Month: March 2024

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Ma Ke (1918–July 27, 1976) was born into a Catholic family in Xuzhou, Jiangsu Province. His name was inspired by Saint Mark from the Gospel. He composed over 200 music works, including widely popular songs like “Nan Ni Wan” (1943), “We Are the Democratic Youth,” “Workers Have Strength,” and “Lv Liang Mountain Grand Chorus”; yangge (Chinese) opera “The Literate Couple”; operas “Zhou Zishan” (co-composed with Zhang Lu and Liu Chi) and “The White-Haired Girl” (co-written with Qu Wei, Zhang Lu, and Xiang Yu); and the orchestral “Shaanbei Suite.”

Ma Ke’s musical journey began in 1935 at a middle school in his hometown, where he became involved in the anti-Japanese invasion and salvation song movement. In 1937, after the outbreak of the Second Sino-Japanese War, he joined the Henan Resistance Against Enemy Support Association Drama Troupe and the National Government Military Commission’s Resistance Against Enemy Drama Troupe, where he was responsible for conducting and music composition. During this period, he composed over 200 battle songs, including “Guerrilla War Song,” “The Call of Taihang Mountain,” “Defend Luoyang,” and “Lv Liang Mountain Grand Chorus,” which had a significant impact among the masses.

In 1939, Ma Ke arrived in Yan’an and worked at the Lu Xun Academy of Arts Music Work Troupe, where he received guidance from Xian Xinghai and Lv Ji and recorded and organized a large amount of folk material. After the liberation, he became the vice-president of the China Conservatory of Music and was involved in music activities in the areas of resistance in Japan-occupied Northeast China.

During the Spring Festival of 1943, in response to Mao Zedong, a new yangge opera movement (based on folk song and dance) was launched in Yan’an. Ma Ke participated in the Lu Xun Academy’s yangge team, writing scripts, composing music, and joining in singing and accompaniment.

After the establishment of the People’s Republic of China in 1949, Ma Ke moved to Beijing to become the head of the opera department at the Central Academy of Drama, a researcher and director of the music research office, and later the president of the China Conservatory of Music and the head of the China Opera and Dance Drama Theatre. He also served as the editor-in-chief of the “People’s Music” magazine.

In music theory research, Ma Ke made significant contributions, including a study on Xian Xinghai, and addressed various issues such as the development of new opera, reform of traditional opera music, revolutionary music tradition, and mass music life. He wrote books and over 200 papers, including “Talks on Chinese Folk Music” and “Casual Discussions on Songs of the Times.”

Ma Ke made important contributions to song and opera composition and music theory. In 1978, some of his songs were compiled and published in “Selected Songs of Ma Ke.” His collective work “Requiem” (哀乐) is frequently used for funeral ceremonies in China.

Even when Ma Ke was bedridden due to persecution by the “Gang of Four,” he remained dedicated to creating new works. He passed away on July 27, 1976.

“Shaanbei Suite,” one of Ma Ke’s influential instrumental works, was composed in the spring of 1949 at the request of the Lu Xun Academy’s Music Work Troupe in the Northeast. To create this modern orchestral piece, Ma Ke extensively studied European symphonic music and drew from his personal experiences, choosing a theme familiar to him–Shaanbei’s scenery, customs, and historical evolution.

The work was originally planned as a large suite with three movements: the first depicting the joyful life of Shaanbei people; the second reflecting the civil war in Shaanbei and the final victory in the war; and the third portraying the people of Shaanbei in the construction of a new China. However, only the first two parts were completed during his lifetime, and only the first movement with two sections was formally performed and published.

“Shaanbei Suite” skillfully combines Shaanbei folk tunes, Chinese national instruments like the banhu fiddle, and folk percussion with modern orchestration, creating a symphonic picture rich in local characteristics. Ma Ke incorporated many Shaanbei folk tunes such as “Xintianyou,” “Ni Mama Da Ni,” “Renren Dou Shuo Zan Lia Hao,” folk songs “Liu Zhidan,” “Jian Jian Hua,” “Tui Xiao Che” (Zhang Lu’s folk song adaptation), and organically integrated these folk tunes into a contrasting yet harmonious two-movement suite structure.

The suite was premiered in 1949 by the Lu Xun Academy of Arts Music Work Troupe Orchestra in Shenyang, conducted by Wang Zhuo. After revisions by the author, it was published by the Chinese National Association of Musicians in 1952. In 1958, Xie Zhixin adapted it for Chinese orchestra, and the score was published by Music Publishing House.

The first movement of “Shaanbei Suite” is in a modified binary form. The work begins with a tranquil and slow introduction, leading to the first theme (G shang or re-mode, 2/4 meter) inspired by “Ni Mama Da Ni” (belonging to a song type called “Xintianyou” that has a set of rules for lyrics writing), which is melodious and lyrical. The second theme (G yu or la-mode, 2/4 meter), played by the oboe and clarinet, is lively and cheerful, and is derived from another “Xintianyou”-type song “Renren Dou Shuo Zan Lia Hao.”

The second movement starts with a short introduction, leading to an excited and passionate melody (B-flat major, 2/4 meter), a fusion of “Tui Xiao Che” and “Liu Zhidan.” This theme, when played by the flute and strings, evokes memories of the revolutionary pioneer of the Shaanbei base area, Liu Zhidan.

