In the evening of May 5th 2014, via Shanghai Spring International Music Festival, the establishment Concert by Chinese Bamboo Flute Professional Committee of China Musician Association , the‘Flute Poem’welcomed its audience in Shanghai Music Hall. 13 pieces brought us back to those never silent times.

　　‘Flying Partridge’and‘Er Fan’are the classical pieces adapted by Zhao Songting of Southern Flute School. The‘Flying Partridge’played by Zhan Yongming was fascinating. As the vibrato flew, it seemed that one was seeing the partridges flying closer from far, with wings flapping up and down. At the end of the prelude, the enchanted music started to decrease while one could hardly feel any trace of the music being tongued. The music had a light yet solid fall, just like the way the partridges’had been flying. One’s heart was stricken with sorrow rather by the flute melody than by the sentimental poetry as described by poet Li Bai that‘the maiden were like blossoms, filled the palace, but now, one sees only the flying partridge at where the palace stood’.‘Er Fan’performed by Du Rusong was based from Wu Opera and featured with light stokes yet full of elasticity, plain and without any artificial trace.

　　The last piece in the first half session‘Below the Daqing Mountain’, as presented by Tang Junqiao had hit the climate. With straightforward tonguing and clear flutter tonguing, the melody jumped out like March Hare with its liveliness and vigor. The middle part was expanded in a very subtle way without any affectation while the drifting created even more decisiveness. The whole piece combined well the tense and relaxation, no matter played with sharp or stable breaths, the player had been excel in his performance.

　　The most unique yet great part of the concert was that, in spit of the tendency of weakened even disappearing of the local features in most of the traditional music pieces, all these 13 flute pieces had made a deliberate interval between Qu Flute and Bang Flute, as well as a comparison among different local music colors.‘Fengyang Song intersects with Eight Boards’as present by Hao Yijun was based from drum and wind songs from Southwestern of Lu Region.‘Walk into Happy Mountain Range’played by Qu Xiang was a light singing piece of mountain ridge with overflow of happiness.‘Beyond the Frontier’by Ma Di had reminded one of the tune of‘Lei Dandan’, a folk song from Shanxi Provide. Four times down-streaming of‘Shang(Re)-Gong(Do)-Yu(La)-Zheng(Sol)’revealed completely the flavor of Shan Bei. The raised high pitch part was not that solid but powerful enough to pierce through the high mountains and vast land in north frontier regions, and to extend one’s inner sound imagination.‘A Boat Song in the River Region’played by Jiang Guoji had presented each sentence in a winding but not dragging way. The melody was like running brook, merged perfect with the scenes of Jiang Nan region.‘Missing from the Distant Lands’by Wang Ciheng and‘the Swallows’Return’by Sun Yongzhi were hued with ancient colors.‘To Meet on the Broken Bridge’done by Zhang Hongyang were like lover’s whisper .‘Summertime’from Yi Jiayi were quite unique.‘Qinchuan Affection’presented by Dai Ya had pictured the vast and extending plains, located in the north of the Qin mountain in Shanxi and Gansu provinces, with enriched hue.

　　The grand finale of the concert was the exciting‘Festival Songs and Dances’as solo-played by 94 years’old Lu Chunling.‘Song of Joy’ensemble in which he played as leading had returned to the very tradition which recalled the sounds from one’s deep inside. Such a scene was very touching. As a man over his 80s, he had bridged between the backbone of Chinese flute performers as well as the upcoming excellent young players. It is not exaggerating to say that a century of the development of flute music had been condensed on the stage of“Flute Poem’. On the other hand, the selected pieces of this concert were mainly coming from the 70s to 90s. It had been indirectly pictured the history of the traditional instruments in the 20th century. When the‘Folk Ecology’of the flute music and flute player were merging onto the road of professionalism, under the influence of wester music, the expression way and orchestra forms of our‘national music’had been quite different from the past. The urgent need of transformation depicted such a special history. Endured the great hardship in pioneer works, the flute music had been developed over a century with so many unforgettable voices. The attitude of gratitude as expressed by the selected pieces from‘Flute Poem’was undoubtedly precious.

　　After appreciation of 13 pieces of concerto in one night, the‘Flying Partridge’was supposed to be a piece with solo flute, but the orchestra seemed to stuff bit tight the space of aftertaste. Although the arrangement of the programs had taken in consideration the traditional flute music and the difference between the north and south, it seemed to be a bit in lack of fresh voices. This is a pity. After few decades of exploration, the old-fashioned‘3 pieces style’or‘Transplanted Pieces’failed to speak entire the timeless of flute music. Regarding this, another concert named‘Question of Autumn’came to my mind. The first half of that concert was completely of traditional pieces while the later half was streamed towards the Modern. The them of‘As the Old Vintaged Older while the New Evolved Newer’was obvious. Won’t the intension of Reminiscence be more transparent if echoed by both old and new? All in all, the flute music history had been long and we are now in age of the current, an age of multiple sounds.

　　The establishment of the flute association had born the heavy imprint. And it is the destiny of the association to be more responsible for the flute music.‘Tradition of the Past’were like a river running into day of the present. While archiving the history and filing the present, and looking forward to the future, why not string the fragments into a long line, and merge all brooks into the river as lying in front of us? When doing so, the meaning of‘Lying Tradition in Concurrent’will be truly there.