）
合唱） Chorus
合唱
hé chàng
hә ʧaŋ
咳哟！
咳哟！划哟！
划哟！Hai-yo! Row!
咳哟划哟
hāi yo huá yo
haɪ jo hwa jo
划哟，
咳哟！ Row, forge ahead! Hai-yo!
划哟冲上前咳哟
huá yo chōng shàng qián hāi yo
hwa jo ʧoŋ ʃaŋ tsjɛn haɪ jo
乌云哪
乌云哪，遮满天！
遮满天！Stormy clouds veil the sky!
乌云哪遮满天
wū yún nǎ zhē mǎn tiān
wu jyn na ʤә man tjɛn
波涛哪
波涛哪，高如山！
高如山！Surging waves as high as mountains!
波涛哪高如山
bō tāo nǎ gāo rú shān
bwɔ taʊ na gaʊ ru ʃan
冷风哪
冷风哪，扑上脸！
扑上脸！ Cold winds slap our faces!
冷风哪扑上脸
lěng fēng nǎ pū shàng liǎn
lәŋ fәŋ na pu ʃaŋ ljɛn
323
浪花哪
浪花哪，打进船！
打进船！咳哟！
咳哟！Surfs crash into the boat!
浪花哪打进船咳哟
làng huā nǎ dǎ jìn chuán hāi yo
laŋ hwa na da dzin ʧwan haɪ jo
伙伴2 哪，睁开眼！
睁开眼！ Fellow boatmen, keep a lookout!
伙伴哪睁开眼
huǒ bàn nǎ zhēng kāi yěn
hwɔ ban na ʤәŋ kaɪ jɛn
舵手哪
舵手哪，把住腕！
把住腕！Helmsman, hold firm!
舵手哪把住腕
duò shǒu nǎ bǎ zhù wàn
dwɔ ʃoʊ na ba ʤu wan
当心哪
当心哪，别偷懒！
别偷懒！ Stay alert, do not slack off!
当心哪别偷懒
dāng xīn nǎ bié tōu lǎn
daŋ sin na bjɛ toʊ lan
拼命哪
拼命哪，莫胆寒！
莫胆寒！ Fight for your lives, do not be afraid!
拼命哪莫胆寒
pīn mìng nǎ mò dǎn hán
pin miŋ na mwɔ dan han
咳！划哟！
划哟！Hai! Row!
咳划哟
hāi huá yo
haɪ hwa jo
不怕那千丈波涛高如山！ Do not fear the mountainous waves!
bù pà nà qiān zhàng bō tāo gāo rú shān
bu pa na tsjɛn ʤaŋ bwɔ taʊ gaʊ ru ʃan
行船好比上火线， Boating on the Yellow River is like fighting at the front,
xíng chuán hǎo bǐ shàng huǒ xiàn
siŋ ʧwan haʊ bi ʃaŋ hwɔ sjɛn
2
伙伴: partisans
324
团结一心冲上前！咳！划哟！划哟！Unite and forge ahead! Hai! Row!
团结一心冲上前咳划哟
tuán jié yī xīn chōng shàng qián hāi huá yo
twan dzje ji sin ʧoŋ ʃaŋ tsjɛn haɪ hwa jo
划哟，
咳哟！（大笑）
大笑）哈哈哈哈哈 Row, forge ahead! Hai-yo! Hahaha!
划哟冲上前咳哟大笑哈
huá yo chōng shàng qián hāi yo dà xiào hā
hwa jo ʧoŋ ʃaŋ tsjɛn haɪ jo da sjaʊ ha
我们看见了河岸，The shore is in our view,
我们看见了河岸
wǒ mén kàn jiàn liǎo hé àn
wɔ mәn kan dzjɛn ljaʊ hә an
我们登上了河岸。 now we have reached the shore.
我们登上了河岸
wǒ mén dēng shàng liǎo hé àn
wɔ mәn dәŋ ʃaŋ ljaʊ hә an
心哪，安一安，
安一安， Hearts, calm down,
心哪安一安
xīn nǎ ān yī ān
sin na an ji an
气哪，喘一喘。
喘一喘。catch a breath.
气哪喘一喘
qì nǎ chuǎn yī chuǎn
tsi na ʧwan ji ʧwan
回头来，再和那黄河怒涛 Soon, we will again risk our lives

回头来再和那黄河怒涛
huí tóu lái zài hé nà huáng hé nù tāo
hweɪ toʊ laɪ dzaɪ hә na hwaŋ hә nu taʊ
决一死战！
决一死战！咳哟！
咳哟！划哟！
划哟！哎！fighting those raging waves! Hai-yo! Row! Hey!
决一死战咳哟划哟哎
jué yī sǐ zhàn hāi yo huá yo āi
ʤwɛ ji sɤ ʤan haɪ jo hwa jo aɪ
325
[2] 黄河颂 Ode to the Yellow River

黄河颂
huáng hé sòng
hwaŋ hә soŋ
（朗诵）
朗诵）Recitation 啊！朋友！
朋友！Ah! My friends!
朗诵啊朋友
lǎng sòng à péng yǒu
laŋ soŋ a pәŋ joʊ
黄河以它英雄的气魄，
黄河以它英雄的气魄， The heroic spirit of the Yellow River
黄河以它英雄的气魄
huáng hé yǐ tā yīng xíong de qì pò
hwaŋ hә ji ta iŋ ʃjoŋ dә tsi pwɔ
出现在亚洲的原野，dominates the plains of Asia
出现在亚洲的原野
chū xiàn zài yà zhōu de yuán yě
ʧu sjɛn dzaɪ ja ʤoʊ dә jwɛn je
它表现出我们民族的
它表现出我们民族的精神，
精神，representing the vigor of our nation,
它表现出我们
tā biǎo xiàn chū wǒ mén
ta bjaʊ sjɛn ʧu wɔ mәn
民族的精神
mín zú de jīng shén
min dzu dә dziŋ ʃәn
伟大而又坚强
伟大而又坚强！
又坚强！mighty and strong!
伟大而又坚强
wěi dà ér yòu jiān qiáng
weɪ da әr joʊ dzjɛn tsjaŋ
这里，
这里，我们向着黄河，
我们向着黄河，Here, facing the Yellow River,
这里我们向着黄河
zhè lǐ wǒ mén xiàng zhe huáng hé
ʤә li wɔ mәn sjaŋ ʤә hwaŋ hә
326
唱出我们的赞歌。 we sing our song of praise.
唱出我们的赞歌
chàng chū wǒ mén de zàn gē
ʧaŋ ʧu wɔ mәn dә dzan gә
（独唱）
独唱） Solo
独唱
dú chàng
du ʧaŋ
我站在高山之巅，I stand on the mountain peak,
我站在高山之巅
wǒ zhàn zài gāo shān zhī diān
wɔ ʤan dzaɪ gaʊ ʃan ʤɤ djɛn
望黄河滚滚，
望黄河滚滚，奔向东南。
奔向东南。gazing at the Yellow River rolling towards the southeast.
望黄河滚滚奔向东南
wàng huáng hé gǔn bēn xiàng dōng nán
waŋ hwaŋ hә gwәn gwәn bәn sjaŋ doŋ nan
金涛澎湃，掀起万丈3 狂澜；
金涛澎湃，狂澜；Golden waves surge, lofty waters rise;
金涛澎湃掀起万丈狂澜
jīn tāo pēng pài xiān qǐ wàn zhàng kuáng lán
dzin taʊ pәŋ paɪ sjɛn tsi wan ʤaŋ kwaŋ lan
浊流宛转宛转，结成九曲4 连环；
浊流宛转，连环；
muddy swirling rapids form loops on its sinuous course;
浊流宛转结成九曲连环
zhuó líu wǎn zhuǎn jiē chéng jǐu qū lián huán
ʤwɔ lju wan ʤwan dzjɛ ʧәŋ dzju ʧy ljɛn hwan
从昆仑山下，
从昆仑山下，down from the Kunlun mountain,
从昆仑山下
cóng kūn lún shān xià
tsoŋ kun lun ʃan sja
奔向黄海之边；
奔向黄海之边；rushing toward the Yellow Sea;
奔向黄海之边
bēn xiàng huáng hǎi zhī biān
bәn sjaŋ hwaŋ haɪ ʤɤ bjɛn
3
万丈: lofty
4
九曲: zigzag
327
把中原大地，
把中原大地，dividing the central plains of China
把中原大地
bǎ zhōng yuán dà dì
ba ʤoŋ jwɛn da di
劈成南
劈成南北两面。
北两面。啊，黄河！黄河！into southern and northern parts. Ah, Yellow River!
劈成南北两面啊黄河
pī chéng nán běi liǎng miàn à huáng hé
pi ʧәŋ nan beɪ ljaŋ mjɛn a hwaŋ hә
You are the cradle of the Chinese people!
你是中华民族的摇篮
nǐ shì zhōng huá mín zú di yáo lán
ni ʃɤ ʤoŋ hwa min dzu di jaʊ lan
五千年的古国文化，You have nurtured five thousand years of ancient culture;
五千年的古国文化
wǔ qiān nián di gǔ guó wén huà
wu tsjɛn njɛn di gu gwɔ wәn hwa
从你这儿
从你这儿发源；
发源；
从你这儿发源
cóng nǐ zhè ér fā yuán
tsoŋ ni ʤә әr fa jwɛn
多少英雄的故事，
多少英雄的故事，在你的身边扮演！在你的身边扮演！
多少英雄的故事
duō shǎo yīng xíong di gù shì
dwɔ ʃaʊ jiŋ ʃjoŋ di gu ʃɤ
在你的身边扮演
zài nǐ di shēn biān bàn yǎn
dzaɪ ni di ʃәn bjɛn ban jɛn
啊，黄河！你是伟大坚强，
你是伟大坚强， Ah, Yellow River! You are mighty and strong,
啊黄河你是伟大坚强
à huáng hé nǐ shì wěi dà jiān qiáng
a hwaŋ hә ni ʃɤ weɪ da dzjɛn tsjaŋ
328
像一个巨人，
像一个巨人，出现在亚洲平原之上，
出现在亚洲平原之上，like a giant you appear on the plains of Asia,
像一个巨人
xiàng yī gè jù rén
sjaŋ ji gә ʤy rәn
出现在亚洲平原之上
chū xiàn zài yà zhōu píng yuán zhī shàng
ʧu sjɛn dzaɪ ja ʤoʊ piŋ jwɛn ʤɤ ʃaŋ
用你那英雄的体魄5 ，using your heroic physique

用你那英雄的体魄
yòng nǐ nà yīng xíong di tǐ pò
joŋ ni na iŋ sjoŋ di ti pwɔ
筑成我们民族的屏障。to build our people’s defense.
筑成我们民族的屏障
zhù chéng wǒ mén mín zú di píng zhàng
ʤu ʧәŋ wɔ mәn min dzu di piŋ ʤaŋ
黄河！你一泻万丈6 ，Ah, Yellow River! You rush along to the horizon,

啊，黄河！
啊黄河你一泻万丈
à huáng hé nǐ yī xiè wàn zhàng
a hwaŋ hә ni ji sjɛ wan ʤaŋ
浩浩荡荡，
浩浩荡荡，向南北两岸，
向南北两岸，majestic, extending your arms like countless strips of iron
浩浩荡荡向南北两岸
hào dàng xiàng nán běi liǎng àn
haʊ haʊ daŋ daŋ sjaŋ nan beɪ ljaŋ an
伸出千万条铁的臂膀。
千万条铁的臂膀。towards both northern and southern shores.
shēn chū qiān wàn tiáo tiě di bì bǎng
ʃәn ʧu tsjɛn wan tjaʊ tjɛ di bi baŋ
族的伟大精神，Our people’s mighty spirit
wǒ mén mín zú di wěi dà jīng shén
wɔ mәn min dzu di weɪ da dziŋ ʃәn
5
体魄: physique
6
万丈: lofty
329
将要在你的保
将要在你的保育下，育下，发扬滋长！
发扬滋长！will flourish under your nurture!
将要在你的保育下
jiāng yào zài nǐ de bǎo yù xià
dzjaŋ jaʊ dzaɪ ni di baʊ jy sja
发扬滋长
fā yáng zī zhǎng
fa jaŋ dzɤ ʤaŋ
From your example, our homeland’s heroic sons and daughters
我们祖国的英雄儿女
wǒ mén zǔ guó di yīng xíong ér nǚ
wɔ mәn dzu gwɔ di iŋ sjoŋ әr ny
将要学习你的榜样， will learn
将要学习你的榜样
jiāng yào xué xí nǐ di bǎng yàng
dzjaŋ jaʊ ʃwɛ si ni di baŋ jaŋ
像你一样的
像你一样的伟大坚强！
伟大坚强！to become just as mighty and strong as you!
像你一样的伟大坚强
xiàng nǐ yī yàng di wěi dà jiān qiáng
sjaŋ ni ji jaŋ di weɪ da dzjɛn tsjaŋ
330
[3] 黄河之水天上来 Yellow River’s Water from Heaven Descends

huáng hé zhī shuǐ tiān shàng lái
hwaŋ hә ʤɤ ʃweɪ tjɛn ʃaŋ laɪ
（配乐7 诗朗诵）
诗朗诵）Incidental music to recited poetry
配乐诗朗诵
pèi yuè shī lǎng sòng
peɪ jwɛ ʃɤ laŋ soŋ
（朗诵）
朗诵） Recitation 黄河！
黄河！Yellow River!
朗诵黄河
lǎng sòng huáng hé
laŋ soŋ hwaŋ hә
我们要学习你的榜样，
我们要学习你的榜样， We want to learn
我们要学习你的榜样
wǒ mén yào xué xí nǐ de bǎng yàng
wɔ mәn jaʊ ʃwɛ si ni dә baŋ jaŋ
像你一样地
像你一样地伟大坚强。
伟大坚强。to become as mighty and strong as you!
xiàng nǐ yī yàng de wěi dà jiān qiáng
sjaŋ ni ji jaŋ dә weɪ da dzjɛn tsjaŋ
这里，
这里，我们要在你面前，
我们要在你面前，献上一首诗，
献上一首诗，Here, before you, we offer a poem,
这里我们要在你面前
zhè lǐ wǒ mén yào zài nǐ miàn qián
ʤә li wɔ mәn jaʊ dzaɪ ni mjɛn tsjɛn
献上一首诗
xiàn shàng yī shǒu shī
sjɛn ʃaŋ ji ʃoʊ ʃɤ
7
配乐: incidental music
331
诉我们民族的灾难8 。 confiding in you the catastrophes suffered by our people.

qīng sù wǒ mén mín zú de zāi nàn
tsiŋ su wɔ mәn min dzu dә dzaɪ nan
（朗诵，
朗诵，三弦伴奏）
三弦伴奏） Recitation, accompanied by the Sanxian
朗诵三弦伴奏
lǎng sòng sān xián bàn zòu
laŋ soŋ san sjɛn ban dzoʊ
黄河之水天上来，Yellow River’s water, descended from heaven –
huáng hé zhī shuǐ tiān shàng lái
hwaŋ hә ʤɤ ʃweɪ tjɛn ʃaŋ laɪ
排山倒海9 ，汹涌澎湃10 ， sweeping, surging forward;

