Xian’s Yellow River Piano Concerto
Movement II
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 II
Note: This note corresponds to the Eulenburg edition. Contrary to standard practice, the
score begins its counting of the measures in the first partial measure. The following
analysis uses the measure numbers of the Eulenburg edition.
Section
Measure(s) SubComments
section
A
1-35²
This section is alternated 4/4 and 3/4
Entrance of main theme on cellos with light
accompaniment of the orchestra. The rhythmic
figures use dotted eight-sixteen (m.2) and triplet
figures (m. 6).
Shing Lee explains that the corresponding
theme in the cantata carries the text: “I stand on
the top of a high mountain and look down to the
boiling Yellow River ” The association made of
this text and the arch form of the theme depicts
the position of the singer who “stands on a high
ground looking down”. (Shing-Lee, 1995)
Tremolos in strings could be associated to
imitation of the Pipa
17
After a measure of ascending arpeggios the
piano presents the main theme in the right hand
with accompanying arpeggios in the left hand.
A¹
34³-48
This section ‘subtitle’ states that praise must be
sung to the Yellow River. (Bai, 2006)
While the theme on the piano at m. 36 could
make the listener believe this is a new section,
contour similarities with the theme at the
beginning indicate this is a ‘developmental’
section of ‘A’ (e.g. m.12 and m.36). This seems
to be confirmed at the upbeat of 40 where the
antecedent of the theme is presented in a
‘diminution/transformation’ form (piano).
A²
49-58
Caption: “Chinese must praise the glorious
traditions of their culture” (Bai, 2006)
Once more melodic transformation from the
original idea. The basic structure of ascent of
major sixth (F to D) and major fifth descent (D to
Bb to G) that was presented in m. 2 and 3
(cello) is now presented in octaves by the higher
strings (mm. 49-51). The ‘skeleton’ motif from
mm. 8-10 in cello (F-Bb-C-F-D) is also
‘diminished/transformed’ in mm. 51-52 (higher
strings)
B
60-66
Inscription stating:“The awakening of the whole
nation” (Bai, 2006)
The last statement seems supported by short
quotations that closely resemble motifs from the
Chinese National Anthem (horn I mm. 61-62
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Xian’s Yellow River Piano Concerto
Movement II
Coda
67-72
and 64-65).
The double dotted rhythms in the strings
enhance the patriotic aspects of the section.
Descending sequences as “if portraying the
Yellow River flowing into the distance.” (Bai,
2006)
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