Liusuola Composer, vocalist, writer, music producer. Graduated from the Composition Department of the Central Conservatory of Music, his early works include novels (won the National Novella Award), "Blue Sky and Green Sea", "Looking for the King of Singers", etc.His early musical creations included the rock opera "Blue Sky and Green Sea" and the symphonic poem "Liu Zhidan".During his emigration in the United Kingdom and the United States, he wrote novels, "The Little Story of the Great Stepfather" (), and recorded music albums "Blues in the East" (top ten of the world music charts in the United Kingdom and the United States), "China Collage", etc.After returning to China, he founded the graphic audio publication "Liu Sola Art Factory Series" (published by Shanghai Wenhui Publishing House), and established the "Liu Sola and Friends" modern national chamber band.Currently creating a large-scale chamber music opera, this opera will be jointly toured in Europe by the European "Modern Chamber Orchestra" and "Liu Sola and Friends" band since 2006.

【Host Notes】 I couldn't be more familiar with Sola.The interview was conducted half-lying on the king-size bed in her loft bedroom in the "798 Factory". There was a long wooden tray on the bed, filled with various fruits, snacks and drinks.Before I started talking, I suddenly found out that I forgot to bring the tape recorder when I went out in the morning, so Sola called Master Zhao from northern Shaanxi who usually drove her, and he also accompanied me to sit in the black "red flag" and go home to get the tape recorder , drove back to her house again, climbed into the big bed again, opened his posture and said, halfway through the talk, suddenly found that there was something wrong with the tape, and it was not recorded at all.So La scolded angrily: "You are so unprofessional, I have been serving you for a long time without even recording a single word!" After speaking, the two laughed, so they had to change the tape and start from the beginning.

Sola and I met for the first time at a meeting in the spring of 1990. The meeting was rambling from Norway to Sweden.Many years later, I recalled the scene in the preface I wrote for Sola's novel "The Little Story of the Great Step-Family" (renamed in the mainland version): "We were the only two women at the meeting, and we lived in a hotel room, and we got to know each other right away. Yes. There was a meeting during the day, and everyone was talking about the present, the future, why and how to do it. Sola sat there quite languidly. At night, we each leaned on a big pillow and talked to each other. It was all about the past. She was energetic Here we come, all kinds of gestures, expressions, punchlines, and criticisms are overwhelming.

Speaking of the second half of the night, the eyes are getting bigger and more radiant.When I woke up the next day my face was a little green.The sleepless meeting lasted for ten days, and I came to two conclusions: one is that this person is very nostalgic, and the other is that this person can tell the old things in flowers. " Thinking back now, that was the first long talk between the two of us, and the one we talked about the most was actually in the 1980s. In this talk, Sola has extremely keen reflections and criticisms on various mentalities of Chinese artists including herself and various problems of Chinese education.A few years ago, I read a set of music reviews written by her on "Music". In a short space, I savored the evolution of Western music, integrating professional knowledge, intuitive insights and refined words. , as chewy as a plate of spicy dried radish.Going on a long trip in the 1980s, Sola's "stage number" after returning was indeed higher.

Time: July 14, 2004 Location: No. 2, Jiuxianqiao Road, Dashanzi, Beijing Zha Jianying: You just said that the 1980s was a "fashionable era", please elaborate. Liu Suola: Actually, think about it, China in the 1980s was a bit like the 18th and 19th centuries in Europe—information was not developed, and any artistic event in any country would enter the annals of history, right?Then in China, the "Cultural Revolution" cut off all the information with a bang, and as soon as the "Cultural Revolution" was over, the first batch of various cultural trend figures appeared immediately, and it became a matter immediately, because the country was actually closed.Just like in Europe in the past, every country was closed, they felt that there were only a few people, and they didn't know what was going on outside, so the West always thought that they had music before the 20th century.The Chinese modernists in the 1980s actually relied on the little information that came in, and they were bold enough to save that little information and produce something. In fact, it was because of the fact that in this country It never happened, so everyone was like: Wow!The whole country is directed at these few people, exaggerating their achievements, exaggerating so many times, it is no longer what it used to be.If these people are not careful, they will feel that they are rare geniuses in this century, because they have been exaggerated to such an extent by such a big country, and they are not characters.

Immediately afterwards, foreign invitations to these various trendsetters came, and various foreign rewards also came.This is about to kill someone, because the change of fate immediately brought a lot of psychological problems.For example: if you go abroad and become an artist, once you step out of the country and face the big world, you suddenly realize that you are nothing; moreover, if you don’t go abroad, just hide here, just close your eyes and enjoy your life The feeling of characters, but this feeling will not last long, because after five or ten years, those people who went out will come back and say that this is actually the case in foreign countries, which will immediately bring you another sense of imbalance.Then again, anyone who is as good as five people or six people here has the opportunity to go abroad. Once you go out, even if you are a representative of the Chinese government, you are not guaranteed to be disappointed.Unless you are always with people from the embassy, ​​hang out with receptionists and tour guides, as soon as you really get in touch with people outside and regard yourself as one of them, you will immediately feel a sense of loss.

Zha Jianying: When a big fish in a small pond goes into the sea, it suddenly finds itself a small shrimp. Liu Suola: Yes, the more you take yourself seriously, the more you feel lost! Cha Jianying: Seeing other big fish makes me feel scared and uncomfortable. Liu Suola: Yes.This will result in two reactions: the first reaction is more positive, and they will simply put down their airs, forget the little sense of accomplishment in the 1980s, and be a grandson when they are grandchildren, starting from the beginning.This process is very long, because the civilization and cultural system in foreign countries has been passed down for many generations. People say that four generations cultivate a gentleman.In foreign countries, any scholar or artist matures after a long period of work and accumulation. Even stars in popular culture grow up in a long-term strong cultural atmosphere. They face aesthetic choices and training since childhood, and Professional training in entertainment culture, etc.All of these are determined by time and environment, so artists who leave China face a very difficult and long journey to become grandchildren from scratch.The second reaction is: I simply don't read it, I don't admit it, anyway, I'm too late, and I don't admit it.