The entire second section is developed from variations of three similar songs, alternating between tender singing, lively counterpoint, intimate narration, and unrestrained joy. The climax is reached when the orchestra repeatedly plays the cheerful melody, depicting the labor and life of the Shaanbei people. The suite ends with a yangge dance.

You can watch a performance of Ma Ke’s “Shaanbei Suite” at the following link:

https://www.bilibili.com/video/BV1SE411F7Pw?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Jiang Dingxian (1912–2000), born in Wuhan, Hubei Province, was a prominent Chinese composer known for his works such as the piano piece “Lullaby,” the symphonic poem “Misty Waves on the River,” the symphony “Vicissitudes,” the film music for “Early Spring in February,” and the collection “Selected Songs of Jiang Dingxian.” He was deeply influenced by the revolutionary context of his time, as his father had participated in the Xinhai Revolution.

In 1930, Jiang was admitted to the Shanghai Conservatory of Music, where he studied composition under Huang Zi and piano, excelling in both. During his studies, he composed many songs and participated in various performances. His piano piece “Lullaby” won the second prize in a competition for Chinese-style piano pieces, organized by Alexander Tcherepnin.

In the autumn of 1934, Jiang became the music editor for the Shaanxi Provincial Department of Education. Two years later, he worked with the Experimental Orchestra of the Shanghai Amateur Experimental Drama Troupe, conducting, composing, and performing piano. After the outbreak of the Second Sino-Japanese War, he held various positions, including editor for the Ministry of Education’s Music Education Committee and professor of composition and piano at the Hubei Institute of Education.

In 1936, Jiang composed the song “Years Go By” (selected as one of the classic Chinese music pieces of the 20th century in 1993), the theme song “New China March” for the film “Life and Death with the Same Heart,” and music for several plays. During the war, he composed patriotic songs such as “Kill the Traitors,” “Fight the War to the End,” “For the Sake of the Motherland,” “Green Blood,” and “National Mourning,” as well as pieces like “The Cry of the Deer” (chorus), “Waves,” “Trees,” “Little Horse,” and supported students in researching, arranging, and singing folk songs, including the popular “Kangding Love Song.”

In 1950, when the Shanghai Conservatory of Music merged into the newly established Central Conservatory of Music, Jiang was appointed at the latter as a professor and head of the composition department. From 1961 to 1984, he served as the vice-president of the Central Conservatory of Music. He was a member of the fifth to seventh National Committee of the Chinese People’s Political Consultative Conference, attended the first to fourth National Congress of Literary and Art Workers, served as a member of the Federation of Literary and Art Circles, and was a member and executive member of the first to fourth councils of the Chinese Musicians Association. He also represented the Chinese music community internationally, serving as a judge at the World Festival of Youth and Students in Poland, attending commemorative events for Hungarian composers Béla Bartók and Franz Liszt, and participating in the Asian Composers Conference.

Throughout his 60-year teaching career, Jiang’s students spread across the world, contributing significantly to the field of music education. He was known for his broad knowledge, rich experience, and ability to inspire independent thinking in his students. Jiang also wrote articles such as “The Problem of National Style in Harmony,” “Commemorating the 150th Anniversary of the Birth of Hungarian Musician Liszt,” and “Commemorating Huang Zi.”

“Lullaby,” composed in 1932, is a piano piece in ternary form and one of Jiang’s award-winning works in the 1934 competition organized by Tcherepnin. The piece is notable for its use of a five-note pentatonic la-mode mode theme, creating a contemplative and melancholic atmosphere. The music is characterized by its simple and natural flow, colorful tonality, and strong Chinese style. The structure of “Lullaby” consists of a first section that introduces a lyrical Chinese-style theme, a contrasting middle section with impressionistic elements, and a final section that revisits the main theme with ornamental variations, ending the piece in a dream-like ambiance.

You can watch a performance of Jiang Dingxian’s “Lullaby” at the following link: https://www.bilibili.com/video/BV1Wy4y1H7WJ?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Jiang Wenye (June 11, 1910 – October 24, 1983), originally named Jiang Wenbin, was a Taiwanese composer of Hakka descent, born in Tamsui District, Taipei (formerly part of Tamsui County, Taiwan). He created a wide range of music works, including 12 large orchestral pieces, 1 piano concerto, 5 dance dramas, 8 chamber music pieces, 12 piano collections, 12 song collections, 4 religious music works, several choral pieces, and arranged over 100 Taiwanese folk songs.

Jiang’s musical journey began in 1918 when he enrolled in the Xiamen Xuying Academy. At the age of 13, he moved to Tokyo, Japan, to study at an elementary school, and later attended Ueda Middle School in Nagano Prefecture, where he developed a keen interest in music. After graduating from middle school, he followed his father’s wish to study electrical engineering at Musashino Koto Kogyo Gakko (now Tokyo City University), but his love for music led him to take extracurricular lessons at the Tokyo Music School, studying vocal music and music theory under Kunihiro Hashimoto.

In 1932, after graduating, Jiang won a vocal music competition organized by the Tokyo Times, a pivotal event that steered him towards a career in music. The following year, he won another award and was recognized by the opera conductor Yoshie Fujiwara, who hired him as a baritone for his opera troupe. In 1933, Jiang began to focus on composition, studying under Japanese composer Kōsaku Yamada and joining the Japan Association of Emerging Composers.

