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"King of Songs" Li Jinguang
Li Jinguang (1907- 1993), formerly known as li jinxi, was born in Xiangtan, Hunan. He was the seventh among the eight great masters in Xiangtan at that time, and the others were celebrities in modern China. His brother Li Jinhui is the author of China's first pop song Rain in Mao Mao.
Mr. Li wrote many famous songs for the most popular singers in Shanghai at that time, such as Zhou Xuan, Bai Guang, Bai Hong (ex-wife) and Shu Zi Yamaguchi (original singer of "cordate telosma"). After the national liberation, he still stayed in Shanghai and made records. Mr. Li has a good outlook on life and persistence in life. He experienced the terrible "Cultural Revolution" and the era when "Dongfanghong" and "Red Female Soldiers" prevailed, and finally died in Shanghai at the age of 86, but he was already poor!
In his later years, Japanese singer Li Xianglan came to Shanghai to visit him and took him to Japan to meet Japanese "cordate telosma" fans. Mr. Li finally got a little belated comfort.
Masterpieces: cordate telosma, betel nut picking, May wind, Shangri-La, Flying all over the sky, Acacia in Four Seasons, Remind me, Young Me, prude, White, Cattle herding and Wang Zhaojun.
In the movie Scout, the slippery melody that the enemy search captain blew when combing his hair in front of the mirror is the song "Flying All over the Field", which is Li Jinguang's masterpiece. In movies for a period of time, as long as there are dances during the Kuomintang period, there will generally be a melody of "full flight". People come into contact with Li Jinguang's songs from this "negative image".
In the history of modern music in China, "Song Li and Dance" was once a notorious term, which was once equivalent to "Huang Ge". Li Jinhui is the founder of the Li Song and Dance Troupe, his daughter is the earliest red star of the Li Song and Dance Troupe, and his younger brother is the direct heir of the Li Song and Dance Troupe. Among the "Lijiaban"-"Yue Ming Song and Dance Troupe", there are a number of singers such as Zhou Xuan, Yan Hua and Bai Hong. Song Li and Dance has been denied for more than half a century. Only after the 1980s of reform and opening up, especially at the beginning of the 20th century, did the evaluation of Song Li and Dance begin to have signs and atmosphere.
198/kloc-0 In July and August, Li Jinguang visited Japan at the invitation of Li Xianglan and Japan Broadcasting Association. Li Xianglan's Japanese name is Shuko Yamaguchi. At this time, she had given up singing and became a member of the Japanese Senate. After meeting Li Jinguang, Li Xianglan said excitedly: "Teacher Wang's" Cordate telosma "made my singing career reach its peak and became my masterpiece. I will never forget the cultivation of Teacher Wang. " Since then, Li Jinguang, like a discovered "unearthed cultural relic", has once again attracted people's attention in China. It turns out that Li Jinguang wrote many famous and excellent pop songs in 1930s and 1940s.
Li Jinguang ranks seventh among the Li brothers, younger than his second brother Li Jinhui 16 years old. Judging from the styles of China's pop songs, they respectively represent two periods of pop songs: Li Jinhui was the pioneer of China's modern pop songs in the 1920s and 1930s, and Li Jinguang was the representative composer of the peak period of pop songs in the 1930s and 1940s.
Li Jinguang 1907 12.30 was born in a scholarly family in Xiangtan, Hunan. When he was a child, he liked the flower drum opera in the countryside and played flute and erhu with his family's helpers. At the age of 9, he went to Beijing to attend primary school with his eldest brother li jinxi, and at the age of 0/5, he went to Shanghai with Li Jinhui to attend the primary school attached to Li Jinhui Mandarin Specialized School. /kloc-returned to Changsha at the age of 0/6. 1923, first entered the summer cram school run by Changsha No.1 Normal University, and then entered the middle school affiliated to Hunan University. After graduation, he entered the Civil Engineering Department of Hunan University. 1926 was admitted to Huangpu Military Academy, and participated in the Northern Expedition of the National Revolutionary Army in Guangzhou and Wuhan, engaged in propaganda work. 1927 After the failure of the Great Revolution, Li Jinguang went to Shanghai to participate in the China Song and Dance Troupe, the Yue Ming Song and Dance Troupe and the Lotus Song and Dance Troupe organized by Li Jinhui, and toured many places in Nanyang and China. In the long-term performance practice, the clever Li Jinguang learned to play the trumpet, clarinet, saxophone and piano, and learned some elementary knowledge of composition and music with Li Jinhui, and began to write and adapt some songs. The earliest adapted works include Hunan folk song "Noisy Wugeng" and Cantonese "Song Zhaojun Powder". And songs such as "Remind and Explore Love".
