UDC 78.071.1
DOI: 10.36871/hon.202303083
Authors
Wang Jing,
Russian State Specialized Academy of Arts, Moscow, 121165, Russian Federation
Abstract
The article is devoted to the history of the formation of the piano concerto genre in the musical art of China. Due to the late development of the piano, an instrument alien to the culture of the Celestial Empire, all the stages of mastering the piano and comprehending its specifics by Chinese musicians have been completed in just over a hundred years. Despite the fact that the piano concerto came to the attention of Chinese authors much later than other European genres, it turned out to be very consonant with their mentality. The work chronologises the gradual development of the piano concerto in Chinese musical culture — through the “introduction” of classical examples of European composers into the repertoire in the early XXth century, to its development first by the Russian-born composer A. Avshalomov, and then by Chinese composers Jiang Wenye and Zhang Xiaohu. Based on the research of musicologists Guo Hao and Wu Jiajun, the article defines the periodization of the formation of the piano concerto in China and notes the characteristic trends in the work of Chinese composers in their approach to the interpretation of this genre and their special attitude to the programme. The paper reveals the constant features of the classical piano concerto mastered by Chinese composers and the new things they brought to this genre in the process of adaptating it based on the national musical tradition.
Keywords
piano concerto, A. Avshalomov, Ding Shangde, Shanghai Municipal Orchestra, Jiang Wenye, Zhang Xiaohu, “Yellow River” piano concerto, Yin Chenzong, programme