排山倒海汹涌澎湃
pái shān dǎo hǎi xīong yǒng pēng pài
paɪ ʃan daʊ haɪ ʃjoŋ joŋ pәŋ paɪ
奔腾11 叫啸，
叫啸，使人肝胆12 破裂！
破裂！ the cries of the hissing river shatter our courage!
奔腾叫啸使人肝胆破裂
bēn téng jiào xiào shǐ rén gān dǎn pò liè
bәn tәŋ dzjaʊ sjaʊ ʃɤ rәn gan dan pwɔ ljɛ
它是中国的大动脉，
是中国的大动脉， The river is China’s major artery,
它是中国的大动脉
zhè shì zhōng guó de dà dòng mài
ʤә ʃɤ ʤoŋ gwɔ dә da doŋ maɪ
在它的周身，
在它的周身，rapidly circulating
在它的周身
zài tā de zhōu shēn
dzaɪ ta dә ʤoʊ ʃәn
8
灾难: disaster, catastrophe
9
排山倒海: sweeping
10
澎湃: surge
11
奔腾: (of waves) to surge forward
12
肝胆: courage
332
奔流13 着民族的热血。
着民族的热血。the people’s lifeblood throughout the land.
奔流着民族的热血
bēn líu zhe mín zú de rè xuè
bәn lju ʤә min dzu dә rә ʃwɛ

红日高照，
红日高照，水上金光迸裂。
水上金光迸裂。
红日高照水上金光迸裂
hóng rì gāo zhào shuǐ shàng jīn guāng bèng liè
hoŋ rɤ gaʊ ʤaʊ ʃweɪ ʃaŋ dzin gwaŋ bәŋ ljɛ
月出东山，
月出东山，河面银光似雪。
河面银光似雪。
The moon rises over the mountains east, its silver beams on the river glimmer like
snow.
月出东山河面银光似雪
yuè chū dōng shān hé miàn yín guāng sì xuě
jwɛ ʧu doŋ ʃan hә mjɛn in gwaŋ sɤ ʃwɛ
它震动着，
它震动着，跳跃着，
跳跃着， The river shakes, and leaps,
它震动着跳跃着
tā zhèn dòng zhe tiào yuè zhe
ta ʤәn doŋ ʤә tjaʊ jwɛ ʤә
像一条飞龙，
像一条飞龙，like a flying dragon,
像一条飞龙
xiàng yī tiáo fēi lóng
sjaŋ ji tjaʊ feɪ loŋ
日行万里14 ，注入浩浩的东海。
日行万注入浩浩的东海。
traversing ten thousand miles each day, emptying into the vast eastern sea.
日行万里注入浩浩的东海
rì xíng wàn lǐ zhù rù hào de dōng hǎi
rɤ siŋ wan li ʤu ru haʊ haʊ dә doŋ haɪ
13
奔流: flow at great speed
14
里: Chinese mile (500 meters, or c. 1640 feet)
333
虎口15龙门16，摆成天上的奇阵17；
From Hukou to Longmen, strange battle formations are displayed in the sky;
虎口龙门
hǔ kǒu lóng mén
hu koʊ loŋ mәn
摆成天上的奇阵
bǎi chéng tiān shàng de qí zhèn
baɪ ʧәŋ tjɛn ʃaŋ dә tsi ʤәn
人，不敢在它身边挨近；
不敢在它身边挨近； people do not dare lean close to the riverside;
人不敢在它身边挨近
rén bù gǎn zài tā shēn biān āi jìn
rәn bu gan dzaɪ ta ʃәn bjɛ aɪ dzin
就是毒龙，
就是毒龙，even a poisonous dragon
就是毒龙
jìu shì dú lóng
dzju ʃɤ du loŋ
也不敢
也不敢在水底存身。
在水底存身。does not dare dwell on the river bottom.
也不敢在水底存身
yě bù gǎn zài shuǐ dǐ cún shēn
jɛ bu gan dzaɪ ʃweɪ di tsun ʃәn
从十里外，
十里外，From ten miles away,
从十里外
cóng shí lǐ wài
tsoŋ ʃɤ li waɪ
仰望着它的浓烟上升； see the thick plumes of smoke rising upwards,
仰望着它的浓烟上升
yǎng wàng zhe tā de nóng yān shàng shēng
jaŋ waŋ ʤә ta dә noŋ jɛn ʃaŋ ʃәŋ
15
虎口 (or 壶口)/Hukou is a gushing waterfall on the Yellow River. It is also where the poet Guang
Weiran was so impressed by the force of the river that he was inspired to write the text to this
cantata.
16
龙门 is downstream from 虎口 and is the narrowest (hence the swiftest) part of the Yellow River
in that region. It is nearly impossible to navigate from hukou to longmen. That part of the river is
like a dragon that cannot be tamed.
17
From 虎口 to 龙门, , the river is flanked by mountain ridges so high that it looks as though the
334
象烧着漫天大火，as from a large blazing fire blanketing the entire sky;
象烧着漫天大火
xiàng shāo zhe màn tiān dà huǒ
sjaŋ ʃaʊ ʤә man tjɛn da hwɔ
你感到热血沸腾；
血沸腾；this cauldron brings our lifeblood to a rolling boil;
shǐ nǐ gǎn dào rè xuè fèi téng
ʃɤ ni gan daʊ rә ʃwɛ feɪ tәŋ
其实，
其实，凉气逼来
凉气逼来，
逼来，in fact, when the cold air closes in,
其实凉气逼来
qí shí liáng qì bī lái
tsi ʃɤ ljaŋ tsi bi laɪ
你会周身
你会周身感到寒冷。
感到寒冷。 your whole body trembles.
你会周身感到寒冷
nǐ huì zhōu shēn gǎn dào hán lěng
ni hweɪ ʤoʊ ʃәn gan daʊ han lәŋ
它呻吟着，
它呻吟着，震荡着，
震荡着，The river groans and quakes,
它呻吟着震荡着
tā shēn yín zhe zhèn dàng zhe
ta ʃәn in ʤә ʤәn daŋ ʤә
发出十万万匹马力，
发出十万万匹马力，emitting the power of a billion horses,
发出十万万匹马力
fā chū shí wàn pī mǎ lì
fa ʧu ʃɤ wan wan pi ma li
摇动了地壳，
摇动了地壳，shaking the earth’s crust
摇动了地壳
yáo dòng le dì ké
jaʊ doŋ lә di kә
冲散了天上的乌云。 and dispersing the dark clouds in the sky.
冲散了天上的乌云
chōng sàn le tiān shàng de wū yún
ʧoŋ san lә tjɛn ʃaŋ dә wu jyn

335
啊，黄河！
黄河！河中之王！
河中之王！ Ah, Yellow River! The king of rivers!
啊黄河河中之王
à huáng hé hé zhōng zhī wáng
a hwaŋ hә hә ʤoŋ ʤɤ waŋ
它是一匹疯狂的野兽
野兽啊， When enraged, it is a mad wild beast,
tā shì yī pī fēng kuáng de yě shòu à
ta ʃɤ ji pi fәŋ kwaŋ dә je ʃoʊ a
发起怒来，
发起怒来，赛过千万条毒蟒；
赛过千万条毒蟒；worse than ten million poisonous pythons;
发起怒来
fā qǐ nù lái
fa tsi nu laɪ
赛过千万条毒蟒
sài guò qiān wàn tiáo dú mǎng
saɪ gwɔ tsjɛn wan tjaʊ du maŋ
它要作浪兴波，making waves, stirring up storms,
它要作浪兴波
tā yào zuò làng xīng bō
ta yaʊ dzwɔ laŋ siŋ bwɔ
冲破人间的堤防18 ；and wrecking the people’s embankment;

冲破人间的堤防
chōng può rén jiān de dī fáng
ʧoŋ pwɔ rәn dzjɛn dә di faŋ
于是，
于是，黄河两岸，
黄河两岸，therefore, on both shores of the Yellow River,
于是黄河两岸
yú shì huáng hé liǎng àn
y ʃɤ hwaŋ hә ljaŋ an
18
堤防: embankment
336
遭到可怕
遭到可怕的
可怕的灾殃：
灾殃：terrible calamities took place:
遭到可怕的灾殃
zāo dào kě pà de zāi yāng
dzaʊ daʊ kә pa dә dzaɪ jaŋ
它吞食了两岸的人民，the river devoured people on both shores,
它吞食了两岸的人民
tā tūn shí le liǎng àn de rén mín
ta tun ʃɤ lә ljaŋ an dә rәn min
削平了数百里外的村庄， it leveled over hundreds of miles of villages,
削平了数百里外的村庄
xuē píng le shù bǎi lǐ wài de cūn zhuāng
ʃwɛ piŋ lә ʃu baɪ li waɪ dә tsun ʤwaŋ
使千百万同胞，causing tens of thousands of fellow countrymen to be exiled
使千百万同胞
shǐ qiān bǎi wàn tóng bāo
ʃɤ tsjɛn baɪ wan toŋ baʊ
扶老携幼，
扶老携幼，流亡他乡，
流亡他乡，into an unfamiliar land, old and young,
扶老携幼流亡他乡
fú lǎo xié yòu líu wáng tā xiāng
fu laʊ sjɛ joʊ ljoʊ waŋ ta sjaŋ
挣扎在饥饿线上，
挣扎在饥饿线上，struggling on the brink of starvation,
挣扎在饥饿线上
zhēng zhá zài jī è xiàn shàng
ʤәŋ ʤa dzaɪ dzi ә sjɛn ʃaŋ
死亡线上。
死亡线上。 hanging on the verge of death.
死亡线上
sǐ wáng xiàn shàng
sɤ waŋ sjɛn ʃaŋ

337
如今，
如今，两岸的人民，
两岸的人民， Today, people on the two shores
如今两岸的人民
rú jīn liǎng àn de rén mín
ru dzin ljaŋ an dә rәn min
又受到空前的灾难：
又受到空前的灾难： once again suffer unprecedented calamities:
yòu shòu dào kōng qián de zāi nàn
joʊ ʃoʊ daʊ koŋ tsjɛn dә dzaɪ nan
东方的海盗，
东方的海盗，在亚洲的原野，
在亚洲的原野， On Asia’s level plains, pirates from the East
东方的海盗
dōng fāng de hǎi dào
doŋ faŋ dә haɪ daʊ
在亚洲的原野
zài yà zhōu de yuán yě
dzaɪ ja ʤoʊ dә jwɛn je
放出杀人的毒焰；
杀人的毒焰；are letting out murderous fumes of death;
fàng chū shā rén de dú yàn
faŋ ʧu ʃa rәn dә du jɛn
饥饿和死亡，像黑热病19 一样，
饥饿和死亡，一样， starvation and death are like the cachectic fever,
饥饿和死亡
jī è hé sǐ wáng
dzi ә hә sɤ waŋ
像黑热病一样
xiàng hēi rè bìng yī yàng
sjaŋ heɪ rә biŋ ji jaŋ
19
黑热病: a chronic disease occurring in India, China, Pakistan, the Mediterranean littoral, the
Middle East, South and Central America, Asia, and Africa caused by parasites transmitted by the
bite of a species of sandfly; the organisms grow and multiply in the lungs, then the parasites
spread throughout the body.
338
在黄河的两岸传染。spreading infection on the shores of the Yellow River.
在黄河两岸传染
zài huáng hé liǎng àn chuán rǎn
dzaɪ hwaŋ hә ljaŋ an ʧwan ran

啊，黄河！
黄河！ Ah, Yellow River!
啊黄河
à huáng hé
a hwaŋ hә
抚育着我们民族的成长：
着我们民族的成长： you nurture our people’s growth:
你抚育着我们
nǐ fǔ yù zhe wǒ mén
ni fu jy ʤә wɔ mәn
民族的成长
mín zú de chéng zhǎng
min dzu dә ʧәŋ ʤaŋ
你亲眼看见，
你亲眼看见， you have seen with your own eyes
你亲眼看见
nǐ qīn yǎn kàn jiàn
ni tsin jɛn kan dzjɛn
这五千年来的古国 the calamities that this ancient nation

这五千年来的古国
zhè wǔ qiān nián lái de gǔ guó
ʤә wu tsjɛn njɛn laɪ dә gu gwɔ
遭受过多少灾难！
遭受过多少灾难！has suffered for five thousand years!
遭受过多少灾难
zāo shòu guò duō shǎo zāi nàn
dzaʊ ʃoʊ gwɔ dwɔ ʃaʊ dzaɪ nan
自古以来，
自古以来，在黄河边上 Since ancient times, numerous bloody battles
自古以来在黄河边上
zì gǔ yǐ lái zài huáng hé biān shàng
dzɤ gu ji laɪ dzaɪ hwaŋ hә bjɛn ʃaŋ
339
展开了无数血战， have unfolded on the shores of the Yellow River.
展开了无数血战
zhǎn kāi le wú shù xuè zhàn
ʤan kaɪ lә wu ʃu ʃwɛ ʤan
让垒垒白骨
让垒垒白骨，堆满你的河身，
堆满你的河身，Piles of white bones fill your body,
让垒垒白骨堆满你的河身
ràng lěi bái gǔ duī mǎn nǐ de hé shēn
raŋ leɪ leɪ baɪ gu dweɪ man ni dә hә ʃәn
殷殷鲜血，
殷殷鲜血，染红你的河面！
染红你的河面！and your surface is stained dark red with blood!
殷殷鲜血染红你的河面
yīn xiān xuè rǎn hóng nǐ de hé miàn
jin jin sjɛn ʃwɛ ran hoŋ ni dә hә mjɛn
但你从没有看见， Yet, you have never seen
但你从没有看见
dàn nǐ cóng měi yǒu kàn jiàn
dan ni tsoŋ meɪ joʊ kan dzjɛn
敌人的残暴，
敌人的残暴，如同今天这般；
如同今天这般；ruthlessness like that unleashed today;
敌人的残暴
dí rén de cán bào
di rәn dә tsan baʊ
如同今天这般
rú tóng jīn tiān zhè bān
ru toŋ dzin tjɛn ʤә ban
也从没有看见，黄帝20的子孙
也从没有看见，
nor have you seen the Yellow Emperor’s sons and grandsons
也从没有看见
yě cóng méi yǒu kàn jiàn
yɛ tsoŋ meɪ joʊ kan dzjɛn
黄帝的子孙
huáng dì de zǐ sūn
hwaŋ di dә dzɤ swәn
20
黄帝 is a well known ancestor of the Chinese race.
340
像今天这样，
像今天这样，开始了全国动员。
开始了全国动员。 mobilizing the entire country as they do today.
像今天这样
xiǎng jīn tiān zhè yàng
sjaŋ dzin tjɛn ʤә jaŋ
开始了全国动员
kāi shǐ le quán guó dòng yuán
kaɪ ʃɤ lә ʧwɛn gwɔ doŋ jwɛn

在黄河两岸，
在黄河两岸，On the shores of the Yellow River,
在黄河两岸
zài huáng hé liǎng àn
dzaɪ hwaŋ hә ljaŋ an
游击兵团，
游击兵团，野战兵团，
野战兵团，scores of guerilla fighters and field units
游击兵团野战兵团
yóu jī bīng tuán yě zhàn bīng tuán
joʊ dzi biŋ twan je ʤan biŋ twan
星罗棋布21 ， are scattered like stars, spread out like chess pieces
星罗棋布
xīng luó qí bù
siŋ lwɔ tsi bu
散布在敌人后面；
散布在敌人后面； behind the enemy;
散布在敌人后面
sàn bù zài dí rén hòu miàn
san bu dzaɪ di rәn hoʊ mjɛn
在万山丛中
在万山丛中，在青纱帐里，在青纱帐里，
在万山丛中在青纱帐里
zài wàn shān cóng zhōng zài qīng shā zhàng lǐ
dzaɪ wan ʃan tsoŋ ʤoŋ dzaɪ tsiŋ ʃa ʤaŋ li
21
星罗棋布: spread all over the place
341
展开了英勇的
展开了英勇的血战！血战！ valiant battles are launched!
展开了英勇的血战
zhǎn kāi le yīng yǒng de xuè zhàn
ʤan kaɪ lә jiŋ joŋ dә ʃwɛ ʤan

