Chinese music scene has many perfect combinations. They have meticulous division of labor and have brought many famous works to fans, such as "Huihuang Two Saints", Chen Zhiyuan Chen Lerong, Xiong Meiling Lin Qiuli, Jay Chou Fang Wenshan, etc.
also has all-around musicians who are lyrics, musical arrangements, singing and production, such as the three great music godfathers of "large, medium and small", such as Xu Guanjie , Tong Ange , Harlem Yu, Wu Sikai , Wu Bai .
There are many types of "levels" for musicians, including ordinary musicians who are just simple singing and writing, excellent musicians who can write, sing and make others famous, and epoch-making musicians who change the trend of music.
So there are many "godfathers", many "masters", and some "grandmasters" and "giants" who "start the sect".
In the Mandarin song market, there are only few musicians who can serve as "grandmasters". Zuo Hongyuan , Luo Mingdao, Liu Jiachang , Luo Dayou , and Jay Chou can do it in time.
Today, let’s talk about the two masters of the Chinese music scene, “one left and one right”. They used their respective wisdom and talents to create one famous song after another, making one king and queen famous, leaving too many treasures in the music scene.
The "one left and one right" is Zuo Hongyuan and Luo Dayou.
Zuo Hongyuan has loved music since childhood and was influenced by various local dramas. After his family went to Taiwan to live, he studied music from Taiwan's original place, combining his own study and university teaching, and has achieved great accomplishments in children's songs, folk songs, pop songs and opera.
Zuo Hongyuan started writing songs in the 1960s, from writing "I Don't Go Home Today" for Yao Surong to "Since You" at the end of the century, he has been creating in the Chinese music scene for 40 years, like the "grandmaster" of Hong Kong Philadelphia Gu Jiahui .
Zuo Hongyuan first created under the pseudonym " Guyue ". His lyrics and music combination with Zhuangnu brought many fresh and timeless minor to the Chinese music scene.
Another master of Taiwanese music, Liu Jiachang, was taught by Zuo Hongyuan. The best-created Qi Qin and Huang Shujun are his disciples. Teresa Teng , Feng Feifei , Cai Xingjuan , Gao Shengmei , Li Yijun , Meng Tingwei , Xu Ruyun and other queens were made famous by him. Qiong Yao drama and "The Legend of the White Snake" TV series have become unforgettable classics because of his music.
Zuo Hongyuan's extraordinaryness is that he can keep pace with the times, from the old-school Mandarin songs in the 1960s and 1970s to the close integration with campus folk songs in the 1970s and 1980s, from collaborating with Qiong Yao for more than 20 years to writing songs for Meng Tingwei, Zhang Zhen , and Xu Ruyun in the 1990s.
When the music of his disciple Liu Jiachang was basically out of market after the mid-1980s, Zuo Hongyuan, who was 13 years older than Liu Jiachang, could still make the songs he created for the late 1990s hit "Return of the Condor Heroes" and won the recognition of fans born in the 1980s and 1990s.
Compared with Liu Jiachang, Zuo Hongyuan belongs to the level of "starting the sect". He is the founder of the old-school music style in the 1960s and 1970s. Liu Jiachang extended this style on the basis of Zuo Hongyuan.
Select several representative works by Mr. Zuo Hongyuan from several periods and several music types below to appreciate Mr. Zuo’s music style.
1, "I won't go home today" 1969 Yao Surong
Taiwan music has always been the object of singing and imitation of Hong Kong music, such as " Moon represents my heart ", "Applause sounds", " is about winter ", etc. This situation is more common in the 1980s and 1990s.
In fact, Taiwan music was widely recognized by the Hong Kong circle for the first time, starting with "Don't Go Home Today" sung by Yao Surong in 1969. This song was written three years earlier than "The Moon Represents My Heart". The two songs came from two masters of that era - Gu Yue (Zuo Hongyuan) and Tony ( Weng Qingxi ).
two songs, "Not Going Home Today" is more playful and cheerful, "The Moon Represents My Heart" is relatively solemn and timeless. The songs " Wine and Coffee " created by Teacher Zuo Hongyuan can be said to be in line with each other but there is a hint of resentment.
2, "Thousand Words" 1973 Teresa Teng
There are at least 20 queen-level singers who Zuo Hongyuan made famous. Among them, the ones who should be thanked by Mr. Zuo should be Teresa Teng and Feng Feifei.
In 1969, the same year when he published "I won't go home today", Zuo Hongyuan arranged for his brother's daughter Teresa Teng to sing the theme song of the same name in the TV series "Jingjing", and Teresa Teng became a professional singer.
In 1973, Qiong Yao asked Zuo Hongyuan to select the singer of the theme song and interlude of the movie "Caiyun Fei". Zuo Hongyuan stood up to the public and supported Teresa Teng. Until the singing was completed, Aunt Qiong Yao later appointed Teresa Teng as her "monique singer".
When Teresa Teng went to Japan to develop, Zuo Hongyuan dispelled Qiong Yao's doubts and launched the second generation of "monetary singer" Feng Feifei, who was the second generation of Qiong Yao's drama. Feng Feifei became the "Hat Queen". This is the vision of Mr. Zuo.
Teren Teng can become the "eternal queen" inseparable from Zuo Hongyuan's support. Before his daughter Zuo An'an was born, Teresa Teng was his "first daughter".
