Dedication-Shao Songxiong | Apple Daily

Two years ago, Wu Yili, known as “the first generation of pianist in China,” passed away. There were many “sadness” and “tribute” posts on the domestic Internet, even the beauty of “keeping only one piano in my life” The words have been moved out. However, Fu Cong, who was once the same student of Mario Paci as Wu Yili, died of illness two weeks ago, but was vilified as “a shameful traitor”, “As a British musician, he does not deserve special pity” and “respect.” No need.” Otherwise, it is to question how British medical “killed Mr. Fu Cong.” This kind of “righteousness” voice greatly overshadowed the mourning for the patriotic piano poet.

Infusing Western classical music with the spirit of Chinese culture is the style of Fu Cong’s performance. The spirit is intangible and the music is concrete. Fu Cong uses the realm of Chinese poetry to drive music. When properly coordinated, he can imagine a unique sense of freedom and taste, making him one of the world’s famous performers. In particular, his hand of Chopin Mazuka, the rhythm is superbly mastered. Over the years, there is an endless stream of pianists who have learned from him. Just count them, including Chen Sa, Lifschitz, Avdeeva, and even Argerich when he won the Chopin Piano Competition. , Also said to be inspired by Fu Cong. Masters such as Fleisher and Lupu sincerely admire Fu Cong, and his friends include Ashkenazy, Argerich, Barenboim, Du Pré and other top musicians. Such an achievement is no wonder that the war wolf who labeled him a “traitor” in the country was ticklish with hatred. This kind of jealousy will certainly not stain Fu Cong’s art. It is regrettable. On the contrary, the classical musicians from China can achieve the artistic achievements praised by the world. They are already rare, but they can’t get his homeland. Compatriots respect. This evoked various corpse-whipping criticisms, which is probably by no means Fu Cong’s favorite “great power style.”

Ashkenazy and Yablonskaya were equal to musicians who had left since the Soviet era in the 1960s and 1970s. They were regarded as “traitors” at the time. After that, they were invited to return to China to play and teach, and they were welcomed by heroes. The legendary performance journey of returning to his homeland as an “American pianist” in the middle of the decade also won the swarm and praise of Soviet musicians. Hlinka chose to immigrate to Norway in the 1970s and was also treated as a traitor by the Czech government at the time. Years later, he was also awarded the Medal of Honor by the Czech Republic for his contribution to promoting Czech culture internationally. In the same communist countries, the quality of the people is different. Fu Cong, who was taught in the United Kingdom in the 1950s, was about to graduate. When he was about to return to China, he was hesitant to “disclose and criticize each other” with his father. He chose to leave. Although after 1979, Fu Lei was rehabilitated and Fu Cong was rehabilitated. Invited to return to China, and Fu Cong has ignored the predecessors for many years. In the From Mao to Mozart documentary showing that country with poor music culture, he tirelessly teaches a new generation of scholars, but the Chinese are still angry about his departure more than 60 years ago. The hatred is hard to dissipate, but the reason for not reflecting on it has forced away a national treasure-level music master.

In the early 1950s, there was the so-called “Five Sacred Hands of Chinese Piano.” The remaining four other than Fu Cong were Liu Shikun, Li Mingqiang, Yin Chengzong, and Gu Shengying. They were all the hopes of Chinese musicians of that era. Before the Cultural Revolution, they had already emerged on the international stage. What would happen if Fu Cong chose to return to China? Let’s take a look at the fortunes of musicians in that era:

Liu Shikun was imprisoned in what he described as “the cruelest prison outside of Hitler’s concentration camp.” His hands and hand bones had been interrupted before he was in jail; Li Mingqiang, who was “standing aside”, was sent to the countryside to carry out pig dung and other continuous labor. Her hands were severely inflamed, and it was difficult to spread her fingers. Even if she performed with steroid injections, she was hopeless in the end. The hands that once won the Enesco International Music Competition were abandoned; Wu Yili was severely beaten. He begged to only hit his feet and don’t beat his hands. The foot pain accompanies his life. His husband Yang Bingsun was labeled as an anti-Party leader for the violinist and sentenced to ten years in prison. In order to avoid hurting his wife and children, he divorced the witch. In addition, music scholar Shen Zhibai, Professor Li Cuizhen of the Piano Department of the Shanghai Conservatory of Music, Yang Jiaren, Dean of the Conducting Department, and Chen Youxin, Dean of the Orchestra Department, all committed suicide. Yin Chengzong said that during the Cultural Revolution, he “gets a blessing in disguise” and used the piano “foreign as Chinese”. After the Cultural Revolution, he was beaten as a representative of the Gang of Four in the Central Orchestra and was subject to political censorship for many years. Among the “Five Sacred Hands”, Gu Shengying is the most talented and skilled. The Gu family had a close friendship with the Fu family, and Fu Lei carefully cultivated his literary understanding of his son and Gu Shengying. Gu Shengying was extremely talented, and taught her piano art, music history, and music theory by top masters at the time (including Liszt’s re-biography disciple Yang Jiaren, and the British piano school representative Mataiyi’s re-biography disciple Li Jialu), and she practiced Qin is also harder than Fu Cong and has superior skills. In the year he won the Women’s Division of the Geneva Music Competition, the men’s division champion was the modern piano master Polini. The experience of such precious elites during the Cultural Revolution is bloody, and even a brief statement can’t bear to read. Readers can read Zhao Yuesheng’s “The Burning Lantern” (supplemented edition) “If someone lives in the mountains”. Gu Shengying committed suicide with his mother and younger brother after Fu Lei and his wife ended their lives. He was only thirty years old. When his father was released from prison ten years later, he realized that his family had been destroyed, his hair was white overnight, and his pain would last his life.

Among Gu Shengying’s recordings, what struck me the most was playing Liszt’s adaptation of Schumann’s song “Widmung” (Widmung). The lyrics of the original song say: “You are my soul, my mood, my joy, oh, my sorrow. You are where I live, you are my paradise, and I am floating in it. oh, you are me My grave buried my eternal sorrow. You are comfort, you are peace, and you are bestowed on me. Your love for me gives me meaning, your eyes make me transformed and sublimate, and your love enhances me. My soul, a better self.” The “you” in it is not only the realm of music that Gu Shengying loves, but also the China in her and Fu Cong’s eyes. At the end of the music, a melody of Schubert’s “Ode to the Virgin” is implicit. May Gu Shengying rest in the mother’s arms, and hope that Fu Cong will rest in the populist spit.