啊，黄河！
黄河！Ah, Yellow River!
啊黄河
à huáng hé
a hwaŋ hә
你记载着我们民族的年代； You record our people’s history through the dynasties;
你记载着我们
nǐ jì zǎi zhe wǒ mén
ni dzi dzaɪ ʤә wɔ mәn
民族的年代
mín zú de nián dài
min dzu dә njɛn daɪ
古往今来，
古往今来，在你的身边 from ancient to present,
古往今来在你的身边
gǔ wǎng jīn lái zài nǐ de shēn biān
gu waŋ dzin laɪ dzaɪ ni dә ʃәn bjɛn
兴起了
兴起了多少英雄豪杰！
多少英雄豪杰！many heroes rose along your banks!
兴起了多少英雄豪杰
xīng qǐ le duō shǎo yīng xíong háo jié
siŋ tsi lә dwɔ ʃaʊ jiŋ ʃjoŋ haʊ dzjɛ
但是，
但是，你从不曾看见 But, never before have you seen
但是你从不曾看见
dàn shì nǐ cóng bù céng kàn jiàn
dan ʃɤ ni tsoŋ bu tsәŋ kan dzjɛn
四万万同胞，
万万同胞，像今天这样 four hundred million fellow countrymen
四万万同胞像今天这样
sì wàn tóng bāo xiàng jīn tiān zhè yàng
sɤ wan wan toŋ baʊ sjaŋ zin tjɛn ʤә jaŋ
342
团结得如钢似铁； united like steel and iron;
团结得如钢似铁
tuán jié de rú gāng sì tiě
twan dzjɛ dә ru gaŋ sɤ tjɛ
千百万民族英雄， hundreds of thousands of heroes
千百万民族英雄
qiān bǎi wàn mín zú yīng xíong
tsjɛn baɪ wan min dzu jiŋ ʃjoŋ
为了保卫祖国 spill their blood to

为了保卫祖国
wèi le bǎo wèi zǔ guó
weɪ lә baʊ weɪ dzu gwɔ
们的热血；defend the country of their forefathers;
sǎ jìn tā mén de rè xuè
sa dzin ta mәn dә rә ʃwɛ
英雄的故事，
英雄的故事，像黄河怒涛，像黄河怒涛，
the brave and honorable tales of these heroes are like your raging waves –
英雄的故事像黄河怒涛
yīng xíong de gù shì xiàng huáng hé nù tāo
jiŋ ʃjoŋ dә gu ʃɤ sjaŋ hwaŋ hә nu taʊ
山岳一
山岳一般地壮烈！
般地壮烈！ strong, intense, and awesome!
山岳一般地壮烈
shān yuè yī bān dì zhuàng liè
ʃan jwɛ ji ban di ʤwaŋ ljɛ

啊，黄河！
啊黄河
à huáng hé
a hwaŋ hә
你可曾听见，
你可曾听见，在你的身旁 Have you ever heard
你可曾听见在你的身旁
nǐ kě céng tīng jiàn zài nǐ de shēn páng
ni kә tsәŋ tiŋ dzjɛn dzaɪ ni dә ʃәn paŋ
343
响彻了胜利的凯歌？ victory’s triumphant songs sung on your shores?
响彻了胜利的凯歌
xiǎng chè le shèng lì de kǎi gē
sjaŋ ʧә lә ʃәŋ li dә kaɪ gә
你可曾看见，
你可曾看见，祖国的铁军 Have you ever seen the iron army of our home country
你可曾看见祖国的铁军
nǐ kě céng kàn jiàn zǔ guó de tiě jūn
ni kә tsәŋ kan dzjɛn dzu gwɔ dә tjɛ ʤun
在敌人的
在敌人的后方，
后方，ambush the enemy,
在敌人的后方
zài dí rén de hòu fāng
dzaɪ di rәn dә hoʊ faŋ
布成了地网天罗？spread out like a net that covers both earth and sky?
布成了地网天罗
bù chéng le dì wǎng tiān luó
bu ʧәŋ lә di waŋ tjɛn lwɔ
他们把守着黄河两岸， They guard your shores,
他们把守着黄河两岸
tā mén bǎ shǒu zhe huáng hé liǎng àn
ta mәn ba ʃoʊ ʤә hwaŋ hә ljaŋ an
不让敌人渡过！ preventing the enemy from crossing over!
不让敌人渡过
bù ràng dí rén dù guò
bu raŋ di rәn du gwɔ
他们要把疯狂的敌人 Their goal is to bury the ferocious enemy
tā mén yào bǎ fēng kuáng de dí rén
ta mәn jaʊ ba fәŋ kwaŋ dә di rәn
埋葬在滚滚的黄河！ beneath your billowing waves!
埋葬在滚滚的黄河
mái zàng zài gǔn de huáng hé
maɪ dzaŋ dzaɪ gwәn gwәn dә hwaŋ hә

344
啊，黄河！
啊黄河
à huáng hé
a hwaŋ hә
你奔流着，
你奔流着，怒吼着，
怒吼着， You rush and roar,
你奔流着怒吼着
nǐ bēn líu zhe nù hǒu zhe
ni bәn lju ʤә nu hoʊ ʤә
替法西斯的恶魔 angrily ridding the fascists’ evil demons,

tì fǎ xī sī de è mó
ti fa si sɤ dә ә mwɔ
亡的葬歌！ singing their burial song!
chàng zhe miè wáng de zàng gē
ʧaŋ ʤә mjɛ waŋ dә dzaŋ gә
你怒吼着，
你怒吼着，叫啸着，
叫啸着， Your deafening roar
你怒吼着叫啸着
nǐ nù hǒu zhe jiào xiào zhe
ni nu hoʊ ʤә dzjaʊ sjaʊ ʤә
向着祖国
祖国的原野，
的原野，travels across our homeland’s plains,
xiàng zhe zǔ guó de yuán yě
sjaŋ ʤә dzu gwɔ dә jwɛn je
响应我们伟大民族
xiǎng yìng wǒ mén wěi dà mín zú
sjaŋ jiŋ wɔ mәn weɪ da min dzu
的胜利的凯歌
de shèng lì de kǎi gē
dә ʃәŋ li dә kaɪ gә
345
向着祖国的原野，Roar out loud, across our homeland’s plains,
xiàng zhe zǔ guó de yuán yě
sjaŋ ʤә dzu gwɔ dә jwɛn je
响应我们伟大民族
xiǎng yìng wǒ mén wěi dà mín zú
sjaŋ jiŋ wɔ mәn weɪ da min dzu
的胜利的凯歌
de shèng lì de kǎi gē
dә ʃәŋ li dә kaɪ gә
346
[4] 黄水谣 Yellow Water Ballad

黄水谣
huáng shuǐ yáo
hwaŋ ʃweɪ jaʊ
（朗诵）
朗诵） Recitation
朗诵
lǎng sòng
laŋ soŋ
我们是黄河的儿女，We are sons and daughters of the Yellow River,
我们是黄河的儿女
wǒ mén shì huáng hé de ér nǚ
wɔ mәn ʃɤ hwaŋ hә dә әr ny
我们艰苦奋斗，
我们艰苦奋斗，一天天地接近胜利！
一天天地接近胜利！
我们艰苦奋斗
wǒ mén jiān kǔ fèn dòu
wɔ mәn dzjɛn ku fәn doʊ
一天天地接近胜利
yī tiān dì jiē jìn shèng lì
ji tjɛn tjɛn di dzjɛ dzin ʃәŋ li
但是，
但是，敌人一天不消灭，
敌人一天不消灭，But each day that the enemy is not destroyed,
但是敌人一天不消灭
dàn shì dí rén yī tiān bù xiāo miè
dan ʃɤ di rәn ji tjɛn bu sjaʊ mjɛ
我们便一天不能安身；is one more day that we cannot rest.
我们便一天不能安身
wǒ mén biàn yī tiān bù néng ān shēn
wɔ mәn bjɛn ji tjɛn bu nәŋ an ʃәn
不信，
不信，你听听，
你听听，if you doubt this,
不信你听听
bù xìn nǐ tīng
bu sin ni tiŋ tiŋ
347
then listen to the painful groans of the multitudes of people on the river to the east.
河东民众痛苦的呻吟
hé dōng mín zhòng tòng kǔ de shēn yín
hә doŋ min ʤoŋ toŋ ku dә ʃәn jin
（合唱）
合唱） Chorus
合唱
hé chàng
hә ʧaŋ
黄水奔流向东方，Yellow water, rushing eastward,
黄水奔流向东方
huáng shuǐ bēn líu xiàng dōng fāng
hwaŋ ʃweɪ bәn lju sjaŋ doŋ faŋ
河流万里长
河流万里长。
万里长。flowing for ten thousand miles.
河流万里长
hé líu wàn lǐ cháng
hә lju wan li ʧaŋ
水又急，
水又急，浪又高，
浪又高，Swift waters, high waves,
水又急浪又高
shuǐ yòu jí làng yòu gāo
ʃweɪ joʊ dzi laŋ joʊ gaʊ
奔腾叫啸如虎狼。racing rapids sound like the cries of tigers and wolves.
bēn téng jiào xiào rú hǔ láng
bәn tәŋ dzjaʊ sjaʊ ru hu laŋ
开河渠，
开河渠，筑堤防
筑堤防，Open canals and build embankments,
开河渠筑堤防
kāi hé qú zhù dī fáng
kaɪ hә ʧy ʤu di faŋ
河东千里成平壤。
千里成平壤。for to the east lies level soil
河东千里成平壤
hé dōng qiān lǐ chéng píng rǎng
hә doŋ tsjɛn li ʧәŋ piŋ raŋ
348
麦苗儿肥啊，
麦苗儿肥啊，豆花香，
豆花香，fertile for sprouting wheat and fragrant soy flowers.
麦苗儿肥啊豆花香
mài miáo ér féi à dòu huā xiāng
maɪ mjaʊ әr feɪ a doʊ hwa sjaŋ
男女老少喜洋洋。 Men and women, young and old, live in happy prosperity.
男女老少喜洋洋
nán nǚ lǎo shào xǐ yáng
nan ny laʊ ʃaʊ si jaŋ jaŋ
自从鬼子来，
自从鬼子来，百姓遭了殃！百姓遭了殃！
自从鬼子来百姓遭了殃
zì cóng guǐ zǐ lái bǎi xìng zāo liǎo yāng
dzɤ tsoŋ gweɪ dzɤ laɪ baɪ siŋ dzaʊ ljaʊ jaŋ
奸淫烧杀，
奸淫烧杀，一片凄凉；一片凄凉；
奸淫烧杀一片凄凉
jiān yín shāo shā yī piàn qī liáng
dzjɛn jin ʃaʊ ʃa ji pjɛn tsi ljaŋ
扶老携幼，四处22 逃亡；
people escorting the elderly and carrying the young disperse in all directions to
flee death;
扶老携幼四处逃亡
fú lǎo xié yòu sì chù táo wáng
fu laʊ sjɛ yoʊ sɤ ʧu taʊ waŋ
丢掉了爹娘，
丢掉了爹娘，回不了家乡！回不了家乡！
丢掉了爹娘回不了家乡
dīu diào le diē niáng huí bù liǎo jiā xiāng
dju djaʊ lә djɛ njaŋ hweɪ bu ljaʊ dzja sjaŋ
黄水奔流日夜忙， Yellow waters rush along day and night,
黄水奔流日夜忙
huáng shuǐ bēn líu rì yè máng
hwaŋ ʃweɪ bәn lju rɤ jɛ maŋ
22
四处: all over the place
349
妻离子散，
天各一方！ as families are torn apart!
qī lí zǐ sàn tiān gè yī fāng
tsi li dzɤ san tjɛn gә ji faŋ
350
[5] 河边对口曲 Musical Dialogue on the River Bank