In 1934, he composed his first work, the orchestral piece “Taiwanese Dance,” which won a silver medal at the 11th Olympic International Music Competition in 1936, making it one of the earliest Chinese works to receive international recognition. His success continued with four consecutive composition awards in Japanese national music competitions. Russian-American composer Alexander Tcherepnin published Jiang’s piano pieces “Little Sketches,” “Three Dances,” “Sixteen Pieces,” and the vocal piece “Taiwanese Mountain Compatriots Song.”

After 1935, Jiang’s reputation as a composer solidified in Japan with numerous awards and a steady stream of compositions. His “Symphony on a Bon Festival Theme” (named after the Japanese Buddhist festival to honor the dead) won third place in Japan’s third national music competition. In the autumn of 1938, at the invitation of music educator Ke Zheng, Jiang moved to Beiping (now Beijing) to teach composition and vocal music at the National Beiping Normal University. During this time, he began studying Chinese classical music and composed the large orchestral piece “Confucian Temple Rites.”

During the Japanese occupation of Beiping, Jiang wrote songs that aligned with the propaganda needs of the Japanese. After returning to China, he immersed himself in researching ancient Chinese music and theory, and wrote extensively about his experiences in Beijing. Following the end of World War II, Jiang was arrested and imprisoned for his association with the pro-Japanese organization “Xinminhui” during the war. After his release, he briefly taught at a Hui Muslim middle school in the suburbs of Beiping and composed a significant number of Catholic hymns in Chinese modes.

From 1938 to 1945, Jiang produced many works with beautiful melodies and Chinese style, such as “Spring Dawn,” “Quiet Night Thoughts,” “Spring Night in Luocheng Hearing the Flute,” and “Fisherman’s Joy.” Throughout his career, Jiang was dedicated to music education, teaching composition, orchestration, and music analysis. His students were numerous and benefited from his meticulous teaching style.

“Taiwanese Dance” was composed in 1934 and is one of Jiang’s earliest and most famous works. The piece was inspired by the Taiwanese folk dance “Fengyang Flower Drum” and uses modern compositional techniques. The music is structured as a ternary form with a lively first section depicting the joyful dance, a slower and more lyrical middle section, and a final section that returns to the dance theme. The piece uses two pentatonic scales, one without and one with a semitone, and is a fusion of traditional Taiwanese and Japanese modes.

You can watch a performance of Jiang Wenye’s “Taiwanese Dance” at the following link: https://www.bilibili.com/video/BV1Pa411m7hV?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Qu Wei (May 9, 1917 – May 20, 2002), originally named Qu Shixiong, was a renowned Chinese composer, music theorist, and critic. He was known for his works such as the opera “The White-Haired Girl” and the piano piece “Flower Drum.” He published over 20 articles and the compilation “Selected Works of Qu Wei.” Qu Wei also contributed as an editor to the complete works of Nie Er and Xian Xinghai and served as the editor-in-chief and advisor for “Chinese Music Education” magazine.

Qu Wei’s passion for music began in middle school, where he was exposed to a wide range of folk music and taught himself to play various instruments. In 1933, he enrolled in the Shanghai Xinhua Art College to study music and art. During his time there, he actively participated in the anti-Japanese invasion and salvation movement (kangri jiuwang movement, referring to the Second Sino-Japanese War) led by the then underground Communist Party.

In May 1938, Qu Wei joined the Chinese Communist Party in Yichang, Hubei, and engaged in underground Party work while promoting the anti-Japanese invasion and salvation movement through music. In November 1938, he joined the chorus of the China Film Studio in Chongqing as a piano accompanist. In October 1939, he was invited to the Second National Revolutionary Art Institute in Yichuan, Shaanxi, to serve as the head of the music department. He later moved to the Shaanxi-Gansu-Ningxia Provinces Border Region.

Starting in February 1940, Qu Wei taught at the Lu Xun Academy of Arts in Yan’an and attended the Yan’an Forum on Literature and Art. After the victory of World War II, he traveled to Northeast China with the academy and participated in local government construction, bandit suppression, land reform, and organizing performances in line with the progress of the Civil War. He held various positions, including deputy head of the Mudanjiang Lu Xun Art Troupe, deputy head of the Northeast Music Work Troupe, and deputy head of the political department’s art troupe of the Northeast Military Region (during the Liaoshen Campaign).

Following the Liaoshen Campaign’s success in November 1948, Qu Wei became the head of the music department at the newly established Northeast Lu Xun Academy of Arts. From 1950, he worked as a composer at the Changchun Northeast Film Studio and the Beijing Central Newsreel and Documentary Film Studio, and led the Central Film Bureau’s composition training class.

In September 1955, Qu Wei went to the Soviet Union to study composition at the Tchaikovsky Conservatory in Moscow. After returning to China, he worked as a full-time composer at the Shanghai Symphony Orchestra. From 1959, he composed numerous works, including the symphonic poem “Monument to the People’s Heroes,” movie music for “Revolutionary Family,” the orchestral suite “Brilliant Festival,” the large chorus “Ode to the Oil Fields,” the orchestral “Honghu Red Guards Fantasia,” the chamber music suite “Scenery of the Grasslands,” the piano and orchestra piece “Poem,” and the orchestral “Wuzhi Mountain Rhapsody,” among others.

