Performance stylistics of piano program pieces by Chinese composers (Wang Jianzhong “Red lilies bloomed on the mountain”)

Abstract

Background. The article examines the piano piece «Red Lilies Bloomed on the Mountain» by the Chinese composer Wang Jiangzhong. The general characteristics of the genre of the program piece, the imagery, symbolism or folklore of the names of piano works are considered, which help to specify the figurative content with the help of verbal decoding, bringing the performer and the listener closer to the figurative and emotional essence of Chinese national instrumental creativity. Objectives. In order to identify the universal mechanism of piano interpretation of program pieces by Chinese composers, the specific features and specificity of Chinese national artistic thinking are analyzed, which is reflected in the performing style, which includes the understanding of the figurative sphere, issues of a technological nature, and the stylistic authenticity of the performance. Methods. The research methodology requires a systematic musicological approach to the study of the selected musical material, which, in turn, led to the use of such methods as: historical-typological, musical-aesthetic, genre-stylistic, interpretological, comparative. Results. If the pianist fully understands the character of the piece and the main ideas of Chinese philosophy, then this knowledge will tend to direct the performance of any piece to the creative process. The psychological aspect of performance requirements consists of two aspects: – determination and confidence of mood, firmness in one’s convictions and ideals, which are reflected in the music of the play thanks to certain musical techniques and compositional techniques; – the natural mobility and lightness of the melody, the overall consistency of its sound, as well as the harmonious combination of such musical characteristics as the smoothness and contrast of the sound. The requirements for the aesthetic component of the work are aimed mainly at researching the national uniqueness of the work, reflecting its beauty and symbolic content, as well as at a detailed analysis of the synthesis of national and Western musical traditions. Existing attempts at music notation in san-ban rhythms should be classified as the most general instructions for performers, especially those who do not have sufficient experience in the field of musical self-expression in the traditions of Chinese music. Conclusions. The performer must also focus on such aspects as: awareness of various philosophical ideas that directly affect both the symbolic content and imagery of Chinese music itself, and the creative process associated with its reproduction and performance on stage; the importance of understanding the title of the work, its historical and cultural context; the need for an accurate sense of latitudinal relationships in the theme and texture of the work, feeling the sound ideal of authentic sounding with the inner ear.