Ye Xiaogang: What should Chinese musicians use to talk to the world?
China News Service, Beijing, January 1 Title: Ye Xiaogang: What should Chinese musicians use to dialogue with the world?
Author Wang Ziwei Gu Yetao
There is such a saying in the classical music circle: people who like classical music will not be unaware of Mahler, and people who like Mahler will not be unaware of "Song of the Earth". In 1908, the Austrian composer Mahler created a symphonic suite of Songs of the Earth inspired by seven German-translated Tang poems from Hans Berg's "The Flute of China". The lyrics use famous Tang poems such as Li Bai's "Sad Song Line" and Zhang Ji's "Fengqiao Night Berth", which is unique in the history of Western music.
In 2004, at the suggestion of Yu Long, artistic director of the China Philharmonic Orchestra, Ye Xiaogang, a well-known Composer in China, used the same original poem as the lyrics under the name of "Song of the Earth" to create a new symphony work, and performed in many countries, continuing this "love affair between music and Tang poetry" that spanned time and space.
Ye Xiaogang, professor of the Composition Department of the Central Conservatory of Music and chairman of the Chinese Musicians Association, recently accepted an exclusive interview with China News Agency's "East and West Question" to talk about the creation process of the "Chinese version" of "Song of the Earth" and discuss how the two versions of "Song of the Earth" allowed the East and the West to meet deeply in the charm of Tang poetry.
China News Service reporter: "China's version" "Song of the Earth" is a new work that tells the story of China, what kind of opportunities and motivations allow you to create this work?
Ye Xiaogang: This is an extremely challenging job for anyone, and as a "European predecessor", Mahler's works have become famous in the history of music. Writing another edition of "Song of the Earth" is equivalent to writing another edition of the famous book "Red and Black", which requires a lot of courage.
But at the same time I have self-confidence. On the one hand, as a Chinese, I know more about Chinese culture, and I can think from the perspective of my mother tongue, and the Chinese cultural background has given me courage; on the other hand, as a Chinese composer, I have received a sound education and edification of various genres of Chinese and foreign music, which gives me the confidence to tell chinese stories with internationally recognized technology and academic support and with universal expressions.
China News Service: What are the similarities and differences between Mahler's "Song of the Earth" and your "Chinese version" of "Song of the Earth"?
Ye Xiaogang: The Song of the Earth that I created has little in common with Mahler's version except for its name. Mahler's Song of the Earth was completed 100 years ago, translated from Tang poems to French and then to German, but the meaning is already unknown. He had some inspiration for Chinese poetry, but the context (unlike the original Tang poems) was completely different and understood from his own perspective. The Song of the Earth I created uses the original Tang poems, drawing on the enterprising spirit of Chinese poetry, such as Li Bai's works, which are mostly not decadent and disappointing. So my music is also positive.
Mahler was in the late stages of writing this work, and he was somewhat disappointed in the world, so with an indescribable sense of disillusionment and sadness, he expressed a kind of melancholy and emotion after seeing the world clearly. In 2004, when I wrote Song of the Earth, I was middle-aged and ambitious about life, which was very different from Mahler's state.
I also used elements of opera performances, and the choice of instruments and melodies was also very Chinese, which made the two works very different.
China News Service: Can Western audiences accept this symphony and the combination of traditional Chinese music and culture? What is the mentality when enjoying the Chinese version of "Song of the Earth"?
Ye Xiaogang: During the tour in Europe and the United States, I think Western audiences also enjoyed the Chinese version of "Song of the Earth" with the mood of embracing new works.
The "mash-up" of Chinese elements and Western symphonies was accepted by European audiences, but not from the outset. Historically, the "Eurocentric" Continent had doubts about British music, but with the tireless efforts of British musicians, it finally recognized British music.
Russian and Nordic music has also gone through this process in Europe. For example, Russian music has its own set of logic, but because of their strong culture, it has gradually become popular in Europe, such as Shostakovich and Tchaikovsky, which are very popular with Europeans.
On November 28, 2021, a unique Chinese-style concert was played at Lincoln Center in New York, USA, where artists performed Ye Xiaogang's works. Photo by Liao Pan, a reporter from China News Service
China News Service: Will foreign musicians have obstacles in interpreting Chinese works?
Ye Xiaogang: Overseas musicians will not fail to understand my works, because music is the only language without barriers.
But their attitudes will change. When your music had not yet reached a certain level, people would not look up to you. It's like technology, when China asked the United States for space station cooperation, they didn't look at us. Now that our space station technology level has arrived, foreigners also want to use our space station.
