Xian’s Yellow River Piano Concerto
Movement III
Xian’s Y e l l o w R i v e r P i a n o C o n c e r t o
Movement III
Note: This note corresponds to the Eulenburg edition. The measure count does not take
into consideration the initial cadenza-like passage of the Chinese flute and piano.
Section
Measure(s) SubComments
section
Introduction ‘1’-‘3’
Dizi (Chinese bamboo flute) begins the
movement in an improvisatory way setting
the pentatonic scale of Eb (Eb-F-G-Bb-C).
The tremolo of strings could be associated
to the pipa performance technique. At
measure ‘3’ the piano enters in a gu zheng
(Chinese zither) style.
According Bai, the melody played by the
flute is based on folk melodies from Tan’an
and Shaanxi provinces. (Bai, 2006)
Description in the original score depicts the
“prosperous life of the people along the
banks of the Yellow River” (Bai, 2006).
Predominant two-measure phrase structure.
A
2-53
The main theme comes from the Cantata
(movement 3).
While the mode is still the Eb pentatonic, in
this theme the mode is centered in Bb
(Shing-Lee, 1995). This seems to be
confirmed in m. 2 where the most prominent
notes of the piano are arguably Bb.
To be noted the presence of intervals of
perfect fourth which are typical from the
Shanxi folk songs. (Kuo-Huang, 1989)
B
55-72
The piano entrance in the up-beat of m. 55
in a lower register and louder dynamics than
the previous section hints to programmatic
elements. Indeed, the text in the original
version indicates the Japanese invasion.
The text of the score describes “a moving
lament for the suffering people of China”.
(Shing-Lee, 1995)
While the meter is 4/4, it could be argued
that at least measures 55-57 are
constructed in 6-beats phrases.
At measure 64 theme B reappears but in
this case the right hand of the piano imitates
the idiomatic qualities of the yang qin
(Chinese hammered dulcimer) and/or pipa
(Chinese lute).
The text in the cantata for this section
reads: “Run escape with your life. Our
fathers and mothers are killed. I am lost and
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Xian’s Yellow River Piano Concerto
Movement III
Bridge
C
73-81
82-87
D
88-105
E
106-134
A¹
135-148
Codetta
149-156
cannot go home either.” (Shing-Lee, 1995)
Orchestral modulatory bridge.
Piano solo section in the pentatonic scale of
B (B-C#-D#-F#-G#) that is established at m.
83.
Based on the pentatonic scale of Db (DbEb-F-Ab-Bb)
The melody in this section (mm. 89-92)
describes the “rage and hatred of the
Chinese people against the Japanese
invaders” (Bai, 2006).
The section beginning in m. 92 had the
subtitle “Persecute” (Shing-Lee, 1995). The
fermatas help to provide a phrase structure
to this section. Harmony becomes more
dramatic with the presence of diminished
chords mm. (100 and 101) that appear to
resolve to Db major in m. 104.
This section is based on the Db pentatonic
scale. A simple melody (piano right hand) is
accompanied by arpeggios in triplets in the
left hand.
A new melody appears in 115 surrounded
by harmonic instability as represented by
the chromatic scales in the piano and the Fb
in m. 117 that could hint to Db minor
pentatonic.
At m. 124 harmonic stability returns hinting
to Db but not completely pentatonic due to
piano left hand (m. 124).
‘Grandioso’ restatement of theme from m. 2
(flute, oboe and strings) while piano plays a
series of arpeggios. As in the beginning this
section is in the pentatonic scale of Eb.
In this codetta the piano is the main
protagonist. The section is mostly on Eb
pentatonic with the exception of some A and
Ab in mm. 150-152.
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