Twenty-nine years ago today, on December 28, 1996 (November 18, 1996 lunar calendar), the music master Peng Xiuwen passed away. In the early morning of December 28, 1996, in the west of Beijing, Mr. Peng Xiuwen, known as the pioneer, famous composer and conductor of modern Chinese national orchestral music, forever dropped his hands that have touched the heartstrings of countless people. Peng Xiuwen had just finished writing the score of the overture to the Hong Kong festival a week before his death. The 51-page score, from the sweltering summer in August to the depths of winter at the end of the year, was very difficult to write in the face of repeated warnings from doctors that absolutely prohibited work and the dissuasion and concern of his family. Perhaps he really knew that his time was running out, and on the title page of the score, he masturbated "finally a big thing on his mind". On the night of finishing the manuscript, his legs swollen with ascites were already difficult to walk, but he could not suppress the joy and ease in his heart, which also infected the friends who came to visit. He said that people must have personality and a country must have national character. For the major theme of Hong Kong ending a century of humiliation and returning to the motherland, his heart has long been impulsive with the desire to create. Although different artists can express themselves in different forms, he has identified his own way, just as his life is for the existence of a national band. He wants to use the tone and musical form of this nation to celebrate the return of Hong Kong heartily. No one can stop him, even the god of death will be deterred! Peng Xiuwen was born in Hankou on the edge of the Yangtze River in 1931. The loss of his family and country during his childhood has shaped in his heart a kind of ardent expectation and sense of responsibility for the country and the nation. Perhaps it is the origin of the scholarly family that makes him, like many traditional Chinese literati, infiltrate with the times and history with his own life. How to promote the glory of tradition into the future and recreate the glory of China? He chose the form of national orchestral music as his own effort to build a new Chinese culture. Over the past few decades, from "Yao Dance Music", "Colorful Clouds Chasing the Moon", "High Moon", "Full Moon", "Harvest Gongs and Drums", "Chaotic Clouds Flying", to "Two Springs Reflecting the Moon", the phonetic poem "Flowing Water Exercise", the symphony "Jinling" and "Little Swan", "Picture Exhibition" and other foreign music transplants. He has tasted almost all kinds of ensembles, suites, diversions, concertos, symphonic poems, symphonic orchestras and other musical genres and combinations of various bands by means of transplantation, adaptation, and creation. This effort has become the whole meaning of his life. He has never denied that he is a title composer. Each of his hundreds of works has an inscription, which is his heartbeat of singing the people, the motherland, the times and history with sound. Peng Xiuwen is always aware of the relationship between music and the audience. For this reason, he put the writing of melodies at the top of his creation, and even took comfort in people's identification of his melodies as folk tones. During the Cultural Revolution, he composed more than 300 Tang and Song poems at home to relieve his inner depression. Although these scores were not preserved, they activated his ability to write melodies. He did not receive any training in music academies, and his classes were in the folk. Under his advocacy, the China Radio Orchestra went deep into the folk many times, learning Zhoushan gongs and drums, the Inner Mongolia duo, Jizhong Shengguan music, Guangxi Wenchang... National bands can only gain new freedom by roaming in the ocean of folk music. It is precisely because of the nourishment of folk music that he has unique requirements and insights for band configuration and performance methods in conducting and interpreting each work, showing a unique style. His music makes people feel that artistic creation is by no means groundless, without deep life experience and traditional skills. Although it can produce new, it cannot produce essence or praise. He is a fan of opera. In his opinion, for Chinese musicians, opera is a mountain that cannot be bypassed. "Wen Ji Returns to Han", "Desolate Mountain Tears", and "Linfanbao" resonate with him. This is the agitation of national feelings, and this is also the tragic consciousness in the depths of his soul. He has written this into the oratorio repertoire he will write... There are too many things he wants to do! He has no time to care about people's words and world affairs. He just wants to hurry up, but time is so stingy! This big man from the river bank sang his life with a copper lute and iron plate! He has written a profound stroke with his life in the history of Chinese music in the 20th century. Just before his death, the Hong Kong Chinese Orchestra had just announced that he would be the artistic director of the troupe. The first director of the Chinese Orchestra after the handover of Hong Kong will never be able to take up his post. But who knows that the reason why he agreed to this two-year position despite his frail illness is to raise funds for his beloved orchestra to hold concerts and to continue the development of folk music!