Zhenfei Sheet Music (Volume 1 and 2)

Author: Shanghai Kunqu Opera Troupe
Publisher:
Publishing Date: 2002-08-01
Features: The first volume of "Zhenfei Qupu" was published in 1982. This reissue not only introduces the second volume but also revises the original first volume. Additionally, the scene "Changshengdian - Maiyu" from the original "Zhenfei Qupu" has been supplemented with the performance script of the Shanghai Kunqu Opera Troupe's 2000 tour to Taiwan. The second volume includes all the plays from the original "Sulu Qupu" that were not previously collected in "Zhenfei Qupu." It also features selected plays that Master Yu often performed during his lifetime, such as "Wangtou Mashi," which he personally participated in creating and staging. Furthermore, it includes famous arias from new plays created by the Shanghai Kunqu Opera Troupe since its establishment in 1978. In both volumes of the qupu, many arias have been meticulously annotated by Master Yu in his lifetime, with the traditional gongche notation translated into simplified notation to facilitate learning and promote the dissemination of Kunqu Opera among the youth. Since 1953, when I first compiled and published "Sulu Qupu," it has been nearly twenty-eight years. This period is neither too long nor too short, as in the blink of an eye, I have reached the late stage of my eighty years. Amidst my life's trials, with the assistance of several friends and colleagues who are dedicated to Kunqu Opera, I have now compiled this "Zhenfei Qupu," and I am naturally delighted. The manuscript is now complete and ready for printing. I would like to take this opportunity to express the thoughts that have long been lingering in my heart.
I have had a relationship with Kunqu Opera for seventy-five years, almost as long as the rings of my life tree. I have spent my entire life singing, acting, listening to music, and watching performances. It is needless to say that my affection for it is extremely profound and deep. At the same time, as my understanding deepens, I have come to more intimately grasp the strengths and weaknesses of Kunqu Opera and the joys and hardships of its performers. Examining the history of this opera genre, its script literature, such as the classical masterpieces "Dandao Hui," "Mudan Ting," "Changshengdian," and "Taohua Shan," has long achieved high acclaim in the world of literature. Its stage art has also formed an excellent tradition, exerting a beneficial influence on other opera genres. However, just as with everything in the world, "fortune and misfortune are intertwined," and the seeds of success and failure, decline and rise, often coexist. During the rise of Kunqu Opera from its inception to its peak, many writers and works emerged, including scripts, qu songs, and performances. Among them, there were varying levels of quality and achievements, which is a normal phenomenon. Yet, even among the best, none can be considered absolutely perfect. Moreover, gains and losses, strengths and weaknesses, always exist in a "you within me, I within you" relationship, though they may wax and wane, appearing and disappearing at different times.
As Chinese opera evolved from Song zaju and Nanxi to Jin yuanben and Yuan zaju, gradually progressing until the Ming and Qing chuanqi, the genre and form of Kunqu Opera's script literature were completed. Yet at this very moment, its flaws also became immediately apparent. First, the language was too literary and detached from life—how could one expect audiences to carry dictionaries and rhyme books to the theater to watch the performances? Second, the scripts were too lengthy, unsuitable for stage performance. A play could have two, thirty, or even fifty scenes, or even as many as two hundred and forty, yet how could such plays be widely disseminated among the people? (For now, let us set aside the content and focus only on the formal issues.) Because full-length chuanqi were difficult to perform, generations of artists focused on improving performance techniques. They extracted several scenes from a single chuanqi, refining and perfecting them, greatly developing and enriching the performance conventions. However, as the scenes advanced, the full-length plays were gradually lost. Today, among the thousands of chuanqi, none can be performed in their entirety. The result is that Kunqu Opera now only has hundreds of incomplete scenes, making it impossible for audiences to understand the complete plot, and thus it is increasingly detached from the masses.
