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Kevin Kwong

Hong Kong Chinese Orchestra
HK Cultural Centre Concert Hall
Tomorrow and Saturday, 8pm
When the  Hong Kong Dance Company first staged its adaptation of  Zhang Zeduan's classical painting  Along the River During the Qingming Festival in 2007, it was said the production wouldn't have been possible without the sweeping score from mainland composer Shi Zhiyou. With lyrical,  expressive playing by mainland erhu artist Song Fei (left), the recording vividly brings to life scenes  from the  5.3-metre long panoramic handscroll. 
This weekend, Song will perform live with the Hong Kong Chinese Orchestra under the baton of the troupe's artistic director and principal conductor  Yan Huichang in  Going Upriver at the Qingming Festival. 
The original score  was penned for a western orchestra and the forthcoming concert, which is part of the ensemble's ongoing Huqin Festival, will feature  rearranged Chinese orchestration  by Simon Kong,  Chew Hee-chiat  and Alfred Wong.
Song says Shi's musical narrative is melodic, full of life,  has a strong character and is best interpreted by huqin instruments because of their different sounds and styles.  
'When I perform this piece, I highlight the special qualities of each instrument to interpret the lyrical language as well as [playing] techniques of Chinese folk music,' she says. 
Going Upriver at the Qingming Festival is divided into 16 short pieces, each representing a scene from the painting such as The Agitated Horse, Welcoming Guests,  Telling Fortunes and The Sedan Chair Procession. Zhang's masterpiece - a national treasure  kept in the vaults of the Palace Museum in Beijing - gives a detailed glimpse of architecture and life in what was thought to be the capital of the  Northern Song dynasty (960-1127AD), near today's Kaifeng.
Song says the most important part of the performance is sharing the feelings evoked by the lyrical narrative  with  listeners, while bringing the pictorial details of the static painting to  life. 
'The different tones, colours and language of each huqin instrument will be able to not only help the audience  visualise different scenes, characters and emotions but also express the charm of ancient Chinese folk music,' she says. 'With different scenes having their own style, theme and tempo, this is  a technically challenging composition.'
Currently the  vice-president of the China Conservatory  and an executive member of the  Chinese Musicians' Association, Song began learning musical instruments  from her professor father, Song Guosheng, at the age of seven. She gained a place at the China Conservatory in 1987 and trained in ethnic bow-stringed instruments including erhu, banhu, gaohu, zhonghu and jinghu. Upon graduation in 1991, she joined the  Chinese National Orchestra of China as a soloist.
'I liked the erhu as a child because, to me, it was  a toy that could produce joyous music,' says Song. 'As I grew up, erhu and music became my shadow and mirror, through which I share the many feelings and emotions of my life.'   
Song says she is looking forward to collaborating with the Hong Kong Chinese Orchestra and sharing a special  composition with the audience.
'To me, what is most important about music is its sincerity,' Song says. 'The most beautiful and moving sounds  come directly from the heart.' 
Tickets: HK$120, HK$200 and HK$260. Inquiries: 3185 1600



Going Upriver at the Qingming Festival