1, dozens of relatives involved in prison:
Although Ma Sicong always wanted to return to China, several invitations in the late 1980s failed to bring him back to China. "At that time, it was mainly because the domestic situation was not stable enough and he was not in good health, so he put it on hold." Ma Zhiyong said that the Cultural Revolution brought great trauma and shadow to Ma Sicong.
During the Cultural Revolution, Ma Sicong couldn't bear the torture. With the help of his relatives, he went to the United States from Hongkong on 1967. After Ma Sicong went abroad, dozens of relatives were involved in prison, and Ma Sicong's second brother, who lived in Shanghai, jumped to his death. Mother-in-law, niece and chef were persecuted to death one after another. It was widely spread, which made Ma Zhiyong still indignant when he talked about it.
"After he left, brothers and sisters were quarantined for review. Mrs. Wang Muli's family was even worse. Both brother and sister were arrested and sent to prison ... "Ma Zhiyong was in his thirties and worked in a radio station. Without knowing it, she was also quarantined and examined, and was transferred to the sack farm until 1979.
In those ten years, she and her relatives in China lost contact with Ma Sicong until the news that Ma Sicong was rehabilitated was broadcast on TV.
Ma Zhiyong said that after Ma Sicong was rehabilitated, the then chairman and leader of the Chinese Music Association wrote a letter of congratulations. In his reply, he said, "I didn't know I was accused of treason until I received the letter." In his letter, he thanked everyone for being alive and said that he would "return to China at an appropriate time".
1985 On the second day of the year, when Ma Sicong met the first Chinese mainland reporter who interviewed him after his rehabilitation, he said with great emotion: Su Wu was herding sheep on 19!
However, the "right time" for Ma Sicong to return to China did not "appear". On the operating table of Pennsylvania Hospital in Philadelphia, USA, China music giant Ma Sicong died. At the age of 76.
2, niece nostalgia, too eager to return to China to break the operating table:
The charge of "treason to defect to the enemy" rehabilitated anxious to return's serious illness.
"After he was forced to go to the United States during the Cultural Revolution, he was accused of" treason and defection "for writing Why I left China. The book says, "I'm a musician. I cherish a quiet and peaceful life and need a suitable working environment. Besides, as a China native, I love and respect my motherland and people very much.
Of course, all my personal misfortunes are nothing compared with the current tragedy in China. The "Cultural Revolution" is destroying the intellectuals in China. I have the same experience as many people inside and outside the party who have played a great role for many years, although they have not been in power all the time.
What happened in summer and autumn completely plunged me into despair, forcing me and my family to become fugitives and' hungry ghosts' wandering around. If there is anything unusual in my behavior in a sense, it is that I fled China ... "
However, he was very open-minded, didn't complain, and didn't hold grudges, because he didn't have time to think about it at all, and he has been tirelessly creating ... "At 9 o'clock last night, Ma Zhiyong, vice president of the Ma Sicong Research Association and niece of Ma Sicong, who has been busy with various commemorative activities in 14 Ma Sicong, took time to accept an exclusive interview with our reporter. When it comes to his uncle, Ma Zhiyong is full of nostalgia and reverence.
3. Ma Sicong
Only after receiving the letter of "Rehabilitation" did I know that Ma Zhiyong, a niece of a famous hall who was guilty of "treason" and vice president of Ma Sicong Research Association, talked about the inside story of Ma Sicong's ashes returning to China.
"Now his wish has finally come true." Last night, Ma Sicong's niece, Ma Zhiyong, vice president of the Ma Sicong Research Association, said in an interview that it has always been Ma Sicong's wish to return to China. This time, Ma Rulong, who is over 60 years old, specially escorted his father Ma Sicong's ashes from the United States and will be buried at the foot of Baiyun Mountain. "This will bring him closer to the landscape of the motherland."
4. Town violin recital.
Ma Zhiyong is Ma Sicong's cousin and lives in Guangzhou. There is a photo of Ma Sicong playing the violin in the living room of a 70-year-old man. She dug up the photos of Mr. Ma Sicong in different periods and introduced them to us one by one: "This is a photo of him in Guangzhou in the 1960s, and this is a photo of his wife in the United States ...".
Ma Zhiyong said that when Ma Sicong was in China, he always devoted himself to popularizing the violin and advocated that western musical instruments could play nationalized things. To this end, he not only performed in big cities, but also visited small towns in Guangdong, such as Xinhui and Shanwei.
When Hong Kong fell during the Anti-Japanese War, Ma Sicong returned to his hometown of Haifeng with his wife and students. At that time, Ma Zhiyong, who was only 8 years old, often heard Ma Sicong's "violin recital" at the request of local villagers. "He has always insisted that music that has passed the public inspection is good music."
5. "He is a very loyal person."
