HAJI MAJI

Musicians playing the Suona, Jinghu, and Sanxian. The Suona is a reed instrument like the Zurna or medieval Shawm.

I’m sure, Gentle Reader, that you’ve now realized my method of surveying Chinese Opera is based on a tour of the different record companies in addition to the different styles. Columbia records was perhaps the most prolific label recording in China, starting just after the turn of the century through the end of the 78 era. Cantonese, Peiping, Teochew and other types of opera were all recorded by Columbia and many of the later records from the late 30’s and 40’s have a much more “westernized” sound than the music posted on this blog. These more modern sounding records are some of my least favorite so I always approach Columbia records with caution!

Traditional Chinese Operas often included instrumental sections, either to entertain between acts or fill time during costumes changes, etc. Instrumentals were rarely recorded, presumably because the opera genre is far more oriented toward the vocalists and the music almost seems to be secondary. Nonetheless, there is a vibrant offshoot of opera music known as “Silk and Bamboo” (Silk referring to strings and Bamboo to woodwinds). This music is usually instrumental and is played in public by amateurs in an informal setting such as a tea house, not unlike Irish pub music sessions. There is still a lively Silk and Bamboo scene today in Shanghai.

This rousing tune is played on the erhu and the pipa, a chinese lute.

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Here’s an excellent recording on the Odeon label featuring the Yangqin, a Chinese hammered dulcimer. The hammered dulcimer is used all over the world; Santur in India, Santoor in Perisa, Santouri in Turkey and Greece and various forms of the Cymbalom used throughout Eastern Europe. The Yangqin is a common instrument in Cantonese “Silk and Bamboo”, a form of folk playing that is closely related to Chinese Opera. I think this may be the only record I have that features the instrument.

The Odeon label included many different forms of Chinese Opera from all over the country. This one, I believe, was recorded in Hong Kong.

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L to R: Sanxian, Pipa, Jinghu, Erhu.

L to R: Flute, Pipa, Yanqin, Sanxian, Percussion.

Both pictures are from the book John L. Stoddard’s Lectures, volume 3, copyright 1897. They were also published as postcards around the turn of the century during the “exotica postcard” era.

Bai Ju Rong, aka Bak Keui Wing (1892-1974) is one of my favorite singers. He was trained as a youth in the role of Xiaosheng, one of the subtypes of the main male role known as Sheng. Xiaosheng roles were handsome young men involved in various romantic intrigues and adventures. Bai Ju Rong went on to be thought of as the “Xiaosheng King” and made a major impact on Cantonese opera in the 1920’s. He re-defined almost every aspect of the performance; most importantly he switched from using the archaic “Official Cantonese (which many could not understand) to using vernacular language. He also changed the singing from an affected high voice to a natural, flowing “true voice” and made his mark on the use of gestures and melodic recitation.He started losing his sight and eventually had to quite performing. By 1948 he was reduced to singing in the street. Amazingly, he made a comeback and was again very successful. In 1958 he became principal of the Guangdong Opera School.This is part one of four.>CLIPPER 1016a

Here’s a beautiful Cantonese recording. I love this old style which is sparse but with a great rhythmic groove. Many people think of Chinese Opera as being very arrhythmic, and it certainly can be, but this record and many others are played in the same way fiddle music is played all over the world, with a steady pulse.

According to the label, this is a Hua Dan role performed by Xiao Hong Xin. Dan is the name for female roles in China, Hua Dan being one of half a dozen common female roles. Hua Dan is a younger, coquettish female who usually accompanies a Gui Men Dan, a virtuous older Lady, exemplified by the superstar Mei Lan Fang. Often these roles were performed by men, but I believe that Xiao Hong Xin is a woman. (Thanks to David Du for translations).

Thanks to the erudite JW over at Excavated Shellac the mystery is cleared up…the label is actually called “Hindenburg” with a picture of General Paul von Hindenburg, President of Germany (1925-1934) as the trademark. My apologies to the General for mistaking him for Kaiser Wilhelm! Hindenburg, Pagoda and Polyphon were under the umbrella of Deutsche-Grammophon.
“Mech. Copt. 1927″ is stamped in the shellac.

Info from Tan Sooi Beng’s article “The 78 RPM Record Industry in Malaya Prior to World War II” (Asian Music 28/1 (1996)).

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