河边对口曲
hé biān duì kǒu qǔ
hә bjɛn dweɪ koʊ ʧy
（朗诵）
朗诵
lǎng sòng
laŋ soŋ
妻离子散，
妻离子散，天各一方！天各一方！
qī lí zǐ sàn tiān gè yī fāng
tsi li dzɤ san tjɛn gә ji faŋ
但是，
但是，我们难道永远逃亡？
我们难道永远逃亡？Will we forever be refugees?
但是我们难道永远逃亡
dàn shì wǒ mén nán dào yǒng yuǎn táo wáng
dan ʃɤ wɔ mәn nan daʊ joŋ jwɛn taʊ waŋ
你听听吧，
你听听吧，这是黄河边上，
这是黄河边上，Listen, as two villagers
你听听吧这是黄河边上
nǐ tīng ba zhè shì huáng hé biān shàng
ni tiŋ tiŋ ba ʤә ʃɤ hwaŋ hә bjɛn ʃaŋ
两个老乡的对唱。dialogue on the Yellow River’s bank.
两个老乡的对唱
liǎng gè lǎo xiāng de duì chàng
ljaŋ gә laʊ sjaŋ dә dweɪ ʧaŋ
（甲）张老23 三，我问你，
我问你，A: Zhang No. 3, let me ask you,
甲张老三我问你
jiǎ zhāng lǎo sān wǒ wèn nǐ
dzja ʤaŋ laʊ san wɔ wәn ni
23
: a prefix used before the number indicating the order of birth of the children in the family as a
form of address that shows affection or familiarity
351
你的家乡在哪里？ Where is your hometown?
你的家乡在哪里
nǐ di jiā xiāng zài nǎ lǐ
ni di dzja sjaŋ dzaɪ na li
（乙）我的家，
我的家，在山西，
在山西，B: My home is in Shaanxi,
乙我的家在山西
yǐ wǒ di jiā zài shān xī
ji wɔ di dzja dzaɪ ʃan si
过河还有三百里。 three hundred miles from the river.
过河还有三百里
guò hé hái yǒu sān bǎi lǐ
gwɔ hә haɪ yoʊ san baɪ li
（甲）我问你，
我问你，在家里
在家里，A: Let me ask you, in your hometown,
甲我问你在家里
jiǎ wǒ wèn nǐ zài jiā lǐ
dzja wɔ wәn ni dzaɪ dzja li
种田还是做生意？ did you farm the land or trade?
种田还是做生意
zhòng tián hái shì zuò shēng yì
ʤoŋ tjɛn haɪ ʃɤ dzwɔ ʃәŋ ji
（乙）拿锄头，拿锄头，耕田地，耕田地，种的高梁和小米。
种的高梁和小米。
乙拿锄头耕田地
yǐ ná chú tou gēng tián dì
ji na ʧu toʊ gәŋ tjɛn di
种的高梁和小米
zhòng di gāo liáng hé xiǎo mǐ
ʤoŋ di gaʊ ljaŋ hә sjaʊ mi
（甲）为什么，
为什么，到此地，
到此地，A: Why then are you here,
甲为什么到此地
jiǎ wèi shén me dào cǐ dì
dzja weɪ ʃәn mә daʊ tsɤ di
352
河边流浪受孤凄？wandering the bank, lonely and sorrowful?
河边流浪受孤凄
hé biān líu làng shòu gū qī
hə bjɛn lju laŋ ʃoʊ gu tsi
（乙）痛心事，
痛心事，莫提起，
莫提起，B: Please don’t bring up painful matters,
乙痛心事莫提起
yǐ tòng xīn shì mò tí qǐ
ji toŋ sin ʃɤ mwɔ ti tsi
家破人亡无消息
jiā pò rén wáng wú xiāo xi
dzja pwɔ rәn waŋ wu sjaʊ si
（甲）张老三，
张老三，莫伤悲，
莫伤悲，A: Zhang No. 3, don’t be sad,
甲张老三莫伤悲
jiǎ zhāng lǎo sān mò shāng bēi
dzja ʤaŋ laʊ san mwɔ ʃaŋ beɪ
我的命运不如你！ my fate is worse than yours!
我的命运不如你
wǒ di mìng yùn bù rú nǐ
wɔ di miŋ jyn bu ru ni
（乙）为什么，
为什么，王老七，
王老七， B: Why, Wang No. 7,
乙为什么王老七
yǐ wèi shén me wáng lǎo qī
ji weɪ ʃәn mә waŋ laʊ tsi
你的家乡在何地？
你的家乡在何地？where is your hometown?
你的家乡在何地
nǐ di jiā xiāng zài hé dì
ni di dzja sjaŋ dzaɪ hә di
（甲）在东北，
在东北，做生意，
做生意，A: I used to do business in the northeast;
甲在东北做生意
jiǎ zài dōng běi zuò shēng yì
dzja dzaɪ doŋ beɪ dzwɔ ʃәŋ ji
353
家乡八年无消息。 eight long years I’ve had no news from home.
家乡八年无消息
jiā xiāng bā nián wú xiāo xi
dzja sjaŋ ba njɛn wu sjaʊ si
（乙）这么说
这么说，我和你，
我和你，B: All this said, you and I,
乙这么说我和你
yǐ zhè me shuō wǒ hé nǐ
ji ʤә mә ʃwɔ wɔ hә ni
都是有家不能回！ both have homes we can’t return to!
都是有家不能回
dōu shì yǒu jīa bù néng huí
doʊ ʃɤ joʊ dzja bu nәŋ hweɪ
（甲/乙合唱
乙合唱）
乙合唱） A & B duet
甲乙合唱
jiǎ yǐ hé chàng
dzja ji hә ʧaŋ
仇和恨，
仇和恨，在心里，
在心里，Within our hearts, enmity and hatred
仇和恨在心里
chóu hé hèn zài xīn lǐ
ʧoʊ hә hәn dzaɪ sin li
腾如同黄河水！ swirl like the rapids of the Yellow River!
奔腾如同黄河水
bēn téng rú tóng huáng hé shuǐ
bәn tәŋ ru toŋ hwaŋ hә ʃweɪ
黄河边，定主意，
定主意， On the Yellow River’s bank,
黄河边定主意
huáng hé biān dìng zhǔ yì
hwaŋ hә bjɛn diŋ ʤu ji
咱们一同打回去
咱们一同打回去！
打回去！let us both resolve to fight back!
咱们一同打回去
zá mén yī tóng dǎ huí qù
dza mәn ji toŋ da hweɪ ʧy
354
为国家，
为国家，当兵去，
当兵去，For our country, we will become soldiers,
为国家当兵去
wèi guó jiā dāng bīng qù
weɪ gwɔ dzja daŋ biŋ ʧy
太行山上打游击！ go up Taihang mountain to fight as guerillas!
太行山上打游击
tài háng shān shàng dǎ yóu jī
taɪ haŋ ʃan ʃaŋ da joʊ dzi
从今后，
从今后，我和你，
我和你，From this day, you and I
从今后我和你
cóng jīn hòu wǒ hé nǐ
tsoŋ dzin hoʊ wɔ hә ni
一同打回老家去！together will fight toregain our homeland!
一同打回老家去
yī tóng dǎ huí lǎo jiā qù
ji toŋ da hweɪ laʊ dzja ʧy
355
[6] 黄河怨 Yellow River Lament

黄河怨
huáng hé yuàn
hwaŋ hә jwɛn
（朗诵）
朗诵）Recitation
朗诵
lǎng sòng
laŋ soŋ
朋友！
朋友！我们要打回老家去！
我们要打回老家去！Friends! We will fight and regain our homeland!
朋友我们要打回老家去
péng yǒu wǒ mén yào dǎ huí lǎo jiā qù
pәŋ joʊ wɔ mәn jaʊ da hweɪ laʊ dzja ʧy
老家已经太不成话了！Our country is in such disarray!
老家已经太不成话
lǎo jiā yǐ jīng tài bù chéng huà
laʊ dzja ji dziŋ taɪ bu ʧәŋ hwa
谁没有妻子儿女，Can any man with wife and children
谁没有妻子儿女
shuí meí yǒu qī zǐ ér nǚ
ʃweɪ meɪ joʊ tsi dzɤ әr ny
谁能忍受敌人的
能忍受敌人的欺凌
受敌人的欺凌？
欺凌？ bear the enemy’s humiliation?
谁能忍受敌人的欺凌
shuí néng rěn shòu dí rén de qī líng
ʃweɪ nәŋ rәn ʃoʊ di rәn dә tsi liŋ
亲爱的同胞们啊
亲爱的同胞们啊，你听听，
你听听，Dear compatriots,
亲爱的同胞们啊你听听
qīn ài de tóng bāo mén à nǐ tīng
tsin aɪ dә toŋ baʊ mәn a ni tiŋ tiŋ
一个妇人悲惨的歌声。listen to a woman’s sorrowful and tragic singing.
一个妇人悲惨的歌声
yī gè fù rén bēi cǎn de gē shēng
ji gә fu rәn beɪ tsan dә gә ʃәŋ
356
（独唱）Solo
独唱
dú chàng
du ʧaŋ
风啊，你不要叫喊！
你不要叫喊！ Oh wind, do not howl!
风啊你不要叫喊
fēng à nǐ bù yào jiào hǎn
fәŋ a ni bu yaʊ dzjaʊ han
云啊，
云啊，你不要躲闪！
你不要躲闪！ Oh clouds, do not hide!
云啊你不要躲闪
yún à nǐ bù yào duǒ shǎn
jyn a ni bu jaʊ dwɔ ʃan
黄河啊，
黄河啊，你不要呜咽！
你不要呜咽！ Oh Yellow River, do not whimper!
黄河啊你不要呜咽
huáng hé à nǐ bù yào wū yè
hwaŋ hә a ni bu jaʊ wu je
今晚，
今晚，我在你面前，
我在你面前，Tonight, I stand before you in tears,
今晚我在你面前
jīn wǎn wǒ zài nǐ miàn qián
dzin wan wɔ dzaɪ ni mjɛn tsjɛn
哭诉我的仇和怨。to pour out my hatred and grief.
哭诉我的仇和怨
kū sù wǒ di chóu hé yuàn
ku su wɔ di ʧoʊ hә jwɛn
命啊，这样苦！
这样苦！ Oh fate, so bitter!
命啊这样苦
mìng à zhè yàng kǔ
miŋ a ʤә jaŋ ku
生活啊，
生活啊，这样难！
这样难！Oh life, so hard!
生活啊这样难
shēng huó à zhè yàng nán
ʃәŋ hwɔ a ʤә jaŋ nan
357
鬼子啊，你这样没心肝24 ！ My enemy, you have no conscience!

鬼子啊，
鬼子啊你这样没心肝
guǐ zǐ à nǐ zhè yàng méi xīn gān
gweɪ dzɤ a ni ʤә jaŋ meɪ sin gan
宝贝啊，
宝贝啊，你死得这样惨！
你死得这样惨！My precious child, you died so horribly!
宝贝啊你死得这样惨
bǎo bèi à nǐ sǐ de zhè yàng cǎn
baʊ beɪ a ni sɤ dә ʤә jaŋ tsan
我和你无仇又无怨， There was no hatred or grudge between us,
wǒ hé nǐ wú chóu yòu wú yuàn
wɔ hә ni wu ʧoʊ joʊ wu jwɛn
偏要我无颜偷生在人间！
我无颜偷生在人间！ yet you left me to a nameless existence in this world!
偏要我无颜偷生在人间
piān yào wǒ wú yán tōu shēng zài rén jiān
pjɛn jaʊ wɔ wu yɛn toʊ ʃәŋ dzaɪ rәn dzjɛn
狂风啊，
狂风啊，你不要叫喊！
你不要叫喊！ Oh wind, do not howl!
狂风啊你不要叫喊
kuáng fēng à nǐ bù yào jiào hǎn
kwaŋ fәŋ a ni bu jaʊ dzjaʊ han
乌云啊，
乌云啊，你不要躲闪，
你不要躲闪， Oh dark clouds, do not hide!
乌云啊你不要躲闪
wū yún à nǐ bù yào duǒ shǎn
wu jyn a ni bu jaʊ dwɔ ʃan
黄河的水啊，
黄河的水啊，你不要呜咽！
你不要呜咽！ Oh Yellow River, do not whimper!
黄河的水啊你不要呜咽
huáng hé di shuǐ à nǐ bù yào wū yè
hwaŋ hә di ʃweɪ a ni bu jaʊ wu je
今晚，
今晚，我要投在你的怀中，
我要投在你的怀中，Tonight, I will throw myself into your embrace,
今晚我要投在你的怀中
jīn wǎn wǒ yào tóu zài nǐ di huái zhōng
dzin wan wɔ jaʊ toʊ dzaɪ ni di hwaɪ ʤoŋ
24
心肝: conscience
358
洗清我的千重愁来万重冤！to wash away my myriad sorrows and sufferings!
洗清我的
xǐ qīng wǒ di
si tsiŋ wɔ di
千重愁来万重冤
qiān chóng chóu lái wàn chóng yuān
tsjɛn ʧoŋ ʧoʊ laɪ wan ʧoŋ jwɛn
丈夫啊，
丈夫啊，在天边！
在天边！ Oh husband, you’re as far away as the horizon!
丈夫啊在天边
zhàng fū à zài tiān biān
ʤaŋ fu a dzaɪ tjɛn bjɛn
地下啊，
地下啊，再团圆！
再团圆！We shall reunite again below the earth!
地下啊再团圆
dì xià à zài tuán yuán
di sja a dzaɪ twan jwɛn
你要想想妻子儿女
nǐ yào xiǎng qī zǐ ér nǚ
ni jaʊ sjaŋ sjaŋ tsi dzɤ әr ny
死得这样惨
sǐ dé zhè yàng cǎn
sɤ dә ʤә jaŋ tsan
你要替我把这笔血债清算！ You must settle this blood debt for me!
你要替我把
nǐ yào tì wǒ bǎ
ni jaʊ ti wɔ ba
这笔血债清还
zhè bǐ xuè zhài qīng huán
ʤә bi ʃwɛ ʤaɪ tsiŋ hwan
你要替我把这笔血债清还！ You must have this debt repaid for me!
你要替我把
nǐ yào tì wǒ bǎ
ni jaʊ ti wɔ ba
359
这笔血债清还
zhè bǐ xuè zhài qīng huán
ʤә bi ʃwɛ ʤaɪ tsiŋ hwan
360
[7] 保卫黄河 Defend the Yellow River

保卫黄河
bǎo wèi huáng hé
baʊ weɪ hwaŋ hә
（朗诵） Recitation
朗诵
lǎng sòng
laŋ soŋ
但是，
但是，中华民族的儿女啊，
中华民族的儿女啊，Sons and daughters of China,
但是中华民族的儿女啊
dàn shì zhōng huá mín zú de ér nǚ à
dan ʃɤ ʤoŋ hwa min dzu dә әr ny a
谁愿意像猪羊一般，
谁愿意像猪羊一般，任人宰割？
任人宰割？who is willing to be slaughtered like pigs and sheep?
谁愿意像猪羊一般
shuí yuàn yì xiàng zhū yáng yī bān
ʃweɪ jwɛn ji sjaŋ ʤu jaŋ ji ban
任人宰割
rèn rén zǎi gē
rәn rәn dzaɪ gә
我们要
我们要抱定必胜的决心，
抱定必胜的决心，We must resolve to be victorious,
我们要抱定必胜的决心
wǒ mén yào bào dìng bì shèng de jué xīn
wɔ mәn jaʊ baʊ diŋ bi ʃәŋ dә ʤwɛ sin
保卫黄河！
保卫黄河！保卫华北！保卫华北！
to defend the Yellow River! To defend northern China!
保卫黄河保卫华北
bǎo wèi huáng hé bǎo wèi huá běi
baʊ weɪ hwaŋ hә baʊ weɪ hwa beɪ
保卫全中国！
保卫全中国！To defend all of China!
保卫全中国
bǎo wèi quán zhōng guó
baʊ weɪ ʧwɛn ʤoŋ gwɔ
361
（多声部合唱）
多声部合唱）Chorus
多声部合唱
duō shēng bù hé chàng
dwɔ ʃәŋ bu hә ʧaŋ
风在吼，
风在吼，马在叫，
马在叫， The wind howls, horses neigh,
风在吼马在叫
fēng zài hǒu mǎ zài jiào
fәŋ dzaɪ hoʊ ma dzaɪ dzjaʊ
黄河在咆哮！
黄河在咆哮！the Yellow River roars!
黄河在咆哮
huáng hé zài páo xiāo
hwaŋ hә dzaɪ paʊ sjaʊ
河西山冈万丈高，To the west stands a towering hill,
河西山冈万丈高
hé xī shān gāng wàn zhàng gāo
hә si ʃan gaŋ wan ʤaŋ gaʊ
河东河北，
河东河北，高梁熟了。
高梁熟了。East and north of the river, sorghum has ripened.
河东河北高梁熟了
hé dōng hé běi gāo liáng shóu liǎo
hә doŋ hә beɪ gaʊ ljaŋ ʃoʊ ljaʊ
万山丛中，
万山丛中，抗日英雄真不少！
抗日英雄真不少！Amid thousands of mountain clusters are many heroes!
万山丛中
wàn shān cóng zhōng
wan ʃan tsoŋ ʤoŋ
抗日英雄真不少
kàng rì yīng xíong zhēn bù shǎo
kaŋ rɤ jiŋ ʃjoŋ ʤәn bu ʃaʊ
青纱帐
青纱帐里，游击健儿逞英豪！
游击健儿逞英豪！
Inside green muslin tents there are valiant guerilla warriors!
青纱帐里
qīng shā zhàng lǐ
tsiŋ ʃa ʤaŋ li
362
游击健儿逞英豪
yóu jī jiàn ér chěng yīng háo
joʊ dzi dzjɛn әr ʧәŋ jiŋ haʊ
端起了土枪洋枪，Armed with local guns and foreign-made guns,
端起了土枪洋枪
duān qǐ le tǔ qiāng yáng qiāng
dwan tsi lә tu tsjaŋ jaŋ tsjaŋ
挥动着大
挥动着大刀长矛，
刀长矛，waving large knives and long spears,
挥动着大刀长矛
huī dòng zhe dà dāo cháng máo
hweɪ doŋ ʤә da daʊ ʧaŋ maʊ
保卫家乡！
保卫家乡！保卫黄河！
保卫黄河！ they defend our hometowns! Defend the Yellow River!
保卫家乡保卫黄河
bǎo wèi jiā xiāng bǎo wèi huáng hé
baʊ weɪ dzja sjaŋ baʊ weɪ hwaŋ hә
保卫华北！
保卫全中国！ Defend northern China! Defend all of China!
保卫华北保卫全中国
bǎo wèi huá běi bǎo wèi quán zhōng guó
baʊ weɪ hwa beɪ baʊ weɪ ʧwɛn ʤoŋ gwɔ
363
[8] 怒吼吧，
黄河！Roar, Yellow River!
怒吼吧黄河
nù hǒu ba huáng hé
nu hoʊ ba hwaŋ hә
（朗诵）
朗诵
lǎng sòng
laŋ soŋ
听啊，珠江25 在怒吼！
听啊，在怒吼！Listen, the Pearl River roars angrily!
听啊珠江在怒吼
tīng à zhū jiāng zài nù hǒu
tiŋ a ʤu dzjaŋ dzaɪ nu hoʊ
扬子江在怒吼！The Yangtze River is raging on!
扬子江在怒吼
yáng zǐ jiāng zài nù hǒu
jaŋ dzɤ dzjaŋ dzaɪ nu hoʊ
啊！黄河！
黄河！Ah! Yellow River!
啊黄河
à huáng hé
a hwaŋ hә
掀起你的怒涛， Raise up your angry waves,
掀起你的怒涛
xiān qǐ nǐ de nù tāo
sjɛn tsi ni dә nu taʊ
发出你的狂叫，
发出你的狂叫，let loose your wild bellows,
发出你的狂叫
fā chū nǐ de kuáng jiào
fa ʧu ni dә kwaŋ dzjaʊ
向着全中国被压迫
xiàng zhe quán zhōng guó bèi yā pò
sjaŋ ʤә ʧwɛn ʤoŋ gwɔ beɪ ja pwɔ
25
珠江: a river in southeast China that flows into the South China Sea.
364
的人民
de rén mín
dә rәn min
发出你战斗的警号吧！sound the battle cry for all of China’s oppressed people!
fā chū nǐ zhàn dòu de jǐng hào ba
fa ʧu ni ʤan doʊ dә dziŋ haʊ ba
（合唱）
合唱） Chorus
合唱
hé chàng
hә ʧaŋ
怒吼吧，
黄河！ Roar, Yellow River!
怒吼吧黄河
nù hǒu ba huáng hé
nu hoʊ ba hwaŋ hә
掀起你的怒涛， Raise up your angry waves,
掀起你的怒涛
xiān qǐ nǐ di nù tāo
sjɛn tsi ni di nu taʊ
发出你的狂叫！
发出你的狂叫！let loose your wild bellows!
发出你的狂叫
fā chū nǐ di kuáng jiào
fa ʧu ni di kwaŋ dzjaʊ
全世界劳动
劳动的人民，
的人民，Workers across the land
quán shì jiè láo dòng di rén mín
ʧwɛn ʃɤ dzje laʊ doŋ di rәn min
发出战斗的警号！cry out for battle!
fā chū zhàn dòu de jǐng hào
fa ʧu ʤan doʊ dә dziŋ haʊ
365
啊 —— 五千年的民族，
五千年的民族，For such an ancient nation
啊五千年的民族
à wǔ qiān nián di mín zú
a wu tsjɛn hjɛn di min dzu
苦难真不少！
苦难真不少！to suffer so much!
苦难真不少
kǔ nàn zhēn bù shǎo
ku nan ʤәn bu ʃaʊ
铁蹄26 下的民众，
下的民众，Our cruelly oppressed people
铁蹄下的民众
tiě tí xià di mín zhòng
tjɛ ti sja di min ʤoŋ
苦痛受不了！
苦痛受不了！can no longer bear the torment!
苦痛受不了
kǔ tòng shòu bù liǎo
ku toŋ ʃoʊ bu ljaʊ
但是，
但是，新中国已经破晓；
新中国已经破晓；But for China, a new day is already dawning;
但是新中国已经破晓
dàn shì xīn zhōng guó yǐ jīng pò xiǎo
dan ʃɤ sin ʤoŋ gwɔ ji dziŋ pwɔ sjaʊ
四万万五千万民众 four hundred and fifty million people

