"Zhao Zilong", a piece considered relatively niche in its previous life, originates from the film "Dragon Unmasked" starring Liu Dehua.
As the saying goes, "a masterpiece can co from a bad film," and this phrase perfectly fits the piece "Zhao Zilong," as rarely does a Chinese film soundtrack leave such a deep impression on the audience.
In this movie, you will see:
Shu soldiers wearing World War II-era German helts.
Zhuge Liang sabotaging his own troops.
The strange spectacle of a Northern Expedition from Chengdu reaching Changban Slope.
And Ji Han generals shouting "Long live the Great Shu," bringing Liu Bei back to life with anger.
.....
However, if you completely leave history aside and view it as an alternate reality film,
this movie still has its rits.
Especially the scenes of Liu Dehua, playing Zhao Yun, charging at Changban Slope, considered the most handso portrayal of Zhao Yun in a dostic film.
All this is credited to the film’s epic supporting score.
If "Dragon Unmasked" is a 70-point movie,
then the piece "Zhao Zilong" accounts for at least 68 points.
It’s this music composed by Li Yunwen that elevates the entire film to a level it doesn’t otherwise achieve.
It is easy to understand just how significant this piece’s contribution is.
Lin Tian’s choice of this piece was not made lightly.
Since it was a cello ensemble for three players,
the first choice had to be music that was majestic, epic enough to convey the shock brought by the multiple harmonizations.
Ordinary music wouldn’t do.
Thus, Lin Tian chose a film score.
Such music inherently carries a strong "sense of storytelling".
This sense of storytelling can also be perfectly presented through multiple harmonizations.
Additionally,
Since he chose pop music,
it had to be "simple" and "catchy enough", obscurity is classical music’s prerogative; if pop music isn’t catchy, the audience might as well open their browsers to listen to Momonoki Kanami moan a few tis.
This piece perfectly ets this requirent.
Listening without thinking offers a brainless pleasure.
Listening with thought allows one to taste more of its flavors.
Just like people generally watch "Let the Bullets Fly".
It can be enjoyed as an exhilarating tale of "bandits attacking landlords", or experienced with so thought for its "violent narrative" and "absurdist aesthetics".
Everyone can extract the emotions they desire from this work.
This is the extraordinary aspect of this piece.
It allows one to experience pure auditory enjoynt while possessing the deep emotions of "classical music".
The soul portion of the original piece is a solo played on a traditional Chinese flute.
This portion, after Lin Tian’s modification, was given to Gan Yanyu’s cello.
He believed that with the cello skills of these three, they wouldn’t disappoint him!
...
As the first ensemble began,
The piano part by Lin Tian took the lead.
Soon, Gan Yanyu’s cello led the way, cutting into the lody first.
During this practice session,
Because the accompanint was to be added later, only the cello was being played, allowing a more direct observation of any performance issues.
Gan Yanyu didn’t let Lin Tian down.
This core part, infused with the soul, she played beautifully.
The lodic and fluctuating sound of the cello,
was like a solitary shadow in the desert.
So proud, so heroic.
In an instant, it stretched the girl’s figure infinitely long, shimring in the sunlight...
Lin Tian nodded in satisfaction.
Mao Weiang’s expression was slightly dazed.
It was his first ti seeing Gan Yanyu perform up close.
How could she possess such charisma?
Is this the unique brilliance of a classical musician...?
Unintentionally, Mao Weiang even forgot it was almost his turn.
Until Lin Tian’s piano struck a strong note, breaking Mao Weiang’s train of thought.
He quickly picked up his bow.
This section ca to Mao Weiang’s performance.
The man’s slender body pressed against the cello as he drew the bow.
This part was a repeat of the section by Gan Yanyu earlier, with certain modulations.
Almost at the mont the sound of the cello was played.
Lin Tian was slightly startled and turned his head in surprise, looking at Mao Weiang.
Wonderful!
Really wonderful!
Mao Weiang’s cello had rhythm and a sense of power, seemingly possessed a magic that could instantly capture the ears of anyone who heard it.
Was it not justified to call him the king of pop music?
Compared to the imnse weight of Gan Yanyu’s cello,
as soon as Mao Weiang’s sound erged, it directly hit the hearts of the audience.
Mao Weiang, however, focused all his impact solely on the auditory sense.
Compared to stabbing directly into soone’s heart, Mao Weiang’s music was much gentler, doing his best to nurture the listeners’ senses.
Gan Yanyu was like the proud warrior.
She stood there, high above, exuding charm, drawing countless people to yearn to understand her, to enter her inner world.
Mao Weiang, on the other hand, bent down, continuously pleasing the audience, serving them, opening his arms to embrace them warmly.
Their difference,
essentially reflects the core difference between classical and pop music.
Classical music, in essence, is proud.
It never deliberately seeks to please or embrace anyone; it is like a flower on a high ridge, blossoming in the harshest of conditions, waiting for people to discover it. And when you finally overco obstacles and co before it, this high ridge flower won’t let you down.
Pop music, on the other hand, is completely the opposite.
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