REPRESENTATIVE WORKS FOR VIOLIN BY CHINESE COMPOSERS - GENERAL CHARACTERISTICS AND PERFORMANCE FEATURES

Abstract

In 1673, Portuguese missionaries presented the first violin to the Chinese emperor, and thus the foreign instrument officially entered Chinese culture. At first, it did not spread effectively, remaining confined to the palace as a court instrument. Only after the fall of the feudal dynasty was the violin gradually recognized by the Chinese people. In 1916, Xiao Yumei (a well known Chinese musician and music educator who was studying in Germany at the time) composed the first work for violin, String Quartet in D Major, in which he drew on European classical music composition techniques. Over time, the exchange and interaction between Chinese and European traditions increased, with a large number of Chinese students receiving musical education in various European countries. Thus, they assimilate the compositional techniques and achievements of European violin art. Gradually, after 1949, Chinese composers and violinists improved and began to create more and more large scale works for violin, which were influenced by the characteristics of Chinese music itself. This led to the main direction of the country's musical art, namely the creation, shaping, and achievement of a Chinese musical style. After 1976, with the popularization of Chinese art abroad, more and more Chinese violin works began to appear on the international stage. They are performed by famous violinists all over the world. The achievements of Chinese musical culture and their charm are becoming more accessible and appreciated worldwide. A unique aspect in the creation and performance of Chinese violin works is represented by the Chinese music system, which is completely different from the European one. China is a multi ethnic country and each nationality and region has its own individual musical characteristics. Chinese violin works also represent other forms of Chinese art, such as Chinese opera, imitating Chinese folk instruments, etc. This article clarifies why the study and performance of Chinese violin music is not limited to what is noted in the score, but rather is inextricably linked to an understanding of Chinese culture, art forms, and the national style contained in the work. Highlighting the differences between Chinese and European violin works in terms of interpretation, technical approaches, and artistic aesthetics aims at a deeper understanding of Chinese violin works in particular and Chinese culture in general.