四万万五千万民众
sì wàn wǔ qiān wàn mín zhòng
sɤ wan wan wu tsjɛn wan min ʤoŋ
已经团结起来，
已经团结起来，have united,
已经团结起来
yǐ jīng tuán jié qǐ lái
ji dziŋ twan dzjɛ tsi laɪ
誓死同把国土保！pledging their lives to defend this soil!
誓死同把国土保
shì sǐ tóng bǎ guó tǔ bǎo
ʃɤ sɤ toŋ ba gwɔ tu baʊ
26
铁蹄: cruel oppression
366
你听：
你听：松花江在呼号，
松花江在呼号，Listen: the Songhua River is calling,
你听松花江在呼号
nǐ tīng sōng huā jiāng zài hū hào
ni tiŋ soŋ hwa dzjaŋ dzaɪ hu haʊ
黑龙江在呼号； the Heilong River is calling;
黑龙江在呼号
hēi lóng jiāng zài hū hào
heɪ loŋ dzjaŋ dzaɪ hu haʊ
珠江发出了英勇的叫啸；the mighty Pearl River roars its defiance;
珠江发出了英勇的叫啸
zhū jiāng fā chū le yīng yǒng di jiào xiào
ʤu dzjaŋ fa ʧu lә jiŋ joŋ di dzjaʊ sjaʊ
扬子江上，
扬子江上，燃遍了抗日的烽火！
燃遍了抗日的烽火！
扬子江上
yáng zǐ jiāng shàng
jaŋ dzɤ dzjaŋ ʃaŋ
燃遍了抗日的烽火
rán biàn le kàng rì di fēng huǒ
ran bjɛn lә kaŋ rɤ di fәŋ hwɔ
啊！黄河！
黄河！怒吼吧！
怒吼吧！Ah! Yellow River! Roar on!
啊黄河怒吼吧
à huáng hé nù hǒu ba
a hwaŋ hә nu hoʊ ba
向着全中国受难的人民， To all of China’s suffering people,
向着全中国受难的人民
xiàng zhe quán zhōng guó shòu nàn di rén mín
sjaŋ ʤә ʧwɛn ʤoŋ gwɔ ʃoʊ nan di rәn min
发出战斗的警号！sound the battle cry!
fā chū zhàn dòu di jǐng hào
fa ʧu ʤan doʊ di dziŋ haʊ
367
向着全世界劳动的
世界劳动的人民，
人民， To laborers all over the world,
xiàng zhe quán shì jiè láo dòng di rén mín
sjaŋ ʤә ʧwɛn ʃɤ dzjɛ laʊ doŋ di rәn min
发出战斗的警号！sound the battle cry!
fā chū zhàn dòu di jǐng hào
fa ʧu ʤan doʊ di dziŋ haʊ
368
APPENDIX C: HOW THE YELLOW RIVER CANTATA WAS BORN
by Wu Xiling
In November 1938, after the Japanese occupation of Wuhan, our Enemy

Resistance Third Drama Troupe1 under the leadership of Guang Weiran needed to cross
to the east of the Yellow River from the vicinity of the Hukou waterfall at Shanxi2
province’s Yichuan county where it bridged into the southwest region of Jin3, on our
travel to the Japanese Resistance base of operations at Lüliang Mountain.
Hukou is one of the most dangerous gorges on the Yellow River. Here, the gorge
chopped the river into two uneven grounds. The rolling waters spanning two to three li4
squeezed into the narrow mouth of the gorge that was only a few zhang5 wide, thundering
powerfully like a massive herd of running cattle. The torrents of the enormous waterfall
churned up mud and plunged downwards, creating sprays of waves that were several
meters high; its roar shook both heaven and earth. If one stood for a few minutes near the
edge of the gorge, the muddy waterfall and its sprays would suddenly appear to resemble
the steep slope of a mountain. Your ears would become numb from the deafening roar,
only returning to normal until you were five to six li from the gorge.
Our ferry point, Gezhen shore, was located a few li downstream from Hukou.
Standing on a peak looking north, one could still see the mountainous sprays of waves
above the mouth of the gorge. From here, it looked like masses of steam spewing from a
pot of boiling water.
The river’s surface at our point of crossing was very wide; its waters, full of reefs,
rushed down the steep incline. When the rapids stemming from Hukou reached this point,
they broadened to become a front of turbulent waves and swelling waters, these torrents
sweeping southwards. Close to the reefs were fast-spinning whirlpools. Towering rocks
like islands stood in the middle of the river crossing – this was the most dangerous part of
the voyage, the boat must be maneuvered very carefully around it, or else it would be
smashed to bits on the rocks with just a slip of the hand. Only past mid-river near the
eastern shore did the river become calmer.
At around ten o’clock in the morning, we boarded a boat shaped like a rectangular
wooden box with no lid. Even though there was a lot of space inside, we were instructed
by the captain to squeeze into the depressed section in the center of the boat, and he
forbade us to move to the sides where it seemed much roomier. As we were being
puzzled over this, a shout was heard all of sudden, after which about forty strong young
1
2
This is Shǎnxī province. There is also Shānxī /Shaanxi province (see footnote 3). They are separate
regions, and the Yellow River marks the border between them.
3
Shānxī province
4
1 li = 500 meters
5
1 zhang ≈ 3.33 meters
369
men with bared torsos jumped into the river and pushed the boat into deeper waters. Soon,
they were back on the boat in two neat rows along each side. They were agile and alert,
orderly and disciplined, like an army ready to engage in battle. Most of them were
oarsmen, and some were helmsmen. At the bow stood an athletic and energetic man in
his sixties; people looked at this white-bearded man with much respect, and it was then
when we realized that he was the one shouting the commands! This chief helmsman held
the lives of everyone on this boat in his hands.
Before boarding the boat, many kept telling us, “Crossing the river from this place
requires the leadership of a senior and experienced helmsman who is extremely familiar
with the passage and extraordinarily courageous. Otherwise, there is no guarantee that
you’ll live. There are supposedly only two or three senior helmsmen who are this
capable.”
The location where we had planned to alight was southeast of the Gezhen shore,
but because of the torrents, the boat needed to press northeast, against the current. The
oarsmen and helmsmen yelled their boating cry in a call and response style, synchronized
with the rowing rhythms. Approximately ten minutes into our voyage, the boat entered
the dangerous mid-river region, and as the waves splashed fiercely into the boat, our
hearts became increasingly anxious. Suddenly, the white-bearded man straightened his
neck and let out a long and high shout, as piercing as a siren. Immediately following this
shout, the boatmen’s cry changed to an unusual tune. The pitch kept getting higher, the
volume louder, until it drowned out the roar of the waves. Its rhythmic activity picked up,
the shouts became increasingly faster until the time lapse between the original call and
response had completely disappeared, and even those of us who were listening felt out of
breath. United under the sole command of the senior helmsman, the boatmen with
flushed faces and bulging muscles fought the raging waves with their lives, rowing and
holding firm the helm.
It was a terrifying life and death battle between man and nature. In the midst of
the boatmen’s laboring shouts, unwavering faith, and indomitable fighting spirit, their
strong laboring shouts had given us such limitless strength that we had already dispelled
every ounce of fear at the most perilous moment.
After passing the danger zone, the waters became peaceful, and the boat cruised
in the direction of the river flow. The shore could be seen clearly, and we felt relaxed and
calm.
The river crossing experience left an unforgettable impression on us. It is this very
experience that inspired the poet, Comrade Guang Weiran, to the idea of writing a
Yellow River cantata. I think that it is also precisely because of this experience that he
placed the “Song of the Yellow River Boatmen” as the opening number.
370
In mid-January 1939, we finally arrived at the long anticipated sacred grounds of

the revolution – Yan’an6 – from Lüliang Mountain. As our military entourage made its
way there, Comrade Guang Weiran accidentally fell off his horse, broke his arm, and was
hospitalized upon reaching Yan’an. From when he crossed the Yellow River to his
hospital stay, Comrade Guang Weiran had not stopped mulling over the idea of writing
the Yellow River Cantata. Even under enemy pursuit and during night marches, he would
still often discuss with us his plans for writing the Yellow River Cantata. However, it was
not until after he was hospitalized that he officially began penning the words down.
On Lunar New Year’s Eve that year (February 18), our Third Drama Troupe
organized the annual celebratory gathering at Yan’an. It was at this event where Comrade
Xian Xinghai joined us in listening attentively to Comrade Guang Weiran recite his new
composition with much feeling – the complete text to the Yellow River Cantata. After the
gathering, Comrade Xinghai left rather excitedly with those lyrics, promising as he was
leaving, to set them to music before our departure from Yan’an.
From then on, I visited Comrade Xinghai’s home every three to four days. His
home was a small dugout on the hill where the Lu Xun Arts Academy was situated.
Besides a brick bed, a little square table, and a stove, there was just slightly more than
one square meter of space remaining. Comrade Xian Xinghai’s hardworking and
persevering spirit was admirable. Every time I saw him at his home, he was always
leaning on the table composing, with his head buried in the papers, in deep concentration.
During that period, Xian was spending most of his time writing the Production Cantata,
and sometimes I would see him working on the National Liberation Symphony or making
performance copies of the folk songs he had recently jotted down. At every visit, he
would hum me his newest compositions and the latest folk songs which he had collected,
but was always more interested in having me describe to him the full details of that
Yellow River crossing experience we had, and was never tired from hearing about it. In
addition, he would often ask numerous questions about specific scenes in my narration.
Several times, I tried my best to recall and imitate for Comrade Xian Xinghai the
boatmen’s cry that we heard while crossing the Yellow River. One time, he began
scribbling some musical notations right after I had hummed the tune, double-checking it
with me when he had finished. I remember a portion of it went like this:
One evening, near the end of March7, I was again visiting Comrade Xinghai’s
home. He was sitting on a small stool with the scores on his knees, working on the “Ode
to the Yellow River” in the dim light produced by a vegetable oil lamp. The minute I
entered, he stood up excitedly and said, “You came at just the right day, I have already
set music to seven of the eight movements.” Picking up a thick stack of manuscript, the
full score of the Yellow River Canata in cipher notation (this manuscript is now displayed
at the National Music Research Center), he said, “I composed this very smoothly. Other
than Yunling’s (Comrade Xinghai’s wife) help with drawing the bar lines, it only took
6
The Long March ended in Yan’an, known as the birthplace of the revolution, and the center of Chinese
communist life.
7
March 26, according to Xian’s account (see “Composition Notes”).
371
me four days, including writing and copying. …with the exception of this ‘Ode to the
Yellow River’ which has been too hard to set to music; I came up with three versions, but
none of them were to my satisfaction. Today, I spent the entire day trying to write this
movement, and it is still unfinished. When I see the word ‘Ode’, I immediately associate
it with the religious work, Messiah. I am trying hard to rid all influences from religious
songs of praise in my writing; I must create a kind of new music that possesses Chinese
national characteristics, a praise melody that could also exhibit emotions of this modern
age. …there are some melodies in Kunqu8 that are a bit Ode-like in flavor, but they are
unable to demonstrate the Yellow River’s great fighting spirit.”
He sang through everything he had written in that stack of manuscript from