Although symphony is a foreign art, as long as your musical expression of technical theory, composition and composition of music, etc. are not inferior to them, using a common way between China and foreign countries, you can express your own content, labeled Chinese, of course, everyone admits.
China News Service: After more than ten years of overseas touring, you are a representative of the contemporary practice of Chinese music "going out". What lessons do you want to share with creators, communicators, and listeners along the way?
Ye Xiaogang: "Going out" is a process of accumulation, and the influence of art is to be gradually expanded, which requires a long and tireless effort. The Chinese version of "Song of the Earth" premiered in 2005, and when it went to perform abroad, foreign audiences were a little confused after listening to it, thinking it was a good attempt, clapping, and nothing more. After 16 years, the record of this work really circulated in the international market, and everyone knows that your work is really good. This also takes time. This year, I released four records in a year, and the response was so good that I couldn't have imagined when I wrote "Song of the Earth.".
In the past, when it comes to China going out, it is nothing more than acrobatics, Peking Opera, and others will look at it fresh, just like we watch Indian music, just look at it, and we will not want to learn, because everyone will not feel that Indian music can express our own things.
However, the art of symphony is something that musicians around the world must master, so after works such as "Song of the Earth" come out, the international community must also weigh the weight of Chinese music. This is also thanks to the efforts of Chinese musicians over the years, I stand on everyone's shoulders.
I believe that with the strength of the country, the unremitting efforts of Chinese musicians, and the gradual influence of Chinese culture in the world, China's outstanding musical works will get their rightful place in the world.
On December 13, 2019, the Central Conservatory of Music Symphony Orchestra performed works by Contemporary Chinese composers such as Ye Xiaogang at Carnegie Hall in New York, USA. Photo by Liao Pan, a reporter from China News Service
China News Service: In your opinion, in the process of "building a bridge between China and the West with staves", what should contemporary musicians pay attention to? What are your experiences and suggestions?
Ye Xiaogang: My message to young musicians is: tireless, enterprising, modest and cautious, especially the courage to be enterprising, is very important, because no one can say that they have reached the peak. Every era has its peak, and later people see that our current music is a classic, which is the same as the exploration of Beethoven and Chopin at that time, and there were also people who did not recognize them at that time.
Young people now have a lot more information than we did then, but they need to keep a clear head, keep a humble, low-key, and hard-working attitude so that there is no end. It was a personal and unforgettable experience.
In addition, today's young people accept more Western and modern things, and chinese traditional culture is less exposed, especially traditional folk music, so their music is too international and there are few Chinese characteristics.
China News Service: You have repeatedly emphasized "Chinese characteristics", what is the significance of "Chinese characteristics" for future Sino-Western music exchanges?
Ye Xiaogang: I think there is no problem with Sino-Western exchanges, but It is difficult to say about China's influence on the outside world. Chinese composers have a certain influence internationally, but they are not very large. We have not yet developed a situation like the influence of the Russian schools on the world in the 19th century, because everyone is too modernist and too synchronized with the world. But in fact, China has characteristics, and Chinese characteristics are the reason for our righteousness, and modernism is not. Therefore, it is important for young musicians to be localized and grounded in the creative process.
In my opinion, the advantage of Chinese musicians, the main reason why Chinese music can gain a foothold in the world is "Chinese characteristics". Chinese culture is very unique and its influence will grow. Historically, China was the most powerful country in the world, and if we want national rejuvenation, national rejuvenation, and cultural rejuvenation now, we need cultural development and prosperity. From this point of view, the Chinese version of "Song of the Earth" is timely.
For our generation, increasing international influence requires only a few moments; for Chinese music as a whole, it takes a little more time. (End)
Respondent Profiles:
Ye Xiaogang. I provide the picture
Ye Xiaogang, Professor of Composition and Doctoral Supervisor of the Central Conservatory of Music, Dean of the School of Music of the University of Chinese, Hong Kong, Shenzhen, is currently a member of the Standing Committee of the Chinese Political Consultative Conference, vice chairman of the All-China Federation of Literary and Art Circles, chairman of the Chinese Musicians Association, and vice chairman of the United Nations International Music Association. The first "four batches" of talents selected by the Central Propaganda Department, experts enjoying special allowances of the State Council, music educators, and representative figures of contemporary Chinese music creation. His major works include symphony, chamber music, opera, dance drama, film and television music, etc., and his representative works include symphony "Horizon", "Great Wall Symphony", chamber music "Eight Horses", "Namtso", dance drama music "Shenzhen Story", "Macau Bride", opera "Yong farewell", "Yongle" and so on.