Abstract
The article deals with the issues of the modern piano repertoire of the outstanding composer Chu Wanhua. The author of the article dwells on the issues of combining traditions and innovations in his piano compositions. The folklore tradition occupies the most important place in his work. The author of the article says that the problem of the relationship between the composer and folklore is becoming more acute and relevant today. Also, as early as the 1960s, Chinese composers began to actively study and use modern writing techniques, such as atonality, twelve-tone technique, experimental avant-garde, etc. The rejection of the traditional foundations of the musical language, combined with at least some tangible elements of folklore material, made it possible for the listener to identify the musical content of the work. Despite the complex musical language and techniques, such works made it possible to associate them with one or another national tradition. The piano work of the Chinese contemporary composer Chu Wanhua in a special way reveals the synthesis of traditions and innovations in music.
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