Qu Wei held various positions, including executive director and vice-chairman of the Chinese Musicians Association, vice-chairman of the Shanghai Musicians Association, and chairman of the China Higher Music Education Society. He passed away on May 20, 2002, in his hometown of Changzhou while working on the orchestration of “The White-Haired Girl.” The orchestration was completed by composer Ma Youyou and published by the Shanghai Music Publishing House in 2003.

“Flower Drum,” a piano piece composed in 1946, was inspired by the folk Yangge dance and reflects Qu Wei’s enthusiasm for folk music. The piece successfully combines Chinese musical language with the expressive capabilities of the piano. “Flower Drum” depicts the scene of the “Fengyang Flower Drum” dance, a traditional dance from Fengyang, Anhui, usually performed by a male and female dancer with a small gong and a small oval drum, respectively.

The composition is structured as ternary form, with a joyful first section, a slower and more lyrical second section based on the tune “Jasmine Flower,” and a final section that returns to the lively dance scene. The piece uses contrasting themes and variations, with a recurring drum rhythm that vividly portrays the joyful atmosphere of the dance.

You can watch a performance of Qu Wei’s “Flower Drum” at the following link:

https://www.bilibili.com/video/BV1xK4y1W7ff?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Ding Shande (November 12, 1911 – December 8, 1995) was a Chinese composer, pianist, and music educator from Yushan Town, Kunshan, Jiangsu Province. He held various prominent positions, including vice-chairman of the Chinese Musicians Association and honorary chairman of the Shanghai Musicians Association.

Ding graduated from Kunshan County Middle School in 1928, where he developed a deep love for music and learned to play various instruments, including the erhu, pipa, and organ. In the autumn of 1928, he was admitted to the National Music Institute’s piano department (later renamed the National Conservatory of Music), where he studied pipa with Zhu Xingqing and harmony with Huang Zi. A year later, he began studying piano.

Starting in 1931, Ding taught at the Shanghai Art College while composing patriotic songs such as “Forty Million Compatriots” when Japan invaded and occupied Northeast China. In 1935, he graduated with honors from the conservatory’s advanced piano class and held a solo graduation concert, becoming the first Chinese musician to perform a piano solo concert. He was then appointed as a professor at the Hebei Women’s Normal College and held concerts in Tianjin and Beijing, making a name for himself as a pianist. During the war, he founded the Shanghai Music Institute (later renamed the Shanghai Private Conservatory of Music) and engaged in music education while teaching at his alma mater.

From 1942, Ding studied composition with the German-Jewish composer Wolfgang Frankel for five years, focusing on composition. His breakthrough work was the piano suite “Spring Journey” written in 1945. After the war, he served as a piano professor at the Nanjing National Music Institute.

In 1947, Ding went to France for further study at the Paris Conservatory, studying counterpoint and fugue with Noël Gallon and composition with professors Tony Aubin, Boulanger, and Honegger. He also attended analysis classes by Messiaen. During his two years in France, he composed works such as “Three Preludes for Piano,” “Chinese Folk Song Theme Variations,” and “Symphonic Suite of New China,” earning diplomas in counterpoint, fugue, and composition.

Upon returning to China in 1949, Ding served as a professor, head of the composition department, and vice president at the Shanghai Conservatory of Music. He also held various positions, including vice-chairman of the Chinese Musicians Association, honorary chairman of the Shanghai Musicians Association, and honorary chairman of the Modern Music Society of the Shanghai Conservatory of Music.

Ding Shande passed away on December 8, 1995, in Shanghai.

Ding’s “First Xinjiang Dance,” Op.6, composed in 1950, is a piano piece inspired by the early days of the People’s Republic of China. The composition reflects the warmth, music and dance, and the hardships of the Uyghurs (Chinese writings generally refer to “Xinjiang” people without specifying their ethnicity, but the work contains Uyghur musical signifiers). It uses dissonance and complex rhythms, while showcasing both the era’s and the region’s characteristics.

The piece is a ternary form with a lively and joyful first section, a slower and more solemn second section contrasting with the dance rhythms, and a third section that returns to the dance scene. The work ends in a fervent atmosphere, expressing joy and optimism.

You can watch a performance of Ding Shande’s “First Xinjiang Dance” at the following link: https://www.bilibili.com/video/BV1DA411x7CQ?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Tan Xiaolin (1912–1948) was a renowned Chinese composer and pipa player, born in Shanghai, with ancestral roots in Kaiping, Guangdong. His works are characterized by a strong chamber music style, striving to break free from the constraints of traditional European musical techniques and incorporating 20th-century neoclassical compositional techniques with a fresh Chinese style. His music possesses the elegance and profoundness of Chinese court and literati music.

From a young age, Tan was passionate about Chinese traditional music and could play various instruments at the age of 7, especially excelling in erhu and pipa. He began self-studying composition at the age of 11.

