在作曲家们都在努力通过使用无调性和怪异的节拍以求独特和现代的这样一个时代，黄晓枫创作了一首令人耳目一新的以传统和声为主体结构的大提琴协奏曲。《中国女孩》的独特之处在于作曲家出色的把中国的旋律融合在西方传统和声中。我相信在标准的大提琴曲目里，这部作品值得稳稳的占有一席之地。 对于独奏者来说，黄晓枫的协奏曲所提供的技术挑战是前所未有的，远远超出了目前的所有曲目。因此，它甚至可以把最高超的演奏家带上另一个层次。就像德沃夏克的大提琴协奏曲带来了新的大拇指把位和弓法，或者像海顿的那些协奏曲要求熟练掌握音阶和几个八度的跨越，《中国女孩》展现了大提琴独奏者的能力如：敲定具有挑战性的和弦，八度双音阶和琶音滑奏，和上弓小顿音连弓等技巧 (只举几例）。独奏者可能会在手指上新的一些地方练出老茧。
In an age where composers are striving to be unique and modern through the use of atonality and odd time signatures, Austin Huang has composed a cello concerto that is refreshingly traditional in harmonic structure. What makes "Chinese Girl" unique is the way the composer brilliantly blends Chinese melody with traditional western harmony. I believe it is worthy of having a solid place in the standard cello repertoire. For the soloist, Austin`s concerto offers technical challenges that may stretch far beyond what has ever been done and can bring even the most masterful performer to another level. Just as Dvorak`s cello concerto presented new exercises in thumb position and bowing techniques, or Haydn`s concerti demanded expertise in scale execution and multiple octave leaps, "Chinese girl" showcases a cello soloist`s ability to hammer out challenging chords and play octave scales and arpeggios with glissandos and up bow staccato techniques just to name a few. The soloist might have to develop calluses on his or her fingers in new places. What might make this concerto most gratifying to both performers and listeners is the triumphant marriage of gorgeous Chinese melodies with standard traditional western harmony. To my knowledge, this is something that has not been done in a cello concerto previously, and is done here to the highest standard of perfection. The slow melodies are so haunting at times that they could possibly bring even the most hardened critic to tears. As a whole, Austin Huang`s cello concerto is the perfect blend of beautiful Chinese melody,exciting displays of technique, and brilliant conversations between orchestra and soloist.
One of my favorite moments in the first movement is, after the band introduces the different sections of the work, when the cello soloist makes his or her entrance in the form of a cadenza that demands the highest level of playing. If the audience has not already been captured by the imaginative symphonic introduction, this cadenza, if done well, should certainly win them over. This is also another aspect of the work that is unique and well thought out. Austin has offered us a work that is worthy of exploration and execution. "Chinese Girl" will always be highly recommended by me.
Matt Rehfeldt Cello Soloist mattrehfeldt.com