Zuo Hongyuan's singer who wrote the most songs in his life was Teresa Teng. Teresa Teng's famous works such as "Thousand Words", "Wine and Coffee", "What do you say", "I Can't Forget", " Haiyun ", and "How Can I Leave You" were all written by Mr. Teng.
selected representative works and gave the interlude "Thousand Words" of the 1973 movie "Colorful Clouds Flying".
3, "Seeing Her Again" 1981 1981
Qi Qin is the "spiritual city" mentioned by Luo Dayou. His voice is "inlaid with gold edges" in the eyes of Li Zongsheng .
Qi Qin, who was extremely talented, was influenced by musicians such as Zuo Hongyuan, Li Taixiang , Qi Yu in the early days, and formed his own creative style after releasing the old and accepting the new.
In 1981, 20-year-old Qi Qin released her first album "Seeing Her Again". The song of the same name composed by Zuo Hongyuan attracted the attention of Qi Qin in the music industry.
"Seeing Her Again" was later covered by many singers and was a song on the list of CCTV Spring Festival Gala many times. Zuo Hongyuan, who is skilled in the creation of folk songs, also wrote minor tunes such as "Where the Wind Comes", "Nanuwa Love Song", and "Treading the Waves".
4, " thousand years wait for " 1992 Gao Shengmei
Zuo Hongyuan can be described as "crazy output" in TV drama songs. From many popular Qiong Yao dramas in the 1970s, 1980s and 1990s to almost all the song soundtracks of the TV drama "The Legend of the New White Snake", as well as the theme song "The Legend of Xiangshuai" "The World" and the theme song "The Queen of the Great Yuer" "Smiling in the Dream of the Mountain", Mr. Zuo took care of almost all the compositions.
selected the song with the highest popularity in China. The author believes that it was "Waiting for a Millennium" sung by Gao Shengmei in 1992, and almost everyone in the old, young, women and children can sing it.
5, " Snail and Oriole " 1979 Yinxia
Zuo Hongyuan's comprehensiveness lies in the fact that in his era, he could leave his masterpieces in almost all music fields.
Children's songs are an important musical species in music. Many of the songs sang by our children now are actually written by Teacher Zuo Hongyuan, such as "The Story of the Doll", "The Ugly Duckling", "The Big Rooster", "Outlook", etc.
When it comes to the most familiar nursery rhyme for mainland fans, the author believes that it is "Snail and Oriole".
In addition to the songs mentioned above, such as Cai Xingjuan's "Tangshan Passes Taiwan", Yang Yuying's "Waiting for Youth for Ten Thousand Years", Zhang Zhen's "I Waited for Youth", Chen Mingzhen's " Big Red Lantern Hanging High " and so on are all works by Mr. Zuo.
1982, a musician who grew up from old-school Mandarin songs and campus folk songs brought Mandarin songs to a new development direction with his "breaking gong" version of the roar. From then on, the Chinese music scene has gained strength and temper. He is Luo Dayou, who is recognized as a music master in the Chinese music scene.
Luo Dayou was born in 1954, 24 years younger than Zuo Hongyuan, but it was this young man who influenced the Chinese music scene for at least 20 years and became the "one left and one right" in the Chinese music scene that was comparable to Zuo Lao.
There is actually no need to say anything about Luo Dayou, because the age is not that long, so his songs still have strong vitality.
Zuo Hongyuan has made great achievements in the fields of folk songs, TV and movies, children's songs, and opera, and Luo Dayou is not giving in to these fields.
But the difference between Luo Dayou and Zuo Hongyuan is that his music has an extra layer of epic flavor. His "Youth Trilogy" "Zhihuzheye", "Youth Dance" and "The Future of the Lord", his "Family and Country Trilogy" "Queen Avenue East", "Original Country" and "Capital", his "Love Trilogy" "Love Song 1980", "Love Song 1990" and "Love Song 2000", while their melodies are beautiful, they all have realistic meanings and awakening the world.
Luo Dayou seems to be a "musical thinker".
children's song field, Luo Dayou has sang "Childhood" for 40 years; in the love song field, he has "Flowers on the Sea", "Proverbs of Love", "Silent Expressions" and "Dream Chaser" that even if he speaks romance, he has sensational feelings; in folk songs and ballads, Luo Dayou has "Does", " Wild Lily also has spring " and "Ship Song".
As for the cooperation with singers, Liu Wenzheng , Zhang Aijia , Su Rui , Pan Yueyun , Zhen Ni , Huang Yingying , Teresa Teng, Chen Shuhua , Chen Huixian , Qi Yu, Anita Mui , Feng Feifei, Zhang Jacky Cheung , Yin Zhengyang , Zhou Huajian , all the king queens.
The influence of Luo Dayou's critical realism include Lee Zongsheng, Zhang Hongliang , Zheng Zhihua , etc. Zhou Huajian, Harlem Yu, Zhang Yu , Huang Guolun , Wu Bai and others have all extracted inspiration from Luo Dayou's works in their creations.
He is called the "beacon of music" by his colleagues and younger musicians. Even if he is as arrogant as Leehom, he publicly said: Where there is Luo Dayou, please don't call me elder brother.
This is the "one left and one right" in the Chinese music scene. Because of them, many fans born in the 50s, 60s, 70s, 80s and 90s have their favorite songs, and many outstanding musicians in the Chinese music scene are influenced by them and then influenced others. This kind of passing on from generation to generation has nourished the Chinese music scene.
Because of the confusion, the introduction to "one left and one right" ends here. Fans are welcome to criticize and correct me, please like, pay attention and spread!