In 1931, he enrolled in the Shanghai National Conservatory of Music, majoring in pipa and concurrently studying composition. In 1937, he switched his major to study composition with Huang Zi. During his time at the conservatory, he composed Chinese instrumental pieces such as “Midnight Chant” and “Spring Light on the Lake,” collected and organized a large number of Southern Jiangsu wind and percussion scores, and founded the “Hujang National Music Society” (“national music” or guoyue means Chinese music). He actively participated in progressive activities such as the “Aid Suiyuan Concert” organized by the progressive music community in Shanghai during the Anti-Japanese and (Chinese) Salvation or kangri jiuwang movement, during the period of Japanese invasion and occupation of parts of China (“progressive” or jinpu in this context refers broadly to Chinese modern, including anti-feudal and anti-Japanese-invasion politics).

In 1939, Tan went to the United States for further study, first attending the Oberlin Conservatory of Music and then transferring to the Yale School of Music two years later. He studied theory and composition under N. Lockwood, R. Donovan, and Paul Hindemith.

In 1942, under the guidance of Hindemith, Tan specialized in composition techniques and became one of Hindemith’s prized students. In the United States, Tan held several solo concerts featuring Chinese instruments. Hindemith accompanied him on viola and conducted performances of his works, including “Duet for Violin and Viola,” and “Romance for Viola and Harp.” Other works of the time include “String Trio,” “Since You Went Away” (solo voice), and “Parting” (solo voice). Among these, “String Trio” won the J.D. Jackson Prize.

In 1946, Tan returned to China and was appointed as the head of the composition department and professor at the National Conservatory of Music. Due to his profound knowledge, dedication to teaching, and empathy and care for progressive students, he was deeply loved by his students.

After returning to China in 1946, he was employed by the Shanghai National Conservatory of Music as the head of the composition department and professor. In his teaching practice, he introduced the theories and composition techniques of the modern American music school represented by Hindemith, and composed works such as the unaccompanied mixed choral work “Song of Righteousness” and the solo female voice “The Little Path.”

Tan Xiaolin passed away in August 1948 at the young age of 37 due to illness.

The “Duet for Violin and Viola” is a chamber music piece composed by Tan Xiaolin in 1943. The work gained significant recognition in the United States, earning Tan a scholarship from Yale University and a performance in Chicago, with Hindemith personally playing the viola part and recording the piece, receiving high praise from the American music community.

The piece uses the structure form of Western multi-movement suites, but each movement has its own distinct characteristics. The entire work consists of four movements, forming an overall “fast, slow, fast” pattern through the intense dynamic development of the first movement, the philosophical contemplation of the middle two movements, and the passionate emotion of the fourth movement.

The first movement (Allegro Vivace in B-flat major) has a ternary form. In the first section, short repeated notes and sequences are combined with leaps and slurs in the main theme, using a variety of violin playing techniques to vividly depict an enthusiastic and active musical image, as if sunlight illuminates the earth and everything competes for brilliance.

After the theme is presented in parallel in A and C in the second section, a six-measure connecting phrase leads to another iteration.

The third section is a shortened recapitulation, where the music pauses on the unstable D key, leading to a slow coda that is a variant of the main theme formed by rhythmic reorganization, full of expressive color and highly infectious. The final chord is a dominant chord in pentatonic la-mode, which allows the feeling of longing to linger.

You can watch a performance of Tan Xiaolin’s “Duet for Violin and Viola” at the following link: https://www.bilibili.com/video/BV1z44y187yV?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Ma Sicong (May 7, 1912 – May 20, 1987) was a violinist, composer, and music educator from Haifeng, Shanwei, Guangdong. He is regarded as one of China’s first-generation of composers and performers and holds a significant position in the history of modern Chinese music.

Ma began his music education at the age of six when he entered the Pui Ching Middle School attached to a church in Guangzhou. In 1922, his elder brother Ma Siqi, who had returned from France, gave him a violin, which became a lifelong companion.

During his adolescence, Ma had two opportunities to study music in France. The first was from 1924 to 1929, when he initially attended the Nancy Conservatory (then a branch of the Paris Conservatory). In 1926, he moved to Paris to study violin with Paul Oberdoerffer, a soloist at the Paris Opera. In 1928, he was admitted to the main Paris Conservatory to study in Boucherif’s violin studio.

After returning to China in 1929, Ma held solo violin concerts in Hong Kong, Shanghai, Nanjing, and Guangzhou from September to December. At the age of 17, his performances caused a sensation in the music world, and he was hailed as a musical prodigy.

In 1931, with the support of the Guangdong provincial government, Ma went to France again for further study. With the introduction of Oberdoeffer, he studied composition with Bénoni. The following year, he returned to China and became the president of China’s first modern privately established music conservatory, mainly performing in Guangzhou, Hong Kong, Shanghai, Nanjing, and Beijing. He also taught at the Guangzhou Conservatory of Music and the Education Department of Nanjing Central University.

From 1932 to 1936, Ma held solo concerts in Hong Kong, Taiwan (1932), Guangzhou (1933), Shanghai (1934), Hong Kong and Shanghai (1935), and Beijing (1936). Newspapers praised his outstanding performances.

After the outbreak of the Second Sino-Japanese War in 1937, Ma traveled around South and Southwest China, performing frequently and holding positions such as professor at Sun Yat-sen University, conductor of the China Symphony Orchestra, and director of the Guiyang Art Museum.

