One of the most
often played works in the short history of Chinese
symphonic-choral music, the Yellow River Cantata has had the
good fortune to receive numerous recordings, many of which are
conducted by the legendary Maestro Yan Liang Kun spanning his
near 60 year career and widely available at local street stalls
and CD shops in Singapore's Chinatown. This performance on Marco
Polo, led by his student Cao Ding, offers a different
perspective from the norm.
As an aside, the piece will be performed at the
Esplanade Concert Hall on 1st January
2005 (Sunday), at 7.30pm, by a combined chorus, the NUSSO
(National University of Singapore Symphny Orchestra), under
Maestro Yan Liang Kun himself. More information on the
performance of the Yellow River Cantata is available here.
But enough of shameless plugging and
on to the review. As a whole, Maestro Yan prefers breakneck
speeds for thrilling dramatic effect. Cao Ding in contrast slows
down much of the music, allowing each line its time before
moving to the next, while languishing on certain phrases for
poetic effect. This modus operandi has its advantages,
mostly as it allows the lush orchestration and choral writing
becomes more apparent. In Duet By the River, the fourth movement
on this recording (the 3rd movement suffers from the
traditional cuts), the closing chorus is especially clearer. At
the beginning of the march in the final movement, the conductor
slows down the first 2 lines, then picks up speed to give a
bigger contrast to the rousing climax.
However, there are also a few black
marks to mention. Firstly, the omission of the 3rd movement, an
accompanied recitative, makes it a less than complete recording.
The only consolation is that most recordings do not feature this
movement as well, so it isn't quite the travesty that one might
imagine it to be.
The uncredited narrator declaims his
lines professionally, but in the final analysis lacks the oomph
that a good storyteller needs. He is hampered partly by the slow
tempi that Cao Ding adopts, which makes it difficult for him to
read in sync with the music. Baritone Yang Xiao Yong displays
some strain in his voice in the first half of his aria, and his
phrasing is a tad stiff, even though he steps up adequately by
the end of the aria. Lastly, a melodic line in Yellow River
Ditty has been inexplicably altered.
That having been said, there are many
good reasons why you should buy this CD. The music of course, is
one of the best works by a Chinese composer. At turns inspiring,
heartbreaking, and then adrenaline-rushing, it is everything a
symphonic music lover will love. Soprano Yu Pei Min’s
performance of Lament to the Yellow River is melodrama at
its best. I personally prefer a more dramatic vocal instrument
for this piece, but Yu’s passionate and lyrical delivery is
deeply convincing. The final movement, Roar of the Yellow River,
is every bit as goose bump-inducing as the other recordings.
Maestro Cao Ding and the
Shanghai Orchestra and Chorus have also recorded the work for
Hugo Records in 1995, sold at Bras Brasah bookshops at
full-price. But I personally prefer this one, for its more
dramatic delivery, not to mention its budget price. Whereas the
Hugo has bonuses of songs sung by the chorus to piano
accompaniment and a little-known symphony by composer Xian Xing
Hai, the accompanying bonuses (or fillers) on this disc are much
more attractive, mostly the type of patriotic
drum-roll-and-trumpets songs accompanied by soloists and full
orchestra. Highlights include the Republic of China’s National
Anthem, Internationale by Pierre Degeyter, a member of Paris’
defeated communist movement, and the karaoke favorite Blood-dyed
Gallantry (Xue Ran De Fong Cai).
Once again... The Yellow River
Cantata will be performed at the
Esplanade Concert Hall on 1st January 2005 (Sunday), at 7.30pm,
by a combined chorus, the NUSSO, under Maestro Yan Liang Kun.
Check out our
events page for
more details. Tickets available at
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