mental or vocal, of Chinese music led to the belief that interest in Chinese music among the younger generation was slight. Secondly, we wanted to test out public reaction to an experiment which involved the formation of a small orchestra of Chinese instruments in a combination quite different to the traditional form and an attempt to harmonize these instruments in western, rather than Chinese, style. The reaction to the programme, both from the public and the press, exceeded all expectation. All available tickets had been distributed within a few hours of the first announcement being made and subsequent press articles and listeners' letters used such phrases as 'an event of rare occurence', 'an unforgettable musical concert', 'deserves deep admiration'. One press article expressed the hope for 'an opportunity to enjoy such a successful concert for a second time, and even a tenth or hundredth time'.
30. This concert consisted purely of instrumental music, with solo artists performing on the Chin, Yang Chin, Erh Wu and Pipa, an orchestra of nine players, and a quartet. The orchestra used consisted of Erh Wu, 2nd Erh Wu, Chung Wu, Yeh Wu, Pipa, Flute and Percussion and in addition a 'bass fiddle', a new instrument which gave depth to the group and which was designed and made especially for the concert.
31. Immediately after this concert, plans were being made for a second public concert, this time of art songs, to be held in Kowloon. Having made the first successful step in giving a new life and vigour to Chinese music, this second concert was to take the experiment a stage further, by replacing the piano as the accompanying instrument in art song recitals by the orchestra of Chinese instruments; at the same time plans were also being laid for larger public concerts and a further development of the experiments during the 1959 Festival of the Arts.
32. The prospects for this development are exciting and it is not too much to hope that from these small beginnings a new school of music may grow; considerable interest has been evoked outside the Colony in both the United States and the United Kingdom.
33. Such public concerts are the culmination of many weeks of work, which goes on side by side with the production of regular music programmes.
34. Twenty four full length operas were broadcast from theatres during the year, whilst commercial recordings were used in the daily Cantonese opera broadcasts 'Full Dress Drums and Cymbals'. Cantonese
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