Today, Kunqu Opera practitioners are engaged in the collation and adaptation of scripts. Regardless of innovation in content, the task of eliminating redundancies and restoring a complete structure in form is already extremely challenging. In terms of performance, excessive emphasis on conventions has led to certain tedious and empty problems, becoming obstacles to the continued advancement of Kunqu Opera. As for the gains and losses of Kunqu Opera's vocal music, similar issues exist. According to historical records, from the great qu to zhuantai, then to guzici, changzuan, zhugongdiao, and then to Songci, Beicizi, and the four major vocal styles of Haisan, Yuyao, Kunshan, and Yiyang, the musical structure and system gradually improved. The formation of qupai and liantao, the establishment of gongdi theory, and the systematization of singing techniques and phonology were undoubtedly significant progress in Chinese opera music, laying a solid foundation for the emergence of the Kunshan-style water-moediao. Although the qupu personally compiled by Wei Liangfu has not been passed down, and there is no fully reliable basis to determine whether the qupu of "Hansha Ji" sung today is his original work, by studying the earlier existing qupu such as "Jiugong Chengbei Nanbei Ci Gongpu," "Yinxiang Tang Qupu," and "Nashuying Qupu," and connecting them with the of Xu Lin (Lingzhao) helping Hong Sheng compile the full qupu of "Changshengdian" and Ye Tang (Huaiting) compiling the full qupu of "Mudan Ting," it is clear that Kunqu Opera music also evolved from simplicity to complexity, from roughness to refinement. This developmental process is evident and should be recognized as an undeniable achievement in the history of Chinese opera music. However, certain formalistic flaws, such as ignoring the meaning and tone of the lyrics and overly dragging out the rhythm, became increasingly apparent over time, an undeniable reality.
In vocal art, there are also both strengths and weaknesses. Chinese opera originated from a canto form, so throughout history, many people have dedicated themselves to studying singing techniques, known as "singing masters." In the late Ming Dynasty, the grand singing gatherings on the Mid-Autumn Festival at Tiger Hill in Suzhou were long-lasting and became the origin of later qu meetings and qu societies in Jiangsu and Zhejiang. Since my childhood, I have accompanied my father in many amateur singing organizations, meeting many qu masters in Suzhou, Hangzhou, Shanghai, Beijing, Nanjing, and other places and listening to many qu pieces. This type of singing is known as "lengban qu" or "qingqu" or "qinggong," distinct from the "jucu" or "xigong" performed on stage. Among these qu masters, my father can be considered a typical figure. Qu masters emphasize theories and techniques such as pronunciation, breath control, and vocal delivery, and it cannot be denied that many of them have achieved great mastery, contributing to the advancement of singing art. However, qingqu is not without its flaws—it lacks the close connection with stage performance and the stage image that "jucu" provides, which is inconsistent with the correct and strict requirements of singing art.
Based on this brief review of several aspects of Kunqu Opera, I deeply feel the necessity of inheritance and innovation. To understand how to inherit and innovate, one must objectively analyze the three main components of the genre: drama, song, and dance. What are the strengths of tradition that should be inherited and promoted? What are the weaknesses that should be discarded and reformed? To fail to base inheritance on the former is a nihilistic attitude toward history; to fail to target the latter for innovation is a conservative mindset toward art. Obviously, both are unacceptable. Of course, the scope of the issue is very broad and complex, and cannot be fully described in a few words. But as long as one explores earnestly and handles cautiously, a correct and effective path can certainly be found. At the same time, "I would rather be spring mud to protect falling flowers," but one must carefully distinguish between mud and rubble to maintain and enrich the nourishment for the "flowers," allowing them to bloom again and regain their beauty, showcasing a colorful and vibrant landscape. Revitalizing an ancient opera genre and achieving its renewal is not something a few people can accomplish. It requires more dedicated individuals to work together under correct guidance, dividing tasks and cooperating to shoulder this historical mission, seizing the time to make it a reality. Although I am in my twilight years, I am unwilling to give up. I always intend to do my best to participate in some work alongside everyone. This qupu is based on the teachings I received from my father in my early years, with some reforms based on my long-term performance experience. This is just a humble contribution to the singing aspect, seeking correction from those who appreciate the art; as for my views on Kunqu Opera's performance issues, I will elaborate on them in another article, along with this qupu, as a report of my late-life work.
I am deeply grateful to Mr. Ye Shengtao for inscribing the title and writing the preface for this qupu, and to Mr. Yu Pingbo for writing the preface. I am most grateful and hereby express my thanks. The seven gentlemen who assisted me in editing this qupu—Lu Jianzhi, Xin Qinghua, Gu Zhaoqi, Yue Meiti, Cai Zhengren, Gu Bingquan, and Lin Ruojun—have shared joys and sorrows, understanding each other's warmth and coldness. This has been a great source of happiness for me in recent years. This is the preface.
Yu Zhenfei
May 1981