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.
这篇文章分析了中国作曲家西安四海的颂歌“黄河”，它开始了中国颂歌的历史。 1939年4月，毛泽东参加了该作品的首演。由于缺乏古典乐器，该乐队仅由三把小提琴和24种民族乐器组成。在短短的几个月内，这项作品在全国范围内流行开来。颂赞曲的文学基础是广为战的诗歌。颂赞曲由8个乐章组成，不包括管弦乐队的介绍。在他的诗中，光伟占不断地揭示了将中国居民与黄河联系在一起的各种含义。自古以来人们就一直在记忆中的河流护士（“黄河赞美”）和毁灭者河（“愤怒中的黄河”）的形象，诗人从根本上增加了新的印象：舒适的河流（“黄河之歌”）和解放河的人（“咆哮，黄河！”）。从文学的角度来看，广维展的作品集是一系列完整的诗意画作。爱国颂赞曲作为“黄河”的体裁模型。爱国颂赞曲的特点是庄严，赞美的合唱团，参与者人数众多。在“黄河”中，这是“保护黄河”的第七部分，也是第八部分“咆哮，黄河！”的最后合唱。富有弹性的行进节奏在他们中代表着人民的坚定意志，是他们解放家园的决心。