beginning to end. Sometimes, the two of us would sing together. After each movement
was sung, he would give me an analysis of the emotional content of that piece and an
elaboration of his creative map. That night, we sang plenty, talked plenty, and it was past
midnight when I returned to my home.
One or two days later, I received the performance copy of the complete Yellow
River Cantata. Our entire troupe began rehearsing intensively right away. During our
rehearsals, Comrade Xinghai frequently came to give us guidance.
On the night of April 13, twenty years ago, our Third Drama Troupe and the Lu
Xun Arts Academy held a music concert at the Shangong Auditorium9 in Yan’an. It was
on this night that the Yellow River Cantata was premiered. Under the assistance and
guidance of Comrade Xinghai, I was honored be the conductor of the Yellow River
Cantata’s premiere performance.
That day, Comrade Guang Weiran personally recited “Yellow River’s Water from
Heaven Descends” on stage, Comrade Tian Chong was the soloist for the “Ode to the
Yellow River”, Comrade Jiang Zixia was the soloist for the “Yellow River Lament”;
performing the “Dialogue on the River Bank” were Comrade Shi Ping and Comrade Liu
Chenxuan.
The chorus had around forty members, all from the Third Drama Troupe. The
instrumental group was formed by instructors from the Lu Xun Arts Academy Music
Department. Among the instrumentalists then were Comrade Li Huanzhi and Comrade Li
Ling. The orchestration was according to Comrade Xinghai’s first edition. With the
exception of two to three violins, the group comprised of about twenty Chinese musical
instruments. Looking back now, these performance conditions were simple, crude, and
incomplete. However, we never heard Comrade Xinghai complain once about this
situation; he always had a pleasant attitude at work.
Before the stage curtains were drawn, all of the performers involved were very
excited. As a resonating voice recited the opening lines of poetry from the platform,
8
One of the oldest extant forms of Chinese opera that flourished from the sixteenth to eighteenth century.
9
Shanbei Gongxue Hall
372
“Friends, have you been to the Yellow River? ...”, the thrilling scene of crossing that river
immediately reappeared in the minds of those of us who had just recently experienced
what that was like. When we finished singing the “Song of the Yellow River Boatmen”
with high spirits, the floor audience responded with a wild and lengthy applause. As a
result of the work’s great success and our personal experiences, the premiere
performance of the Yellow River Cantata received an enthusiastic welcome from the
listeners.
Now, although the great composer Comrade Xian Xinghai has departed from us
for almost fourteen years, the Yellow River Cantata and its revolutionary fighting spirit
still lives on forever in the hearts of the masses.
Proofread: May 10, 1959 China Youth Paper Record
From “Zhongguo jin xiandai yinyueshi ziliao congkan” – Xian Xinghai Zhuanji10 (4),
edited by Qi Yuyi and Li Yan. (Guangzhou: China Arts Research Center Music Research
Institute, 1983.), 59-64.
10
Special Collection.
373
APPENDIX D: XIAN’S WRITINGS
How I Composed the “Yellow River Cantata”1

by Xian Xinghai
Even though there were very limited resources where “Yellow” was composed, it
had already established the current period’s new form of the National Salvation Song.
Past National Salvation Songs have been very effective and well received by the
masses, but they did not last long and were soon spat upon by the crowds. Hence, the
imbalance between “quantity” and “quality” resulted in many pieces being short-lived in
their effectiveness and existence.
The libretto of “Yellow” is more refined, though that has not cramped its style. It
has a majestic feel, demonstrates technical skill, is passionate, truthful, and especially
holds great potential. In addition, the text directly connects with the current state of
affairs, pointing out the importance and significance in “defending the Yellow River.” It
is filled with beauty, realism, expressions of resentment, stirring one’s emotions to
experience similar feelings whether or not one has crossed the Yellow River. Within the
libretto, thousands of years of the Yellow River’s history are contained in the narrations.
1. Prelude – Song of the Yellow River Boatmen
If you listen in peace, you will discover a painting that has around a dozen
fishermen rowing their boats with their faces radiating the fighting spirit. There are two
sentiments in this movement that are notable: the tension in the opening depicts the scene
of fishermen as they struggle with the waves to cross the Yellow River, as they sing,
“Row forward,… The last part is a bit more relaxed. Before the fishermen crossed the
river, they were in a jolly mood. After they have had a hearty laugh [from having gotten
past the most turbulent waters of the crossing], their worries dissipated, putting them at
ease once again.
2. Ode to the Yellow River
This movement is composed in the form of a laud/anthem. Laudes often carry a

bold and unrestrained passion; this one praises the might and strength of the Yellow
River. Scored for a tenor solo, it is a moving piece. One can even hear the strong flowing
currents of the Yellow River in the accompaniment!
1
Recorded in Xian Xinghai’s diary on April 8, 1939. Xian Xinghai Quanji, 37-8.
374
3. Yellow River’s Water from Heaven Descends
The text is recited in this movement. I chose the Sanxian [three-stringed banjo] as
the accompanying instrument and not the drum or the typical Beijing opera
accompaniment style,2 to express the content of the spoken words. In Europe, there is a
type of solo song with independent vocal and accompaniment parts, advocated by the
composer Wolf3. However, this is probably the first experiment in China where a Sanxian
is employed both as an accompaniment as well as to express the content of the text, in
such a way that it can stand independently as a piece. Besides the roll of the waves that
can be heard in the Sanxian’s tune, two other melodies have also been incorporated: one
is “Man Jiang Hong” and the other is “March of the Volunteers,” but only excerpts from
these have been used (this is due to the structuring of the tune).
4. Yellow Water Ballad4
This is composed like a folksong and sung in unison. The tune is simple, carrying
expressions of pain and moaning. Unlike the usual folksongs that convey decadence, the
Yellow River Ballad is full of hope and earnest endeavor!
5. Yellow River Musical Dialogue
Composed in the style of a folksong (using Shaanxi tones), the two voice parts in
the final three sections are constructed by combining their earlier melodic material. The
accompanying Sanxian and Erhu also share the same relationship as the solo voices in
their musical interactions. Also, the introduction is rather relaxed and amusing.
6. Lament of the Yellow River
Voices of oppressed women and sounds of their humiliation are portrayed. The
melody is deeply moving and tragic, a lament sung with tears in the eyes. If the soloist
does not possess these sentiments when singing, the listeners will certainly not be able to
share in those emotions; hence attention should be given to this.
2
The orchestra for Jingju (Beijing opera) is made up of melodic (two-stringed fiddles, a lute, and the
double-reed suona) and percussion (gongs, cymbals, one or two drums, and wooden clappers) instruments.
The percussion section is inseparable from all the dramatic elements.
3
The Austrian composer Hugo Wolf (1860-1903) composed hundreds of Lieder. He is noted for his ability
to condense expansive musical ideas and his skill in creating form based on his interpretations of the text.
4
The author had reversed the order of the fourth and fifth movements in his haste; this error was corrected
error in his “Composition Notes.” The correction has been made here.
375
Written as a round, from two parts, it builds to four.5 Every entry needs to be sung
strongly and confidently. It is composed using only Chinese melodies. After the third and
fourth voices enter, the inner parts accompany with “long-a-long, long-a-long,” which
should be sung stylistically to create interest. All of it should be strong and grand, rising
and falling with endless variations; the melody should be brought out fully at all times.
Scored for a four-part large chorus, this movement uses combinations of two,
three, and four different voice parts. The melody is robust and grand, yet full of warmth
and encouragement, which is one of the most important themes of the Yellow River
Cantata. The last two sentences, “To all of China’s suffering people, sound the battle cry!
To laborers all over the world, sound the battle cry!” This must be sung continuously for
three, four, five times, etc. until the listeners have identified with those same sentiments,
before moving on to the ending. It is best if the bugle plays the main melody,
accompanied by war drums, so as to better display the greatness of the Yellow River. Its
roar inspires the suffering masses and the laboring people in the entire world.
This method of composing the “Yellow River Cantata” is attempted for the first
time in China. I hope that lovers of China’s New Music Movement will give me some
pointers to encourage me, so that I will be even more diligent in composing.
5
Xian did not mention the unison opening here, as he did in his Composition Notes.
376
Composition Notes
by Xian Xinghai
Yellow River Cantata (Opus 7)
This cantata was begun on March 26, 1939 and completed on March 31, at the
Shanbei Japanese Resistance Headquarter’s Yan’an6 Luxun Arts Academy.
Coincidentally, the Third Drama Troupe7 happened to be in Yan’an, and Comrade Guang
Weiran handed me the Yellow River libretto he had written to set to music straightaway,
to be performed by the drama troupe and conducted by Wu Xiling. The first performance
was on April 13 in Yan’an’s Shangong Auditorium8, followed by two more on May 11
and 12, which celebrated the anniversary of the Luxun Arts Academy; all were given
favorable reviews by the Yan’an audience. Since then, whenever Yan’an hosted big
events, such as the welcoming of Vice Chairman Zhou Enlai, Commander-in-Chief Zhu
De, General Deng Baoshan, Mao Dun and Shen Zhiyuan [authors], representatives from
Mongolia, the National government’s investigation teams, encouragement groups,9 the
China Northwest Film Society, etc., the Yellow River Cantata would be the featured
presentation.
I wrote the full score as well as the choral parts to the Yellow River Cantata in a
grotto (the former grounds of the Luxun Arts Academy) within 5-6 days due to the Third
Drama Troupe’s impending departure. Having seen how well the work was received by
those participating in the war efforts at numerous locales, I desired from very early on to
make improvements to the original score written in cipher notation, by writing it in
Western staff notation with the chorus accompaniment rescored for a symphonic
orchestra, but because of my busy teaching and composing schedule, I had not found the
time to begin. However, in the spring of 1941, I was able to complete this project
smoothly. The orchestrated version will enable this piece to be played in Europe,
America, and other countries; compared to the former version that used the cipher
notation, this is more internationalized, yet at the same time remaining nationalistic in
style and possessing progressive techniques.
Yellow River Source Material10
The Yellow River’s heroic spirit appears on the plains of Asia, symbolizing the
greatness of Chinese national feelings. From past to present, many poets have sung
praises to the Yellow River.
The Yellow River Cantata seeks to project a similarly stirring and realistic
portrait.
6
Yan’an is a city in the Shanbei region of the Shaanxi province in China.
7
8
Shanbei Gongxue Hall.
9
These groups traveled to show appreciation to those contributing to the war effort.
10
This section is written by the librettist, Guang Weiran, but included by the composer in his notes.
377
Under the dark cloudy skies, amidst the huge crashing waves, the Yellow River
boatmen battled with all their might against the wild winds and pouring rain to cross over
to the opposite shore, reaching the final victory.
Thereupon, on a high mountain peak appeared a singer of this era, representing

our homeland’s brave and courageous sons and daughters, singing the praises of the
Yellow River and wanting to learn from her example, to be as mighty and strong as she
is.
Before Asia’s giant, feelings of reminiscence sprung up in the nation’s poet; he

stood facing the Yellow River, lamenting our nation’s suffering. As a result, the giant
awakens, surging its waves, letting out its wild cries, sounding over every mountain and
plain our homeland’s battle song.
Fertile soil stretches for thousands of li 11 on the Yellow River’s eastern shore;
male, female, young and old all lived happily. However, now that the cruel enemy has
invaded, bringing mad killings and casualties, families are torn apart, and desolation is all
around.
Along the banks of the Yellow River, two exiled villagers had a chance
encounter; each of them lamented their fate, and finally resolved to join the resistance
forces in battle together.
However, his wife,12 a typical village woman, having lost her husband, having
been taken from her child and ravished by the beasts, secretly went to the shore of the
Yellow River in the wailing wind and weeping rain one night. After a burst of tragic
lament, she threw herself into the Yellow River’s billowing waves.
At this time, north and east of the river, amidst ten thousand mountain clusters,
inside green muslin tents, from all directions, giant waves of revenge roll as the
outstanding sons and daughters of the Chinese people defend the Yellow River and their
homeland in battle.
“Roar, Yellow River!” To all of China’s oppressed people, to the oppressed

people all over the world, sound the battle cry! We represent four hundred million
countrymen.
Yellow River Content
1. Song of the Yellow River Boatmen (Chorus)
11
1 li = 500 meters
12
The wife of one of the two exiled men.
378
Begins with an opening scene of a few dozen Yellow River boatmen battling the
perilous waves as they cross the river, full of fighting strength; ends with the boat
arriving at shore, boatmen heave a sigh of relief, relaxed and cheerful.

Written in the form of an ode with bold and unrestrained emotion, praises of the
Yellow River’s might and strength are sung loudly; the power of the Yellow River’s
rushing waters can be heard in the accompaniment.
3. Yellow River’s Waters from Heaven Descends (Recitation)

New form, not with the big drum or just mere recitation, but a recitation song. The
narrator must have a firm grasp of the emotions in this piece, and more importantly,
speak with strength and boldness.
4. Yellow Water Ballad (Two-Part Women’s Chorus)

Simple wording, although must be expressed as painful moans; different from the
typical song of melancholy, in that this one conceals hope and fighting spirit.
5. Dialogue on the River Bank (Duet)

Composed in the form of a folksong employing the registers of Shanbei and Shaanxi,
full of local flavor, call and response format, fitted to an accompaniment with Chinese
flavor and percussion instruments, relaxing and interesting to hear, but narrative in style.

This elegy should be sung with tears held back, sounds uttered by a woman after
having been defiled. Here, you can imagine what the enemy has been spreading as the
“Way of the Emperor” inside their territory was really like.
7. Defend the Yellow River (Unison, Round in two, three, and four parts)
This piece is a round, growing from one part, to two, three, and then four. Very
powerful and grand, rising and falling in waves, like the strong guerilla soldiers,
vanishing and reappearing.

A mix of unison and part singing. Sincere, mighty, strong and stately, containing
much enthusiasm and excitement as well. The last two sentences, “To all of China’s
suffering people, sound the battle cry! To laborers all over the world, sound the battle
cry!” is consecutively repeated five times, accompanied by twelve B-flat trumpets and
tubas, and six French horns. During the performance, they are raised, their calls sounding
forth like the battle cries across the entire earth. ……
I conducted every performance of this cantata in Yan’an, the choir grew from one
hundred to five hundred singers, and the accompanying ensemble had twenty or so
players, mostly on Chinese instruments. The big auditorium almost could not hold the
audience, and the sound can be heard from far away.
379
When I was still at Yan’an, people already told me that the local newspapers in
Chongqing and other cities all hailed the Yellow River Cantata as a pioneering work in
China’s new music during the War of Resistance. When I was at my office in Yan’an the
summer of 1940, Siaosan13 informed me that his wife in Moscow had read an article in an
English newspaper which mentioned me and the Yellow River Cantata. Also, a famous
Russian reporter and photographer named Carmen wrote an article titled “In China One
Year” which included a discussion of me and the Yellow River Cantata. That article first
appeared in International Literature and then in the 1940 Moscow publication of Ensign.
Of course, I should not become complacent as a result of this, especially since Comrade
Wu Yuzhang14 complimented me in front of the entire student body at “Lu Xun” for my
hard work and the international praise that the Yellow River Cantata had received.
Having heard that, I felt embarrassed, because for all these years, I had hoped to compose
music both in quantity as well as quality, so having just one success with the Yellow
River Cantata is not much, in my opinion. I still need to double my efforts in offering my
contributions of experience, sweat, and toil to the great Chinese people. I felt
embarrassed for not composing well enough, and for meeting the quantity requested by
the masses!
Hence, I wrote the People’s Liberation Symphony and other works, …… but I
still want to write, until my final breath. I have never forgotten what Vincent d’Indy15
said to me before he died at the age of eighty-three, that he still wanted to compose, and
still wanted to finish his article on Richard Wagner!16 Romain Rolland,17 at the age of
seventy-three, still wanted to learn Russian, because he had discovered treasure in
Russian literature. Beethoven18 said before dying, “All I did was write a couple more
notes…” What am I? What is so amazing about me? Compared to them I have
accomplished much less, should not I work even harder?!
13
A poet and schoolmate of Chairman Mao Zedong, and one of the leader in the Communist Party. He was
very knowledgeable and mastered Russian, English, French, and German. He also translated
“L’Internationale” into Chinese.
14
Dean of Lu Xun Arts Academy in Yan’an.
15
Xian’s composition teacher at the Schola Cantorum.
16
Famous German composer, conductor, poet, and writer (1813-1883).
17
French writer, playwright, music scholar, 1915 recipient of the Nobel prize in literature (1866-1944).
18
Ludwig van Beethoven (1770-1827).
380
APPENDIX E: PERFORMANCE HISTORY
Year Date Venue Event Performers Remarks

