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Chinese pipa solo 琵琶独奏 quotJiangjun Lingquot《将军令》 played by Lin Shicheng 林石城
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A recording of Jiangjun Ling 《将军令》( General's Command, General's Order, or General's Mandate ), a solo piece for pipa (琵琶, Chinese 4-stringed pear-shaped lute) in the martial style (Chinese: wu qu, 武曲), performed by Pudong school (Chinese: Pudong pai, 浦东派) pipa master Lin Shicheng (林石城, 1922-2005). Probably recorded in Beijing, China in 1994, as part of an album of pieces from the Yang Zhengxuan Pipa Pu 《养正轩琵琶谱》(Yang Zhengxuan Pipa Scores), a collection compiled by Lin Shicheng's teacher Shen Haochu, which Lin Shicheng transcribed into staff notation and published in 1983. • In this recording, Lin uses a historic pipa that formerly belonged to Chen Zijing (陈子敬, 1837-1891), a Pudong pipa master of the late Qing Dynasty who had studied with Ju Shilin (鞠士林, c. 1793-c. 1874), the founder of the Pudong school. Lin studied with Shen Haochu (沈浩初, 1889-1953), who had studied with Ni Qingquan (倪清泉) and Cao Jinglou (曹静楼), both of whom were disciples of Chen Zijing, making Lin Shicheng a fourth-generation disciple of Chen Zijing. • This instrument, which is said to have been a gift to Chen Zijing from the Guangxu Emperor of the Qing Dynasty (r. 1875-1908), formerly hung on the wall of Lin Shicheng's Beijing home, and is curated today by Lin Shicheng's son, Lin Jiaqing (林嘉慶, b. 1956), who is also a renowned pipa player and teacher. It is made of aged rosewood (Chinese: lao hongmu, 老红木), with a round begonia flower (Chinese: qiuhaitaing, 秋海棠) carved from white jade decorating the headstock. Its four tuning pegs, which are tipped with white ox horn, are still crystal clear and bright, like agate. This Qing Dynasty pipa, with excellent craftsmanship and mellow, sweet, full-bodied, and penetrating sound, is slightly longer than those made in China's Republic period, and bears the name Tianxia Di Yi Pipa (天下第一琵琶), meaning No. 1 Pipa Under Heaven. At some point in the late 20th century, Lin Shicheng engaged Gao Zhanchun (高占春, b. 1937), senior pipa production technician at the Shanghai No. 1 National Musical Instruments Factory, to restore this instrument by replacing its soundboard and frets, most contemporary pipa players believing the sound of unrestored 19th-century pipas to be unsuitable for the stage. • The story behind how Chen Zijing came to acquire this pipa is interesting. In the late 19th century (perhaps between 1872 and 1885), Yixuan (奕譞, 1840-1891), formally known as Prince Chun (Chun Qinwang, 醇亲王), an imperial prince of the Aisin Gioro clan and a statesman of the Manchu-led Qing Dynasty, who was the father of the Guangxu Emperor (his second son), and the paternal grandfather of Puyi (the Last Emperor) through his fifth son Zaifeng, traveled to Shanghai to hear Chen Zijing perform in the Bansong Garden (半淞园). At that time, Shanghai did not have the habit of holding public concerts, but Chen was often invited to perform for pipa clubs or associations (pipa players in that era most often being avid amateurs whose main profession was medicine). • Greatly impressed by Chen's performance, the prince was inspired to learn to play the pipa himself. He invited Chen, who was at the time renowned as China's foremost pipa soloist, to Beijing to live in the Prince Chun Mansion (醇亲王府, in Xicheng District, now a museum), and awarded him the honorary title of Third-Rank Guan Dai (Chinese: San Pin Guan Dai, 三品冠带, literally Cap and Sash ). Eventually, after spending several years as a court musician in Beijing, Chen Zijing expressed his wish to return to his hometown to enjoy a retirement in his golden years. Prince Chun used the lure of official positions, gold, silver, and silk to entice him to stay, but Chen refused all these gifts. In the end, Prince Chun asked the Guangxu Emperor to give the No. 1 Pipa in the World to Chen Zijing in honor of his artistic achievements, and to thank Chen for the time he had spent teaching him. • After more than two decades of searching, Lin Shicheng was finally able to track down the instrument's owner during the Cultural Revolution (1966-1976), selling three of his own pipas in order to be able to afford its purchase price. Following this acquisition, Lin made many recordings and gave many performances on this pipa, which gave him a sense of closeness with his ancestral teacher Chen Zijing. Around 1996, CCTV produced a documentary telling this story, entitled Tianxia Di Yi Pipa 《天下第一琵琶》. • The version of Jiangjun Ling performed here comes from the Yang Zhengxuan Pipa Pu 《养正轩琵琶谱》(Yang Zhengxuan Pipa Scores), a collection compiled by Lin Shicheng's teacher Shen Haochu, as arranged by Lin Shicheng. The tuning used for this piece is a bit unusual: from low to high, the strings are tuned A-B-E-E (the two E strings being tuned in unison). • Thanks to Gao Hong for additional information about this video. • 【琵琶】林石城 演奏《将军令》音配图 • More information: • https://freewechat.com/a/MjM5NTE3MzM0... • http://www.chinesepipa.com/lingao.html
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