After the founding of the People’s Republic of China, Ma served as the president of the Central Conservatory of Music and vice-chairman of the Chinese Musicians’ Association for a long time. In 1967, he was targeted under the Cultural Revolution and went into exile in the US, where he passed away from heart disease on May 20, 1987.

Throughout his life, Ma Sicong composed a wide range of works, including symphonies, orchestral suites, piano concertos, sonatas, dances, chamber music, ballets, operas, choral works, songs, and violin pieces. His violin compositions from the 1930s and 1940s, such as “Lullaby” (1935), “First Rondo” (1937), “Inner Mongolia Suite” (also known as “Suiyuan Suite”) (1937), “Tibetan Tone Poem” (1941), “Pastoral Song,” and Violin Concerto in F Major (1944) are among his most influential works. After 1949, he composed three “Rondos” (one in 1950 and two in 1980), “Spring Dance” (1952), “Xinjiang Rhapsody” (1954), “Amis Suite,” “High Mountain Suite” (1973), and “Double Violin Concerto” (1982), making significant contributions to the development of Chinese violin music.

“Nostalgia,” part of Ma Sicong’s “Inner Mongolia Suite” (also known as “Suiyuan Suite”) composed in 1937, is one of his representative works. The theme of the music is derived from the Suiyuan folk song “Running Horses on the City Wall.” In 1937, as Japanese invaders trampled the vast lands of Manchuria and Northern China, students from the Northeast sang “My Home Is on the Songhua River” as they fled to the interior. After traveling through the North, Ma Sicong returned to Guangzhou and was inspired by a Suiyuan folk song to compose “Nostalgia.”

“Nostalgia” is in ternary form with variations in the middle section, contrasting in dynamics, tempo, tone color, tonality, and mood. The first theme is a slow, song-like melody that expresses the longing for one’s hometown felt by those far from home. The theme directly uses the melody of the Inner Mongolian folk song “Running Horses on the City Wall,” consisting of four short, equal phrases, each forming a descending wave-like line. The soft color of the pentatonic re-mode gives the melody a nostalgic and sorrowful tone.

The second theme is warm, set in E pentatonic do-mode, with a gradually accelerating rhythm. Double stops introduce a new melody, increasing the intensity and emotion, as if recalling happy times in the past.

The third theme portrays a lively childlike image, reminiscent of joyful childhood moments. While using the traditional ternary form, the piece also employs the variation technique common in folk compositions, reflecting a structure that combines the principles of ternary form and variation form.

The three variations in the piece not only bring the theme new images but also progressively heighten the emotions. The first and second variations reveal aspects of the theme through changes in mode, rhythm, and pitch range. The third variation is the climax of the piece, with significant changes in internal structure, melodic density, tonality, and tempo, giving the music a lively and bright atmosphere.

The piece ends with a brief conclusion. The final chord, a dominant chord in pentatonic la-mode, allows the feeling of longing to linger.

You can watch a performance of Ma Sicong’s “Nostalgia” at the following link: https://www.bilibili.com/video/BV1Rg4y1q7Nf?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

He Lüting, originally named He Kai and He Anqing, was a prominent musician and educator in China. Born in July 1903 in Xianchaqiao, Shaodong, Hunan Province, He was a celebrated Chinese musician and educator. In 1931, he was admitted to the Shanghai National Conservatory of Music, where he majored in piano and harmony. (Capitalized “He” in this article generally refers to the composer using his last name.)

In 1934, He Lüting participated in a competition for Chinese-style piano compositions organized by the Russian composer Alexander Tcherepnin, winning first prize with “The Cowherd’s Flute” and an honorary second prize with “Lullaby.” This success led to his tuition being covered by the school. Pathé Records produced and distributed records of his award-winning pieces both domestically and internationally.

That same year, He entered the film industry, with Nie Er introducing him to the Star Film Company to serve as head of composition. He contributed to the leftist film movement by composing over a hundred songs, including “Song of the Boatmen,” “Song of the Porters,” “In Spring,” “Lament of Separation,” “Nostalgia,” “Love Song,” and “Autumn Water and the Beloved.” His songs “Song of the Four Seasons” and “Song of a Wandering Female Singer” for the film “Street Angel” became classic representatives of his film song composition and progressive films of the 1930s.

After the full outbreak of the Second Sino-Japanese War in 1937, He joined the Shanghai Literary and Artistic Circle’s Anti-Japanese Salvation Drama Troupe, performing in Wuhan, Zhengzhou, Xi’an, and other places to encourage resistance against Japanese invasion. In Linfen, Shanxi, he composed the anti-Japanese war song “Song of the Guerrillas” under the light of a kerosene lamp. He conducted this song at a high-level cadre meeting of the Eighth Route Army, achieving great success.

In October 1946, He served as the conductor of the Central Symphony Orchestra, deputy head of the North China People’s Cultural Work Troupe, and vice president of the Central Conservatory of Music. His compositions “Forward, People’s Liberation Army,” “March of New Democracy,” and “Youth of New China” became resounding battle songs during the war.

After the founding of the People’s Republic of China, He returned to his alma mater and served as the president of the Shanghai Conservatory of Music. He also founded the affiliated middle and primary schools of the Shanghai Conservatory of Music, training outstanding music talents at the primary, secondary, and tertiary levels for the country. His musical composition entered a new peak period.