As we all know, during the extraordinary period of the Cultural Revolution, the "Rightists" were regarded as "cancer", and many people "avoided it" for self-protection. But Ma Sicong was never afraid to make friends with the "Rightists". It is recalled that Ma Ying-jeou's sixth brother-in-law, Ma Ma, was labeled as "Rightist" and stayed at home. "Ma Sicong doesn't seem to have this kind of one track-minded.
He often goes to Ma's house and passionately wants to create concertos with him. Ma Guo Liang doesn't have that kind of passion. He always said to him,' Go back and don't join me. I'm a rightist now.' Ma Sicong always replied loudly,' What happened to the Rightists! He went on talking about his creation. "
Xiang Zepai, the chief performer of the Chinese Symphony Orchestra, was a disciple of Ma Sicong in 16. Ma Zhiyong said: "During the Cultural Revolution, Xiangze's father was also labeled as a' Rightist'. As the son of the "Rightists", Xiang Zepai never went to school again. One day, Ma Sicong couldn't help going to his house to find him-'What does it matter if your father is a rightist? I will teach you the same! "Made a fire and dragged it back to school ..."
6, humor, childlike innocence.
Ma Zhiyong said, "Uncle is not good at words. He usually doesn't talk much, but he is very humorous. " She told a story to the reporter. After Ma Sicong was rehabilitated, the then leader of the Central Conservatory of Music called him and told him this happy event-the charge of "treason and defection" was revoked!
Ma Sicong, who was over 70 years old, smiled and said to his children, "I didn't expect that I got such a big title of' treason and collaboration'. Unfortunately, I don't know until now. "
"He is not only humorous, optimistic and open-minded, but also always keeps a childlike innocence." Ma Zhiyong said with a smile that Ma Sicong seldom looks in the mirror when he is old. When his daughter asked him why, he opened his eyes wide and said seriously, "Dare to look? I feel much older when I look in the mirror! I don't want to be like this ... "
7, adventure surgery soul broken hospital
In Ma Zhiyong's memory, Ma Sicong became attached to his motherland all his life. After 1966 "forced to leave", he never stopped thinking about his hometown and wrote these feelings into his works. In that famous song, "I have known her for a long time, but we have been apart for a long time, and the east wind is blowing and a hundred flowers are blooming." In the spring, the silk quilt will be woven until it dies, and the candle will drain the wick every night. "Ma Sicong will have a sad feeling of homesickness, which is interpreted by famous poems.
1984, the state publicly rehabilitated Ma Sicong's so-called "treason and defection" case. 1985 During the Spring Festival, when the news of recovery reached the United States on the other side of the ocean, Ma Sicong was so happy that he kept calling his family and friends to say "anxious to return". However, he has always had a bad heart. At that time, his illness worsened and he could not bear the hardships of the journey.
Ma Zhiyong told reporters that Ma Sicong had suffered from heart disease for many years and had been treated with drugs before, which was conservative but safe. However, in 1986, Ma Sicong changed his routine and insisted on treating heart disease by surgery, because he thought that surgery could get better faster and he could fly.
"He was optimistic about the operation and didn't explain anything before going to the operating table. Unexpectedly, the operation failed, and he couldn't do it with anesthetic ... "Referring to this matter, Ma Zhiyong said emotionally," He really wants to return to China. "
Extended data:
Ma Sicong (19 12 May 7th-1987 May 20th), a violinist, composer and music educator, was born in Haifeng, Guangdong.
19 12 was born on May 7th, and 1987 died in Philadelphia, USA on May 20th. 1923, went to France to study violin with my brother and studied at the Paris Conservatory of Music. 1929 returned to China and held solo concerts in Shanghai, Nanjing and Guangzhou. /kloc-went to France again in 0/930 and studied composition with Bi Nengpeng. Returning to China the following year, he successively engaged in music education, performance and creative activities in Guangzhou, Nanjing and Shanghai.
After the beginning of War of Resistance against Japanese Aggression, he traveled all over the southwest. Influenced by the new music movement, his works showed the spirit of patriotism.
He paid attention to the nationalization of violin works and tried to absorb folk tones, such as violin solo Rondo I (1937), Inner Mongolia Suite (1937), Tibetan Poetry (1942) and Pastoral (1
Many of his works are based on folk songs and have a certain national style. 1946, he conducted the Taiwan Province Symphony Orchestra to hold concerts in Taibei, Taichung and Tainan. 1947- 1948 teaches in Guangzhou and Hong Kong. During this period, he was inspired by the victory of the democratic movement and the liberation war, and successively wrote three chorus songs praising the motherland and longing for the light.
Namely: Democracy Choir (1946), Motherland Choir (1947) and Spring Choir (1948). 1949, Ma Sicong left Hongkong for the Liberated Area. After the founding of People's Republic of China (PRC), he served as president of the Central Conservatory of Music and vice chairman of the China Musicians Association. Besides teaching and performing, he is mainly engaged in creation.
As of June 1966, 1 1, the main works are: the score of the drama Qu Yuan (1953); Orchestral music Song of the Forest (1954) and Symphony No.2 (1960); Large vocal music "Huaihe Chorus" (1956); As well as some folk song adaptations, chamber music and violin solos.