(s)
1940 Dec Moscow, Welcoming of Xian Xinghai, piano
Soviet Union and Panel
Discussion with
Xian
1941 at a university
in New York,
USA
1942 Spri Myanmar Zao Feng, conductor

ng Wu Zhangbin, baritone
Tao Suoyü, soprano
Guang Weiran, narrator
Myanmar Overseas Chinese Army
Music & Drama Troupe
Li Ling, troupe director
Ulaanbaatar, Xian Xinghai, conductor
Mongolia Musicians from the Mongolian
Chinese Workers Association
1943 Princeton First Paul Robeson, baritone Mr. Liu
University, performance in Liangmo
USA English brought the
score to
USA
Hong Kong Tour with the 7th Ms. Sha Lai, conductor (had sung
Singapore Anti-Japanese under Xian in the earliest
Malaysia Music & Drama performances)
Thailand Troupe
1945 Oct War New Jersey State Directed by Dr. John Finley America
9 Memorial Celebration – Williamson, accompanied by Lt. John Joins with
Building, China Friendship A. David, who completed over 66 China in
Trenton, New Day missions over Germany Liberty and
Jersey, USA William Pheiffer, baritone Democracy;
Eugene Bayless & Lee Fizer, duet Member
Nena Williams, soprano National
War Fund
Oct New York, Celebrating the Paul Robeson, baritone
24 USA Founding of
United Nations
1947 Nov Central Concert Guo Jie, conductor
16 Auditorium Commemorating Ye Su, baritone
in Hong Xian Xinghai Ye Shaoyi, soprano
Kong Jiang Yue, narrator
Zhonghua Conservatory Orchestra &
Chorus with other choirs
Year Thailand China Performing Arts Society
end Singapore
Malaysia
1948 Jan Provincial New Year Music Zhang Shimin, baritone
Taipei Concert You Huihai, conductor
Teachers Provincial Taipei Teachers College
College Hall, Preparatory School Chorus
381
Taiwan
1949 Massey Hall Jia Dena, conductor
in Toronto, Around 130 Canadian residents
Canada
1951 from East Europe Tour; 3rd Cai Shaoxü / Zheng Lücheng, baritone
- July Germany, World Festival Shu Muo / Liu Pei, duet
1952 for Soviet Union, of Youth and Zhang Fei, narrator
over Romania, Students (East Li Huanzhi, conductor (former student
a Czechoslovak Berlin, East of Xian Xinghai)
year ia, Poland, Germany) “For China Youth Army Music & Drama
Bulgaria, Peace and Troupe
Hungary Friendship –
Against Nuclear
Weapons”
1955 Oct Tchaikovsky 10th Anniversary Russian conductor Sung in
30 Concert Hall Concert Soviet Union Radio Symphony Russian
in Moscow, Commemorating Orchestra and Chorus First
Soviet Union Xian Xinghai’s performance
death of the
cantata’s 2nd
version
(fully
orchestrated)
1956 Oct Tchaikovsky Celebrating the Guo Shuzhen, soprano Sung in
Concert Hall friendly ties Li Delun, conductor Russian
in Moscow, between China Tchaikovsky Conservatory Orchestra except
Soviet Union and Soviet Union & Chorus soprano solo
1964 Kobe, Japan An amateur choir in Kobe Sung in
Japanese
1982 City Hall in Protest against Ling Kehan, conductor The second
Hong Kong Japanese 6 Hongkong choirs performance
Changing of Ling Kehan Pipe and String Ensemble was an
Textbook (Lim Kek Han Philharmonic outdoor
Information on Orchestra) concert that
Sino-Japanese was part of
War History the Asian
Arts Festival
1983 Jun Massey Hall Symphonic Lai Dewu, conductor
4 in Toronto, Music Night Xü Qingqiang, baritone
Canada Chen Hailun, soprano
Zheng Jianxin, narrator
Chorus of overseas Chinese students
from Mainland China, Hongkong, and
Taiwan
Lincoln Zhu Chongmao, conductor
Center for the New York Hai Yun Chorus
Performing
Arts in New
York, USA
Aug Hong Kong Yellow River Yan Liangkun, conductor Month-long
Stadium Music Festival Yü Jixing, baritone Thousand-
Wang Yanyan, soprano Voice Choir;
Tian Yubin & Wang Kaiping, duet Maestro Yan
Qü Xianhe, narrator has
Central Music Ensemble Chorus and conducted
382
28 Hongkong Choirs over 1,000

Hongkong Symphony Orchestra performance
(Yang Bingshun, 1st violin) s of the
Lin Shiming, piano cantata
City Hall in Yellow River Lin Kehan, conductor
Hong Kong Music Festival Li Xincang, baritone
Guo Shuzhen, soprano
1985 US-China Yao Xueyan, conductor (former Performed in
cultural conductor of the Central Opera House Mandarin
exchange in Beijing)
San Francisco Opera Chorus
1986 Mar Davies Yellow River Yao Xueyan, conductor
7& 8 Symphony Symphonic Fu Haijing, baritone
Hall in San Concert & US- Hu Xiaoping, soprano
Francisco, China Musical San Francisco Opera Orchestra &
USA Exchange Chorus
1988 Feb Seneca Lai Dewu, conductor
27 College
Minkler
Auditorium
in Ontario,
Canada
1989 Singapore Jia Dena, conductor
Singapore Symphony Chorus and 9
other choirs
Philippines Yan Liangkun, conductor
Jun- Taipei, Concert Du Hei, conductor
Jul Taiwan Commemorating Cai Zhenghua, baritone
the Anti- Gu Qilan, soprano
Japanese War Yu Zhangping, narrator
Victory Taipei Philharmonic Chorus
Taiwan Symphony Orchestra &
Chorus
Jul 5 Taipei Ren Ce, conductor
&6 Concert Hall Chen Ming, baritone
Fan Yuwen, soprano
Taiwan Philharmonic Chorus,
Chen Ming Chorus
Chang Rong Chorus
Accompanied by 2 pianos
Sep City Hall in 50th Anniversary Chen Ming, baritone
17 Hong Kong of the Gu Qilan, soprano
composition Gu Lianbi, accompanist
Philharmonic Orchestra
1990 Jul 7 A school Anti-Japanese Xiao Ji, conductor
auditorium in War Songs and Hong Rongxun, baritone
Houston, Yellow River Zhan Yanwen, soprano
USA Cantata Yin Jianren & Yuan Guohong, duet
Song Xiaozhuang, narrator
Huasheng Chorus
Kuangbiao Chorus
Zhonghua Chorus
Organized by the Houston Chinese
Culture Center
Oct City Hall in Yan Liangkun, conductor
383
6 Hong Kong Yang Hongji, baritone

Wang Xiufen, soprano
Zhan Cong, narrator
8 Hong Kong choirs (Caotian,
Chünsheng, Qingnian, etc.)
Lin Kehan Pipe and String Orchestra
Oct Central 85th Anniversary Moscow pianist
13 Concert Hall of Xian
in Almaty Xinghai’s birth
(Alma-Ata),
Kazakhstan
1991 Jan House of 85th Anniversary Performance
Friendship in of Xian of Yellow
Moscow, Xinghai’s birth River Piano
Russia Concerto
Sep Hong Kong 60th Anniversary Yan Liangkun, conductor
18 of Sept 18, Lin Kehan Pipe and String Orchestra
commemorative
concert
1992 May Singapore Concert of Yan Liangkun, conductor
7-10 Concert Hall Popular Chinese Ren Yonglie, baritone
Songs and Tunes Xu Jing, soprano
Hong Yuhui, piano
Central Music Ensemble Chorus
Singapore Lihao Chorus
1992 Jul Sydney 15th Anniversary Guan Dinghang, conductor
19 Concert Hall, of Huasheng Zhang Jingbang, baritone
Australia Chorus Zhang Zehua, soprano
Tan Yuwei, narrator
Huasheng Chorus
Sep San 61st Anniversary Ren Ce, conductor Selections
19 Francisco, of Sept 18, Combined Choirs (Shen Lixi, Buoai, from the
USA commemorative Longyin, Beibandao Aiyue, Nanwan Cantata
concert Aiyue, Rongrong, etc.)
1993 Dec Taipei Yan Liangkun, conductor
10- Concert Hall, Hong Yuhui, piano
17 Taiwan and
other local
venues
1994 Aug Davies East-West Yan Liangkun, conductor
6 Symphony Exchange He Leiming, baritone
Hall in San Symphonic Gao Manhua, soprano
Francisco, Concert Ding Guoxun, narrator
USA San Francisco Opera Orchestra &
Chorus
San Francisco Symphony Chorus
San Francisco Music Lovers’ Chorus
1995 May Malaysia 10 tour Yan Liangkun, conductor
27 – Peninsula performances Tian Yubin, baritone
Jun Xu Jing, soprano
7 Wu Guangjun, narrator
Central Music Ensemble Chorus
Local Malaysian Chorus
Malaysian Orchestra and Xu Hong
from Central Music Ensemble
384
Aug New York, 50th Anniversary Yan Liangkun, conductor

25 USA of Anti-Japanese Tan Haojiang, baritone
Victory Wan Yanyan, soprano
Li Muoran, narrator
Central Music Ensemble Chorus & 21
groups in Colorado
Central Music Ensemble & Local
instrumental ensembles
Aug Beijing & Choir Tour Yao Xueyan, conductor
Xi’an, China United Stars of America Chorus
Sep Singapore 50th Anniversary Singaporean conductor
Victoria of Victory over Song Xuewei, baritone
Concert Hall Anti-Fascism Li Cuitao, soprano
Singapore Symphony Orchestra &
Chorus
Late Taiwan Taiwan Yan Liangkun, conductor
Sep (Taipei, Commemorative Yuan Zhenye, baritone
– Taizhong, Concert of 20th Wang Xiufen, soprano
early Gaoxiong) century Chinese Central Music Ensemble Chorus &
Oct Music Classics Local Taiwan Chorus
Central Music Ensemble, Shanghai
Youth Symphony & Local
instrumental ensembles
Oct Academy of 125th CACC Chorus of Delaware 5 Combined
8 Music, Anniversary of Ming De Chorus (Pennsylvania) Choirs
Philadelphia, Philadelphia Chinese Philharmonic Chorus of organized by
USA Chinatown Pennsylvania Chinese
Monmouth Chinese Chorus of New Musical
Jersey Voices
Chinese Musical Voices
Oct Chicago, 50th Anniversary Si Tuhan, conductor Organized
21 USA of Anti-Japanese Zhu Yi, baritone by Yellow
Victory Zao Ling, soprano River
Huang Ping & Calland Metts, duet Performing
Dong Cengkong, narrator Arts
Chicago Area Chinese Choirs:
Huanghe, Hujün Zhisheng, Lüyin, etc.
Du Peijun Youth Symphony
Dec Thai-Chinese 50th Anniversary Wu Lingfen, conductor Proceeds
6 Chamber of of Victory over Xiao Mingyan, guest Artistic Director went to the
Commerce Anti-Fascism Chen Pengsheng / Cai Guiting, Thai Chinese
Auditorium baritone Cultural Arts
in Bangkok, Qiu Xiuer / Chen Jingfang, soprano Education
Thailand Huang Henan & Wang Zhizhong, duet Fund
Wang Shaoling / Jing Cangguo,
narrator
Yue Yünhui Chorus
Hong Yühui, piano
1996 Dec Chulalongkor Wu Lingfen, conductor Sponsored
15 n University Xiao Mingyan, guest Artistic Director by the Thai
Auditorium Chen Pengsheng / Cai Guiting, Chinese
in Bangkok, baritone Cultural Arts
Thailand Yang Dingyun, soprano Education
Wei Anshun & Wang Zhizhong, duet Fund
Jing Cangguo, narrator
385
Hong Yühui, piano

1998 May University of Chinese Music Xiao Ji, conductor Organized
17 Houston Society’s 39th Zhen Haoxian, baritone by the
Moores season Concert: Li Jia, soprano Houston
School of “Jiangshan Liu Lei & Zhang Tianku, duet Zhonghua
Music Wanli Qing” Song Xiaozhuang, narrator Chorus
Concert Hall, (Sentiments of a Zhonghua Chorus
USA Distant Minghu Chorus & other music lovers
Homeland) Yellow River Cantata Pipe & String
Ensemble (Guanxuan Yuetuan)
Yang Bingshun, 1st violin
Wu Changlu, pipa
May National Yan Liangkun, conductor
25 Concert Hall Bai Yüer, baritone
in Taipei, Cai Baoling, soprano
Taiwan Liu Zhengkai, narrator
Taipei Philharmonic Chorus
Taipei Municipal Chinese Classical
Orchestra & Chorus
Oct Almaty Concert Resident conductor
7 (Alma-Ata), Celebrating Kazakhstan National Symphony
Kazakhstan Friendship & Orchestra
Neighborly Ties;
55th Anniversary
of Xian
Xinghai’s arrival
in Almaty
1999 May Golden Mile 60th Anniversary Qiu Li / Fang Songpu, conductor
8-9 Theatre in of the Fan Jinghai / Deng Wenqi, baritone
Singapore composition of Lü Lianhua, soprano
the “Yellow Wang Qifei & Fu Yi, duet
River Cantata” Hu Xianting, narrator
Cultural Department’s Old Artist
Chorus
Li Hao Orchestra & Chorus
Zao Qixiong / Zheng Feixue, piano
Jun Science Voices of Kazakhstan National Symphony
14 Centre Friendship Orchestra
Auditorium Concert
in Almaty
(Alma-Ata),
Kazakhstan
Sep New York, South California Yang Jie, baritone Organized
USA Overseas Wang Yanyan, soprano by the US-
Chinese 50th Liu Naipeng & Ping Xintong, duet China
Anniversary Society
celebration of the
establishment of
PRC
2000 Oct Grand 14th Macao Yan Liangkun, conductor
15 Auditorium, International soloists: Wang Xiufen, Yang Hongii,
Macau Music Festival Ding Yi, Gao Lei
Cultural Symphony Orchestra & Chorus of the
Centre National Opera Theatre of China
Shanghai Opera House Chorus
386
2001 Sep Smithwick 70th Anniversary Timothy Ding, conductor Organized