He Lüting passed away in Shanghai on April 27, 1999.

The composition “The Cowherd’s Flute” was created in 1934 while He Lüting was studying at the Shanghai National Conservatory of Music. At that time, he lived in the main building of a sewing shop, where he studied, composed, and kept an eye on the music scene. Alexander Tcherepnin, a famous European composer and pianist, came to China to collect “national-style piano works” and posted an announcement at the conservatory. He Lüting worked tirelessly in his rented room in the sewing shop’s attic, producing “The Cowherd’s Flute,” “Lullaby,” and “Thoughts of the Past” for the competition.

Ultimately, “The Cowherd’s Flute” won first prize. Tcherepnin took the piano piece to Europe for personal performances and published it in Japan. Since then, the piece has become famous both domestically and internationally, becoming one of the most frequently performed Chinese works in concerts.

“The Cowherd’s Flute” uses melodic, harmonic, tonal, and rhythmic elements to create a fresh and flowing line with a two-part counterpoint melody that echoes and answers, depicting scenes of the shepherd boy herding, playing the flute, frolicking, and returning home. The piece employs a traditional folk dance style, with a lively rhythm and melody that vividly portrays the image of a carefree shepherd boy riding on a buffalo’s back and playing the flute.

The structure of “The Cowherd’s Flute” is simple, following a typical ternary form. Section A (measures 1-24) is in G so-mode (C pentatonic scale), 4/4 time, and consists of six phrases, each with four measures. The phrases contrast with each other, and the theme has a strong Jiangnan flavor. The exposition is slow, with a melodious and serene melody. It uses a two-part contrapuntal writing style, with the upper and lower parts responding to each other in a call-and-response manner, creating a complementary and alternating progression between the phrases.

The middle section (measures 25-52) is in G so-mode and 2/4 time. The music shifts from polyphonic to homophonic, with a higher pitch range, faster tempo, and folk dance rhythm, portraying the innocent and joyful play of the shepherd boy. This section contrasts sharply with section A in terms of thematic material, beat, tempo, harmony, musical texture, and mood.

Section A’ begins in G so-mode, then modulates to D re-mode, and finally fades out in the former mode. The use of jiahua bianzou (ornamented variation) technique achieves the purpose of making the music more graceful and dynamic.

You can watch a performance of He Lüting’s “The Cowherd’s Flute” at the following link: https://www.bilibili.com/video/BV1cv41147PD?share_source=copy_web&vd_source=4681f0684a5c74dd125d397ca5882ba3

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Xian Xinghai (June 13, 1905 – October 30, 1945) was a renowned Chinese composer and pianist, often referred to as the “People’s Musician.” He was born in Macau and has ancestral roots in Panyu, Guangdong (now part of Nansha District, Guangzhou). From 1926 to 1934, he studied music at Peking University’s Music Transmission Institute, the Shanghai National Conservatory of Music, and the advanced composition class at the Conservatoire de Paris.

Upon returning to China in 1935, Xian devoted himself to composing songs for the war effort and music for progressive films such as “Soaring Aspirations” and “Youth March,” as well as for plays like “Resurrection” and “Thunderstorm.” He also established a music training class at the Lixin Accounting School (now Shanghai Lixin University of Accounting and Finance) with the invitation of renowned educators Pan Xulun and others, nurturing a generation of musicians including Mai Xin, Meng Bo, Yang Zuoming, Zou Bozong, and Lu Jianguang, thereby making an indelible contribution to the development of music during the Anti-Japanese War of Resistance period, known in Chinese as kangri zhanzheng 抗日战争 (when Japan controlled Northeast China and later mounted attacks across the country).

In the winter of 1938, Xian left a well-paying job to go to Yan’an, where he served as the head of the music department at the Lu Xun Academy of Arts and also taught at the Women’s University of Yan’an. During his year and a half in Yan’an, he reached the peak of his creative career, composing works such as “March of the Army and People,” “Great Chorus of the Production Movement,” “Yellow River Cantata,” and “September 18th Cantata.”

On May 11, 1939, Xian conducted the premiere of the “Yellow River Cantata” at a celebration in Yan’an marking the anniversary of the establishment of the Lu Xun Academy of Arts. In June of the same year, he joined the Communist Party of China. In May 1940, he went to the Soviet Union to work on post-production and music for the documentary “Yan’an and the Eighth Route Army.”

By June 22, 1941, he had completed several major works, including the “Symphony of National Liberation” (“First Symphony”), “The Sacred War” (“Second Symphony”), the orchestral suite “Man Jiang Hong,” the symphonic poem “Amangeldy,” and solo songs based on ancient Chinese poetry.

In early 1945, shortly after being hospitalized, Xian began composing the orchestral work “Chinese Rhapsody.” However, due to exhaustion and malnutrition, his lung condition worsened, and he passed away in Moscow on October 30, 1945.

