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上个世纪八十年代,是我一生的黄金时代,那时我正在中央音乐学院工作。大概是1987年的三八妇女节前,教小提琴的黄晓芝老师委托我给她和在管弦系教黑管的陶纯孝、教大管的戴云华,以及钢琴系的周广仁四位老师写一个钢琴四重奏,准备三八节演出。那时我刚刚写完在文化部获奖的歌剧《火把节》,满脑子都是那些彝族音调,于是就把歌剧里的一些素材按照我前几年在上海音乐学院进修时学到的一些复调手法,写成一个乐章的四重奏《火把节的一个角落》。演出之后,我发现效果有些差强人意,后来又改成钢琴和一组弦乐四重奏
Eighties of last century, is the golden age of my life, when I was working at the Central Conservatory of Music. Presumably before the March 8 Women’s Day in 1987, Huang Xiaozhi, who taught violin, commissioned me to give her a piano quartet with four teachers, Tao Chunxiao, March 8 performances. At that time, I just finished writing the “Torch Festival” award winning opera in the Ministry of Culture. I was filled with the sounds of the Yi nationality and put some materials in the opera according to some of the polygons I learned a few years ago at the Shanghai Conservatory Technique, written in a movement of quartets “a corner of the Torch Festival.” After the show, I found some unsatisfactory results, and later changed to a piano and a string quartet