“Shi Qian steals the armor” is a masterpiece of martial <i>chou</i> scene, a classic program.
The old <i>Chuan</i>-generation masters preserved only two martial/acrobatic comic scenes:
“Shi Qian steals the armor” and “Asking the way”, just these two.
“Shi Qian steals the armor” has preserved the essence of Kunqu music.
We know that Kunqu is predominantly <i>southern</i> music (five tone modes),
(although) there are some <i>northern</i> tunes (seven tone modes).
Civil scenes (non fighting) especially tend to be <i>southern</i> music.
Early on the music has only five tones, mostly <i>southern </i>music.
Southern music is melismatic, romantic and moving.
Its music is unique, (with) lyrical flute melodies.
But fight scenes in Kunqu,
such as scenes mentioned previously by Wang Zhiquan: “Borrowing the plantain leaf magic fan”, “The Hu manor”,
“Night flight of Lin Chong”, “Shi Xiu spying on the manor”,
these are all northern musical scenes.
Martial scenes are rather straightforward, more words, fewer melisma.
But “Shi Qian steals the armor” is peculiar in having southern tune-types.
I have often wondered, why the author
Monk Qiutang of the Qing dynasty,
wrote this scene in southern musical tune-types.
I couldn’t understand why at the time.
Over the years I began to have insights into this scene.
Plus my frequent performance of this scene…
I discovered “Shi Qian steals the armor” to be especially representative of Kunqu artistry.
The music consists of a southern song suite titled “Beautiful garden”,
all in the southern mode (five tones).
(Melodies in) “Beautiful garden” have <i>holding-three-beat </i>melismas:
one word may be drawn out over eight beats.
Especially the first tune “Beautiful garden”,
in which the melody portrays traveling stealthily at night.
The tempo cannot be fast,
(the actor) be careful of guards and soldiers.
(When) going to the city to steal something
one must be very careful.
In a dark, windy, moonlit night,
the action must be “silently, I go with caution”.
One must be aware of all these things.
(My) teacher often said: lyrical plays should be sung with martial spirit;
Fight plays must be sung with lyricism.
To sing (lyrical scenes) with martial spirit means that some passages must be rhythmic.
Such scenes cannot be always slow;
sometimes you must push it a little
to give it some spirit, with controlled rhythm.
Of course it cannot be overdone.
Fight plays should be sung with finesse.
I think the aria “Beautiful garden” in “Shi Qian steals the armor” expresses precisely the feeling
of a silent night in the eastern capital city,
where Shi Qian must move speedily and stealthily.
To portray out this kind of situation.