At the beginning of 1939, Li Jinguang joined EMI Records Company as a music editor. Since then, there have been more opportunities to create and arrange music. At the end of this year, Li Jinguang adapted the song "Picking Betel Nuts" with the "Shuangchuan Tune" of Hunan ancient painting drama, which was very popular after being recorded by Zhou Xuan. Then, he created the wind in May (Chen Gexin's words) with the style of Hunan folk songs, in which he sang:
The May wind is blowing in the sky, and the clouds are golden. /If Yun has knowledge,/understands the rise and fall of the world,/he should turn around and leave here.
The lyrics make people "turn around" and leave the place of "island", which does have some deep meaning.
During this period, Li Jinguang wrote many well-known movie episodes, such as Copying Red (The West Chamber, 1940), A Flower on My Knee (A Collection of Singing Girls) and Zhongshan Spring (Annoying Spring Theme, 1942).
/kloc-in the summer of 0/944, singer Li Xianglan recorded a solo "cordate telosma" (self-written lyrics), which was widely circulated. This song expresses a feeling of "everyone is drunk and I wake up alone" by borrowing flowers, that is, the song sings: "Flowers under the moon are all dreams, only the evening primrose is fragrant!"
After War of Resistance against Japanese Aggression's victory, Li Jinguang was still engaged in the creation of film music and pop music in Shanghai. Since then, his more important pop songs are: What is not affectionate (1945), Shangri-La (1946) and Young Me (1946). 1946) autumn wind and yellow leaves dance together (the episode of the movie Sauvignon Blanc, 1947). Everyone says that the West Lake is good (the movie recalls the episode of Jiangnan, 1947) and so on. Among them, Shangri-La (Chen Diefei's Ci) has the most extensive influence. Legend and fantasy "Shangri-La" is an isolated paradise and a fairyland in Yaochi. This song is a warm praise for this magical fantasy.
The national style of Li Jinguang pop songs is very distinctive. In addition to the familiar tones of Hunan folk songs, he often uses folk songs from Jiangsu, Guangdong, Hebei and Shaanxi, and also absorbs the nutrition of music creation from folk arts such as Beijing Opera and Jingyun Drum. Therefore, his songs are rich in style, broad in artistic conception and artistic. Accompaniment often draws nutrition from dance music and jazz music such as "tango" and "rumba", and boldly draws lessons from the language and creative experience of European and American pop music in the 1940s. In terms of content, some of his works are good songs with profound sustenance, ridicule, satire and ridicule, and some are shallow songs sung before and after the flowers. These songs reflect the diversity of citizens' life in 1930s and 1940s, and are an inseparable part of Shanghai culture and modern urban culture. In the 1940s, with the support of modern economic prosperity, the development of Shanghai's mass culture appeared a prosperous situation. Li Jinguang was a master of urban pop songs in this period, and his pop songs were a beautiful landscape in popular culture at that time. For some old fans, these works have become a memory of a specific history and a symbol of culture.
The national style of Li Jinguang pop songs is very distinctive. In addition to the familiar tones of Hunan folk songs, he often uses folk songs from Jiangsu, Guangdong, Hebei and Shaanxi, and also absorbs the nutrition of music creation from folk arts such as Beijing Opera and Jingyun Drum. Therefore, his songs are rich in style, broad in artistic conception and artistic. Accompaniment often draws nutrition from dance music and jazz music such as "tango" and "rumba", and boldly draws lessons from the language and creative experience of European and American pop music in the 1940s. In terms of content, some of his works are good songs with profound sustenance, ridicule, satire and ridicule, and some are shallow songs sung before and after the flowers. These songs reflect the diversity of citizens' life in 1930s and 1940s, and are an inseparable part of Shanghai culture and modern urban culture. In the 1940s, with the support of modern economic prosperity, the development of Shanghai's mass culture appeared a prosperous situation. Li Jinguang was a master of urban pop songs in this period, and his pop songs were a beautiful landscape in popular culture at that time. For some old fans, these works have become a memory of a specific history and a symbol of culture.