The “Yellow River Cantata,” composed in 1939 in Yan’an, is one of Xian Xinghai’s most famous works. With lyrics by Guang Weiran and music by Xian, the cantata celebrates the indomitable spirit of the Chinese people in their struggle against Japanese aggression, depicting the war and the immense suffering of the people. The cantata consists of eight movements: “Prelude” (orchestral), “Song of the Boatmen of the Yellow River” (mixed chorus), “Ode to the Yellow River” (male solo), “The Yellow River in Wrath” (spoken chorus), “Lament of the Yellow River” (female chorus), “Dialogue on the Banks of the Yellow River” (duet and round), “Lament of the Yellow River” (female solo), “Defend the Yellow River” (unison and round), and “Roar, Yellow River!” (mixed chorus).

Each movement can stand independently, and there is a significant contrast in content, vocal style, and musical style between them, creating a vivid contrast during the performance. The entire work revolves around the core theme of the Chinese nation’s struggle for survival during the Anti-Japanese War of Resistance, with a few basic motifs running through the entire piece, symbolizing the unyielding spirit of the Chinese people.

Xian Xinghai’s use of flexible vocal and sound textures, as well as the incorporation of national music styles into the musical form, demonstrate his strong nationalist music style. Each movement of the “Yellow River Cantata” portrays different characters, such as the Yellow River, waves, boatmen, and women, with great expressiveness.

The cantata blends recitation with music. The recitations between movements not only provide smooth transitions but also ensure that the entire work is tightly focused on the theme of defending the Yellow River and the motherland.

You can watch a performance of Xian Xinghai’s “Yellow River Cantata” at the following link: https://www.bilibili.com/video/BV1GN411R7id?share_source=copy_web

By Mao Mengdan and Min Lingkang

This post is part of a series on 100 modern conservatory-trained Chinese composers from 1912 onwards who wrote symphonic, ensemble, and solo instrumental music using Western instruments, as well as choral and solo vocal music, adopting Western tonality or avant-garde techniques. They are regarded as key historical figures in and drivers of modern Chinese music history.

Huang Zi (March 23, 1904 – May 9, 1938) was a significant composer and music educator in China during the 1930s and is considered one of the foundational figures in early Chinese music education. Born in Chuansha County, Jiangsu Province (now part of Pudong New District, Shanghai), Huang began his exposure to Western music in 1916 when he enrolled at Tsinghua School in Beijing. There, he actively participated in the school’s music clubs and studied piano and vocal music, earning fame within the Tsinghua community.

In the autumn of 1924, Huang graduated from Tsinghua School with excellent grades and received a scholarship to study in the United States, where he attended Oberlin College in Ohio to study psychology. During his time at Oberlin, he also took music courses such as music theory, sight-singing, dictation, and keyboard harmony. In September 1928, he transferred to the Yale University School of Music to focus on composition.

Huang’s graduation piece, an overture titled “Nostalgia” (怀旧), earned him a Bachelor of Music degree in 1929, and it was performed at the Yale School of Music’s graduation concert. Upon returning to China in August of the same year, Huang taught composition at the Shanghai Hujiang University and the National Conservatory of Music, where he also served as the dean of academic affairs. He was passionate about music education and nurtured many talented musicians.

In addition to his work in academia, Huang was involved in various activities related to composition and theory. He held positions such as a member of the Shanghai Municipal Bureau of Music, a member of the Ministry of Education’s Music Education Committee, and the editor-in-chief of the “Music Magazine” and the “Music Weekly” supplement of the “New Night News.” He also founded the Shanghai Symphony Orchestra, composed entirely of Chinese musicians, and served as its conductor.

Huang passed away on May 9, 1938, at the age of 34 due to typhoid fever at the Shanghai Red Cross Hospital. He left behind a legacy of trained musicians, including his four most famous disciples: He Luting, Jiang Dingxian, Chen Tianhe, and Liu Xue’an, as well as other musicians like Tan Xiaolin, Lin Shengweng, Qian Renkang, and Ding Shande.

Over his nine-year music composition career, Huang produced a total of 107 works, encompassing genres such as symphonies, chamber music, choruses, duets, art songs, and oratorios.

One of Huang’s representative works is the orchestral piece “Nostalgia,” composed in 1929. This piece is considered a summation of his studies in the United States and a milestone in the establishment of his style. The composition was inspired by a personal tragedy: in 1927, Huang’s fiancée, Hu Yongfu, passed away from a severe illness, leaving him deeply saddened. This event led Huang to leave Oberlin for Yale, where he completed “Nostalgia” on March 13, 1929, in memory of his late fiancée. The premiere of the piece took place on May 31, 1929, at a concert for Yale’s graduating class, conducted by Professor David Stanley Smith of the Yale School of Music and performed by the New Haven Symphony Orchestra.

“Nostalgia” was highly praised by local newspapers, being described as the “best orchestral work of all compositions at the concert” and the “only work that was fully appreciated.” The piece is a concert overture, a genre popular during the Classical and Romantic periods, and it is characterized by a clear sonata form structure with distinct sections and a strong sense of tonality.

The main theme of “Nostalgia” is considered to be a fixed idea, similar to Berlioz’s idée fixe, and is seen as a motif of sighs and confessions, representing Huang’s longing for Hu Yongfu. This theme runs throughout the entire piece, driving its progression. In terms of orchestration, the piece employs Romantic-era techniques, with a double (multiple) wind configuration of four horns, three trombones, two trumpets, and one tuba, a standard setup matured during the Romantic period.

Video Link: https://www.bilibili.com/video/BV1fJ411T7gG?share_source=copy_web