Western Classical Music
Whereas orchestras organised by, run solely by and nearly always exclusive to the expatriate community in China are recorded from the early days of the International Settlement in Shanghai (i.e. 1850s) and a Russian orchestra was in operation in Harbin from the early 20th century, the beginnings of a unique classical music tradition in China lie with the first foreign trained Chinese conductor, Zheng Zhisheng AKA (romanized) Yin Zizhong. Zheng (Yin or Wan depending on romanization) was raised in China's Guangdong province and affected by Western Church Music from an early age, studying in Lyons and Paris before returning to China in the 1930s and being employed the first Chinese conductor of a Chinese orchestra - the Chongqing Symphonic Orchestra. Performances were given of Beethoven and Mozart.
The revolutionary spirit of Yin Zizhong's (or romanized Wan-Chi Chung's) style has been continued by the first generation of composers immediately following the accession of the Chinese Communist Party to power, namely Li Delun and Cao Peng. The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long career, which continues to the present. At the same time as this tradition has continued, new generations have sought to bring classical music in China along another path, away from the strict professionalism of the elite trained Li and Cao (who were both at the Russian conservatory in the 1950s) and towards a less nationalistic, but arguably more encompassing attitude towards the tradition. Most influential in this new movement has been the young Shanghai composer Long Yu.
Read more about this topic: Music Of China
Famous quotes containing the words classical music, western, classical and/or music:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“We hold on to hopes for next year every year in western Dakota: hoping that droughts will end; hoping that our crops won’t be hailed out in the few rainstorms that come; hoping that it won’t be too windy on the day we harvest, blowing away five bushels an acre; hoping ... that if we get a fair crop, we’ll be able to get a fair price for it. Sometimes survival is the only blessing that the terrifying angel of the Plains bestows.”
—Kathleen Norris (b. 1947)
“Several classical sayings that one likes to repeat had quite a different meaning from the ones later times attributed to them.”
—Johann Wolfgang Von Goethe (1749–1832)
“The great challenge which faces us is to assure that, in our society of big-ness, we do not strangle the voice of creativity, that the rules of the game do not come to overshadow its purpose, that the grand orchestration of society leaves ample room for the man who marches to the music of another drummer.”
—Hubert H. Humphrey (1911–1978)