Ma Sicong is one of the earliest violinists in China. His performances and works have promoted the development of Chinese violin industry. His other orchestral works have made some useful explorations and contributions in the combination of national style and western European composition techniques.
1967 Up to now, Ma Sicong has been engaged in music creation, teaching and performance abroad.
China's first generation of violin composers and performers occupy an important position in the history of modern music in China. 1945 After the victory of the Anti-Japanese War, he successively served as the conductor of the Taiwan Province Symphony Orchestra, the director of the Guangzhou Art and Music Department, the principal of the Shanghai China Conservatory of Music and the dean of the Hong Kong Chinese Conservatory of Music.
After 1950, he served as the first dean of the Central Conservatory of Music, and concurrently served as the vice chairman of the China Musicians Association and the editor-in-chief of Music Creation.
As a composer, Ma Sicong has dabbled in violin music, symphonic music, concerto, chorus, chamber music, piano music, opera, ballet, art songs and pop songs for more than half a century. His violin works had the greatest influence in the modern history of China.
The main representative works are violin suite Inner Mongolia, Tibetan Poetry, Rondo I, Pastoral, Autumn Harvest Dance, Folk Songs, Two Violin Concertos, Symphonic Music Song of the Forest, Symphony No.2, Chorus Motherland, Spring and ballet Sunset.
The violin "Inner Mongolia Suite" is Ma Sicong's famous work, written in 1937. Among them, Nostalgia and Dance beyond the Great Wall have become outstanding representative works of Chinese violin. The orchestral song of the forest was written on 1954. It is regarded as the masterpiece of Ma Sicong's symphonic music with its exquisite creative techniques and distinctive national style.
Nostalgia and Rondo No.1 were both written by 1937, and both were written with the melody materials of folk songs. China has many ethnic groups and is a big country of folk songs. No matter Han, Manchu, Mongolian, Hui, Tibetan and other ethnic groups, there are a large number of folk songs with rich musical materials. Writing these two songs is based on the material of Inner Mongolia folk songs.
"Homesickness" was originally the second movement of Ma Sicong's large-scale orchestral suite "Suiyuan Suite". Suiyuan Suite is also called Inner Mongolia Suite, because Suiyuan is an old place name, which was later included in Inner Mongolia. However, the music version also calls this song "Random Suite", so I'll tell you from now on.
There are many works in "Ma Sicong" which are based on Inner Mongolia folk songs. I think this is not only because most Inner Mongolia folk songs are bold, simple and deep, but also because their tunes are soothing and can adapt to various moods. The three movements in Suiyuan Suite are called epic, homesickness and dance beyond the Great Wall.
Because Ma Sicong's orchestral works are very violin, they can all be played with violin solo piano accompaniment. Of the three movements, the second movement is the most beautiful and moving. When the former Soviet Symphony Orchestra introduced China's works, it specially played them.
Therefore, it is called "the first China orchestral and violin music that really stepped onto the international stage" (in addition, the first piano music in China was He Luting's The Shepherd's Piccolo). Because the violin solo "Homesickness" is particularly popular, today, this piece (including the dance music behind the Great Wall) has almost become a violin solo.
As far as people know, the theme of Homesickness Song is a folk song with only eight short bars: Happy Race on the Wall. In the poor areas of the northern mainland, the walls of earth walls are narrow but not wide. The horse riding on it can only go forward, and can't turn its head and come back. This is a melody, which truly reveals the sadness deeply hidden in the hearts of wanderers and unable to return from their hometown.
Simple folk songs, with beautiful tunes in essence. The author didn't decorate it, just let the violin play in the middle and low range. However, just later, the author wrote several development themes with very unified styles along this simple theme, which made this homesickness continue to improve and develop, and finally reached its peak when the violin played exciting double phrases.
In this way, the theme of this folk song was played again by the violin in the high-pitched area, and the homesickness of travelers was described with quiet and continuous music. With a series of ascending parallelism from low to high, the author concentrates this unsolvable homesickness on the fading overtones with extremely high tones. Is the wanderer back? No. He will never come back.
The first Rondo is a written standard Rondo. It is the most neatly written violin music in China, from which we can see the author's serious creative style. The theme comes from a wide and passionate Inner Mongolia folk song "Love", which has a distinct syncopation rhythm.
After the author's careful treatment, re-creation, and singing with several sub-themes and slow-contrast themes, it finally became an excellent work with fast rhythm and passion. Personally, I think that although it is absolute music, its musical image is clear, which well reflects the strength and self-confidence of our nation.
At the same time, in the playing environment at that time, it was also a dazzling song to a certain extent. In 1950s, when David Austera, the former Soviet violin master, visited China, he chose to play this piece! Therefore, it is the first Chinese violin solo played by a foreign violin master.
Baidu Encyclopedia-Ma Sicong