The article analyzes the cantata “Huanghe” by the Chinese composer Xian Sihai, which began the history of the Chinese cantata. The premiere of the work, which was attended by Mao Zedong, took place in April 1939. Due to the lack of classical musical instruments, the orchestra consisted of only three violins and 24 ethnic instruments. Within a few months, the work became popular throughout the country. The literary basis of the cantata was the poems of Guang Weizhan. The cantata consists of 8 movements, not counting the orchestral introduction. In his poem, Guang Weizhan consistently reveals the variety of meanings that connect a Chinese resident with the Yellow river. To the images of the river-nurse (“The Praise of Huanghe”) and the river-destroyer (“Huanghe in anger”) that have been living in people's memory since ancient times, the poet added fundamentally new ones: the river-comforter (“The Ballad of Huanghe”) and the river-liberator (“Roar, Huanghe!”). From a literary point of view, Guang Weizhan's libretto is a series of complete poetic paintings. The Patriotic cantata served as the genre model for “Huanghe”. The Patriotic cantata is characterized by solemn, hymnal choirs, largescale in the number of participants. In “Huanghe” , this is the 7th part of “Protect Huanghe”, as well as the final chorus of the eighth part “Roar, Huanghe!”. The elastic marching rhythm represents in them the unyielding will of the people, their determination to liberate their Homeland.