15- Theatre, of the Japanese Jenny Lin, piano by the
16 Foothill Invasion of Silicon Valley Chorus Chinese
College, Las Northeast China Harmonic Chorus American
Alto Hills & (Sept 18, 1931) Great Love Chorus Association
Herbst of
Theatre, San Commerce,
Fransisco, San
USA Francisco
2003 Sep Forbidden The International Festival Chorus
20 City Concert Nicholas Smith, conductor
Hall, Beijing,
China
2005 Jan Arts 60th Anniversary Cao Ding, conductor
16 Esplanade in of the end of Yin Zuofa, baritone
Singapore WWII and the Huang Cailuan, soprano
100th anniversary Xie Baochen & Lin Tao, duet
of Xian Chen Sihong, narrator
Xinghai’s birth Ya Ge Chorus
Singapore Symphony Orchestra
Jun Hukou 60th Anniversary Choir of 300 overseas Chinese from
10- Waterfall, of China's Singapore, Malaysia, Hong Kong,
12 Shanxi, China victory in its war Australia, and New Zealand
against Japanese
aggression
Jun Avery Fisher 60th Anniversary Pocono Choral Society Presented by
19 Hall, Lincoln WWII Yangtze
Center, New Commemoration Repertory
York, USA Concert Theatre of
America &
Columbia
Promotions
Sep Zhuhai Sports Voice of Xinghai More than 4,000 participants, 60
23 Centre, China Choral Concert pianos, 200 violins, 5 orchestras, 16
choirs
Oct Jordan Hall, Greater Boston’s Yellow River
1 Boston, USA Ensemble
Oct 19th Macao Perosi Choir & Macao Orchestra Invited by
International the Cultural
Music Festival & Affairs
Centenary of Bureau of
Xian’s birth Macao
Nov Woolsey Wanjun Qiao, conductor Organized
5 Hall, Yale by the
University, Association
USA of Chinese
Students and
Scholars at
Yale
Nov SCO 100th Tsung Yeh, conductor Organized
11- Conference Anniversary of Feng Guo Dong, baritone by
12 Hall Xian Xinghai’s Ke Lu Wa, soprano Yangzheng
(Singapore birth Ding Hong Yan & Ma Yi Wei, duet (Yeung
Conference Wang Wen, narrator Ching,
Hall) Yu Jia, pipa Xian’s alma
387
Shanghai Opera House Chorus mater)

Ensemble Alumni,
Singapore Press Holdings Chinese presented by
Choir the
Song Lovers Choral Society Singapore
The Vocal Consort Chinese
Orchestra
Nov Symphony New England Jeffrey Rink, conductor Presented by
11 Hall, Boston, Premiere Chorus pro Musica Yan-Huang
USA Newton Symphony Orchestra Performing
Arts
2007 Nov John Boston Preview NACA (North American Choral
9 Hancock of Nanking Association) choirs
Hall, Boston
Dec Concert Hall, 30th Anniversary Lim Kek-han, principal conductor Presented by
8 Hong Kong of the Hong Terry Leung, guest conductor the Leisure
City Hall Kong China Vivian Chan, soprano and Cultural
Philharmonic Petrus Cheung, baritone Services
Orchestra Department
2008 Jun Beijing 2008 Olympic Yong Yan Hu, conductor Invited by
23 Concert Hall Cultural Festival Hartford Chorale the Cultural
& People’s New York Choral Society Ministry of
Auditorium China
(Qingdao), Qso Zhu Hui, conductor
China
Jul 3 Beijing Concerts of 452 North American singers from 11 Produced by
Forbidden International choirs Kingsway
City Concert Friendship and Tianjin Symphony Orchestra & International
Hall Goodwill: Tianjin Conservatory Youth Choir
Perform in
Harmony – with
Olympic Spirit
2009 Sep Jiangwan 60th Anniversary Over 400 choirs across China came
Stadium, celebration of the together for the performance; more
Shanghai, founding of the than 20,000 singers participated.
China PRC
Nov Esplanade Wu Jie, conductor 6 Combined
22 Concert Hall, Gao Xiao Dong, baritone Choirs
Singapore An Jin Yu, soprano
Dec Genesis 70th Anniversary Uwe Grodd, conductor With support
5-6 Energy of the Yellow Manukau Symphony Orchestra from the
Theatre, River Cantata; Music Association of Auckland People’s
TelstraClear New Zealand Republic of
Pacific Premiere China
Events
Center, New
Zealand
2010 May The Season Finale Westfield Symphony Orchestra
8 Presbyterian Concert: We the
Church, People
Westfield,
NJ, USA
388
APPENDIX F: DISCOGRAPHY
The recordings that may be commercially available are listed according to the ease with
which they may be obtained. In some cases, the Chinese recordings lack the expected
information on the performers and details about the production:
CD / MP3
黄河大合唱
Xian: Yellow River Cantata and Other Choral Works
Performed by: The Shanghai Philharmonic Orchestra and Chorus
Conductor: Cao Ding
Arranger: Li Huanzhi
Movement 3 omitted.
Label/Series: Marco Polo/Chinese Music, under Naxos
Catalogue No: 8.223613
Barcode: 4891030236134
Physical Release: 01/1993
Individual tracks can be downloaded in MP3 format from
• http://www.amazon.com/Xian-Yellow-River-Cantata-
Choral/dp/B000QQP2WO/ref=mb_oe_o
• http://www.classicsonline.com/catalogue/product.aspx?pid=655367
Compact disc has been discontinued by the manufacturer, but copies may still be available at:
• http://www.amazon.com/Yellow-River-Cantata-Pierre-
Degeytev/dp/B00005YNB6/ref=sr_1_1?ie=UTF8&s=music&qid=1249918594&sr=1-1
• http://www.yesasia.com/us/xian-yellow-river-cantata-and-other-choral-
works/1005196215-0-0-0-en/info.html
MP3
黄河大合唱 Yellow River Cantata
Performed by: The Shanghai Philharmonic Orchestra and Chorus
Conductor: Cao Ding
Label/Series: Marco Polo/Chinese Music, under Naxos
Catalogue No: 8.223982
Original Release Date: 1994
ASIN: B001MM8KB6
• http://www.classicsonline.com/catalogue/product.aspx?pid=655388#
MP3
Xian Xinghai: The Yellow River Cantata and Piano Concerto
Performed by: The China National Symphony Orchestra
Release Date: May 5, 2009
Issued by: Unlimited Media
ASIN: B0026M0M1W
389

• http://www.amazon.com/gp/product/B000S27W60/ref=dm_sp_adp?ie=UTF8&qid=1249
973144&sr=8-20
MP3
The Best of the Chinese Chorus 黄河大合唱
Performed by: The China Philharmonic Orchestra
Release Date: January 1, 2006
Issued by: Pacific Audio and Visual Co.
ASIN: B000S9BWGE
• http://www.amazon.com/Zhong-Guo-He-Chang-
Pin/dp/B000S9BWGE/ref=dm_ap_alb2?ie=UTF8&qid=1249973181&sr=8-42
CD
Performers not indicated.
Movement 3 omitted.
Sleeve notes in Chinese, with a short English description of the Yellow River Piano Concerto.
No release date.
ISRC CN-A08-05-374-00/A . J6
Issued by: 北京北影录音录像公司
© Yacht-Master Records Co., Ltd
Phone/Fax: 020-86552771
E-mail: boaterco@sina.com
Compact disc may be purchased at:
• http://www.chinasprout.com/shop/MFM086
CD
黄河大合唱 The Yellow River Cantata
Performers not indicated.
No sleeve notes.
ISRC CN-F39-99-335-00/A.36
BM-029
Issued by: Yacht-Master
Registered to: 广西民族音像出版社
Phone: 0771-5523201
Fax: 0771-5523277
• http://www.chinabooks.com/cart/product.php?productid=17571&cat=27&page=1
CD
黄河大合唱 Chorus of Yellow River
Performed by: The Central Philharmonic Orchestra and Chorus
Conductor: Yan Liangkun
390
Narrator: Qu Xianhe
Special release commemorating the Chinese people’s war of resistance against Japan, and the 60th
Anniversary victory of the anti-facism war.
Special release.
All eight movements recorded (including Movement 3).
Sleeve notes in Chinese, with a short English description of the Yellow River Piano Concerto.
ISRC CN-C21-05-301-00/A.J6
ACD-084
ISBN 7-88319-127-6
Issued by: 北京中唱时代音像出版有限公司
Phone: 010-63429134 / 010-63260840
Fax: 010-63429383
http://www.china-crc.com.cn
CD
黄河大合唱
No English title.
Performed by: The Central Philharmonic Chorus with piano accompaniment
Movement 3 omitted.
No sleeve notes.
No release date.
PCD – 5037
ISRC CA—F12—93—0032—0/ A. J6
Pacific Audio & Video Co.
Guangzhou, China
DVD
黄河大合唱 Chorus “Yellow River”
ISRC CN-I10-2000-236-00/V.J9
MD-02013
Licensed by: Wamer Home Video in Hongkong, Taiwan, and Thailand
DVD
Recorded by: The American Symphonietta, Virginia Youth Symphony Orchestra, and Yellow
River Performing Arts
Conductor: Robert Ian Winstin
Live Performance: September 24, 2005 at Pick Staiger Hall, Evanston, Illinois
60th Anniversary of WWII Victory Commemoration
Format: Collector's Edition, English Subtitles
Issued by: ERMMedia (ERM6802)
Release Date: January 15, 2006
Run Time: 81 minutes
ASIN: B000E8M9DE
• http://www.numusicdirect.com/
391
BIBLIOGRAPHY
Barkin, Elaine and Hamessley, Lydia, eds., Audible Traces: gender, identity, and music.
Italy: Carciofoli Verlagshaus, 1999.
Barrett, David P. and Shyu, Larry N., eds., China in the Anti-Japanese War, 1937-1945:
Politics, Culture, and Society. New York: Peter Lang, 2001.
Chang, Iris, The Rape of Nanking: The Forgotten Holocaust of World War II. New York:
Basic Books, 1997.
Chu, Chia-hua, A Message to Our Foreign Friends. (China, 1938), cited in Seeds of
Conflict. Series 9: The Sino-Japanese Conflict 1931-1941 Prelude to Pearl Harbor, vol.
4. The Netherlands: Kraus Reprint, 1980.
Farmer, Rhodes, Shanghai Harvest: a diary of three years in the China war. Glasgow and
London: Gilmour and Dean, Ltd, 1945.
Gatu, Dagfinn, Village China at War: The Impact of Resistance to Japan, 1937-1945.
Vancouver: UBC Press, 2008.
Holm, David, Art and Ideology in Revolutionary China. Oxford: Clarendon Press, 1991.
Huang, Wei, Conquering the Yellow River. Peking: Foreign Languages Press, 1978.
Hsu, Longhsuen and Chang, Mingkai, compiled, History of the Sino-Japanese War,
1937-1945, rev. by Kao, Chingchen. Taipei: Chung Wu Publishing Co., 1985.
Hu, Pu-yu, A Brief History of Sino-Japanese War (1937-1945). Taipei, Taiwan: Chung
Wu Publishing Co., 1974.
392
Katsuichi, Honda, The Nanjing Massacre: A Japanese Journalist Confronts Japan’s

National Shame, edited by Frank Gibney, translated by Karen Sandness. New York: M.E.
Sharpe, Inc., 1999.
King, Wunsz, The Crisis in the Far East, 1931-1937: Development of the Crisis in the
Far East in the last six years brought about by continuous Japanese Aggression in China.
Brussels: The Press Bureau of the Chinese Delegation, 1937. Cited in Seeds of Conflict.
Series 9: The Sino-Japanese Conflict 1931-1941 Prelude to Pearl Harbor, vol. 4. The
Netherlands: Kraus Reprint, 1980.
Kraus, Richard C., Pianos and Politics in China: Middle-Class Ambitions and the
Struggle over Western Music. New York: Oxford University Press, 1989.
Melvin, Sheila and Cai, Jindong, Rhapsody in Red – How Western Classical Music
Became Chinese. New York: Algora Publishing, 2004.
Qi, Yuyi and Li, Yan, eds., “Zhongguo jin xiandai yinyueshi ziliao congkan,” Xian
Xinghai Zhuanji 4. Guangzhou: China Arts Research Center Music Research Institute,
1983.
Randall, Annie J., ed., Music, Power, and Politics. New York and London: Routledge,
2005.
Sinclair, Kevin, The Yellow River: a 5000 year journey through China. California: The
Knapp Press, 1987.
Snow, Edgar, The Other Side of the River: Red China today. New York: Random House,
1962.
393
Wilson, Dick, When Tigers Fight: The Story of the Sino-Japanese War, 1937-1945. New
York: The Viking Press, 1982.
White, Theodore H. and Jacoby, Annalee, Thunder out of China. New York: William
Sloane Associates, 1946.
Wickert, Erwin, ed., The Good Man of Nanking: The Dairies of John Rabe, translated
from German by John E. Woods. New York: Alfred A. Knopf, Inc., 1998.
Xian, Xinghai. Xian Xinghai Quanji, ten vols. Guangdong: Guangdong gaodeng jiaoye
chubanshe, 1989-1990.

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PERFORMING THE YELLOW RIVER CANTATA

Submitted in partial fulfillment of the requirements

Associate Professor Chester L. Alwes, Chair and Director of Research

original Mandarin text by Guang Weiran (1913-2002), as well as a carefully-crafted,

singable English translation that, nonetheless, remains as faithful to Xian’s original

incorporation of the considerable, unwritten body of performance traditions that have

choirs and audiences.

TABLE OF ILLUSTRATIONS …………………………………………….. iv

Figure 1.1 Map of the Yellow River ............................................................ 2

Figure 1.2 Mother River Statue in Lanzhou, China ..................................... 2

Figure 2.1 Hukou Waterfall ……………..................................................... 5

Figure 2.2 View of the Yellow River .......................................................... 10

Figure 2.3 Hukou Waterfall ……………..................................................... 14

Figure 2.4 Yellow River: Dykes and Canals ............................................... 16

Figure 2.5 Human Suffering in the Sino-Japanese War .............................. 19

Figure 2.7 Chinese Territory Occupied by the Japanese (1940) ………...... 23

Figure 3.1 War Posters ……………............................................................. 49

movement Chinese choral composition to gain widespread performance outside of

attracted any significant amount of Western performance or recognition. This inability to

1. 1939, Yan’an, Xian Xinghai

To facilitate performances in English or Mandarin in the West, this new edition

English singing translation, specifically crafted to preserve as much of the original

Western performances. The historical background given was consciously limited to

biographical facts, essential to the contemporary Western performer.

orchestration first. Ultimately, a complete orchestral score (including appropriate

consulted a wide range of recorded performances2 to extract those subtleties of

as the standard interpretation by subsequent performances. Options for replacing the

indigenous Chinese instruments included in Xian’s original score with Western

practical layer of this edition.

In an effort to maintain a clear level of separation between the interpretive

various levels of changes have been indicated using clearly-differentiated brackets. In

1. Wherever possible, Xian’s original rhythms were retained.

3. Markings related to performance added by the editor are clearly differentiated

from Xian’s original.

4. As with any translation, occasional changes of rhythm were necessary to

original text by the use of smaller noteheads.

feelings of nationalism and patriotism during China’s struggle against Japanese

from whatever political uses may have been made of it.

CHAPTER 1: THE YELLOW RIVER AS A SYMBOL

war correspondent for the Melbourne Herald):

control of the river or fallen as a result of its floods.

Figure 1.1 Map of the Yellow River

symbolize the Yellow River as the mother of Chinese people.

Figure 1.2 Mother River Statue in Lanzhou, China

CHAPTER 2: GENESIS OF THE TEXT AND MUSIC

Government’s Ministry of Education organized a Mass Education Specialists’

crisis were passed to realize the following goals:

1. Heighten the spirit of hatred against the enemy.

launched with the following objectives:

1. To awaken national consciousness.

The arts played a significant role in accomplishing these objectives. Troupes of

related this account of their crossing:

Figure 2.1 Hukou Waterfall

1. Song of the Yellow River Boatmen (Mixed Choir)

March 31, 1939.

clarify the historical context that shaped the poem.

their adversary with strength, determination, and a fighting spirit.

1. Song of the Yellow River Boatmen (Chorus)

1. Prelude – Song of the Yellow River Boatmen

[1] Song of the Yellow River Boatmen

Do not fear the mountainous waves!

The shore is in our view,

2. Ode to the Yellow River (Male Solo)

2. Ode to the Yellow River