I have had several face-to-face contacts with Mr. Li Jinguang. The first time was at the end of 1979, at the China Record Club in Shanghai, where he worked all his life. We met again in Beijing. On July 1990, I learned that he was recuperating at his daughter Li Nanyang's home, and I went to see him several times. At this time, people's thoughts have been liberated after the reform and opening up, so we can make academic research on popular songs in the 1930s and 40s. This time, I mainly asked him to review his popular song creation. Conversation record is one of the bases for writing this article. He told me: "My total number of pop songs is around 200, and the quality is mixed. There are about 80 songs to take out. Manuscripts and photos were copied at home during the Cultural Revolution. " He also said to me: "Chairman Mao was a student of my eldest brother Jin Xi when he was in Hunan No.1 Normal University. When I was 0/6 years old, Chairman Mao was the head teacher of this class and taught us Chinese. I have been his student for two months. " He and his teacher Mao come from the same town. Talking about this little-known past, 83-year-old Li Jinguang smiled naively and felt proud.
Mr. Li Jinguang passed away in Shanghai on June 199365438+ 10/5, 2005, and lived a bumpy life of 86 years. His greatest contribution to China music was in the 1940s, when his songs were in their heyday. The major works of his life were completed in those ten years. "Cordate telosma" and "Shangri-La" are two of the most influential and artistic achievements in Li Jinguang's song creation, both of which were created in the 1940s. He never attended a professional conservatory of music or studied music creation, but through his creative spirit and unremitting efforts, China's pop song creation in the 1940s took a big step forward. It has added new brilliance to the magnificent Shanghai culture. Li Jinguang's contribution to the development of pop music in China is indelible, because he left an immortal masterpiece for pop songs.
Cordate telosma is an episode of the film "Spring River Complaints" created by Li Jinguang, a contemporary music composer in the 20th century, and it is also one of his representative works. This song spread from Shanghai to North China and finally became popular in China. It was introduced to Japan by Japanese composer Hattori Ryuichi, and gradually became popular all over the world. It has been adapted into many languages and has dozens of singing versions. Li Xianglan was the first singer to sing the red cordate telosma. Many singers feel that the range is too wide to be catchy after reading this score. "Golden Voice" Zhou Xuan didn't express it after reading it, but Li Xianglan finally recognized it and performed it. It is said that she held six solo concerts in Shanghai "Great Bright" on June 1945, all of which were based on this song and achieved unprecedented success. The first edition of Li Xianglan has outstanding bel canto features, which are calm, elegant, stretched and atmospheric, and the orchestration, especially the drums in the middle, is also quite wonderful. In the decades after her debut, Li Xianglan's influence on this song has gradually faded. Although there are endless singers' covers from time to time, no one can surpass Li Xianglan in those days, until Teresa Teng performed this song again, making it popular in China and the world again. It was Teresa Teng who gave the song "Cordate telosma" a second spring and gave it a new life, this time eternal life! Li Jinguang once told his son that Teresa Teng is the best singer of cordate telosma! This should be regarded as the most authoritative affirmation. It's not just this song. Every song she performed in her heyday was a masterpiece. Teresa Teng won a billion applause for his extraordinary singing skills. She is a living myth and an immortal legend.
Chen Gexin and Li Jinguang, a pair of my brothers, wrote many popular songs in the 1940s. History has its own conclusions. Throughout their life course, it can also be attributed to tragedy. They all wrote some famous songs at home and abroad, but they didn't get much. In the early 1950s, Chen Gexin said, "If he is allowed to go abroad to receive the manuscript fee for Rose Rose I Love You, he can donate a plane to the country." . In the political environment at that time, such words were wrong, so they were severely criticized. At that time, if his "intellectual property rights" were protected, his manuscript fee could really buy a plane. In the same situation, Li Jinguang's song "Cordate telosma" has been recorded overseas for a long time, with more than 80 versions, but he has got nothing himself. In 1980s, Li Xianglan, a Japanese red singer who sang "Cordate telosma", missed the composer of this song, invited Li Jinguang to Japan to catch up with the past, and presented Sharp with a four-speaker portable tape recorder as a token of his gratitude (about RMB 2,000). Li Jinguang finally got some comfort, while Chen Gexin not only got nothing, but also died in his hometown. This is the rough life of the authors of two popular songs.
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In addition, you can refer to my repost Qian Nairong: The Spring and Autumn Period of Shanghai Pop Songs is very helpful for studying the development of China Pop Music. There wouldn't be an episode of Korean cordate telosma sung by Wen Genying in the Korean drama The Dancer's Innocence. Cordate telosma is a Japanese song covered by Teresa Teng. ..... "This ridiculous answer. I know I'm not trying to increase my points so as not to mislead people.