CREATION AND DEVELOPMENT OF THE WORLD OF SYMPHONY IN CHINA.

Symphonic music of the Asia-Pacific region of the XX-XXI century.

Published in Modern Education Forum, Issue 8, 2024, International Publication Number ISSN:2972-4201

CREATION AND DEVELOPMENT OF THE WORLD OF SYMPHONY IN CHINA.

Symphonic music of the Asia-Pacific region of the XX-XXI century.

Taras Kutsenko, Professor of the Conservatory of Music of Zhangjiajie Academy, Music Director and Principal Conductor of the Zhangjiajie Philharmonic Orchestra of Hunan Province, China.
e-mail: terryheimat@gmail.com

Annotation

This article examines the historical path of symphonic music development in the Asia-Pacific region, using the development of symphonic music in the People's Republic of China as an example. It covers aspects of the stages of development of Chinese symphonic music; the formation of Chinese symphonic music; the practice of introducing symphonic music into Chinese culture; the influence of the Cultural Revolution and the vertical integration of symphonic music into the national Beijing Opera; the history of the first symphony orchestras and the role of conductors in shaping the repertoire of Chinese symphony orchestras; biographies of some representatives of symphonic culture in China who were at the origins of the development.

Keywords: symphonic in China, formation of Chinese symphony, national specificity, Mario Paci, Zhu Zhener.

Introduction

The development of Chinese symphonic music has gone through a gradual path from orchestral creation to the blossoming of the unique charm of national symphonic music. In this process, the Chinese symphony actively absorbed the essence of the world's symphonic music, and in a short period made remarkable achievements, and in the process revealed its unique characteristics. An in-depth study of these characteristics enables us to construct a clear historical chronology, thus revealing the qualitative trajectory of the development of the Chinese National Symphony.
Chinese music and art in the 20th century is known for its creative development, among which the symphonic works of Chinese composers have undoubtedly become one of the flagship forces driving Chinese music forward. Although symphonic music did not originate in China, its rootedness and flourishing development in China has undoubtedly become a vivid example of the fusion of Chinese and Western cultures. This fusion not only strengthens the national symbolism of Chinese music culture but also highlights the profound heritage and excellence of Chinese national music culture. China has always been open to learning from others and sharing its cultural heritage with the world. As the country's economy develops, China is actively exploring the development of musical and symphonic culture, marking a new level of harmony between Chinese culture and the world's culture.
Incredibly, Chinese composers and musicians have managed to construct a symphonic system with distinctive characteristics in a very short period, while such an achievement often takes centuries of accumulation in Western music history. In the 21st century, Chinese symphonic music has developed a unique concept and character, and its influence is not only limited to the Asia-Pacific region but also crosses borders and resonates globally.
Unfortunately, however, due to a certain unhealthy "primary and secondary" stereotype, Chinese symphonic music is still under-reported and under-researched on a global scale. In most cases, it is only mentioned as a chapter in the history of modern Chinese music, but not explored in a more comprehensive and in-depth manner. Therefore, it is necessary to closely integrate the development of Chinese symphonic music with the historical and sociological background of China's cultural life, to gain a more comprehensive and deeper understanding of its rich connotation and unique value.
The innovation of this paper lies in the construction of a detailed historical chronology through systematic organization and in-depth argumentation of the development history of Chinese symphonic music in the twentieth and twenty-first centuries. This chronology not only reveals the dynamics of the formation of symphonic music but also highlights the characteristics and achievements of each historical stage.

Stages in the Development of Chinese Symphonic Music

The period 1930-1950 was undoubtedly a crucial period when Chinese symphonic music began to take shape. During this period, China began to actively organize orchestras, and the first batch of orchestral works with distinctive national characteristics emerged. These works profoundly reflected the social background of domestic military turmoil and the progressive activities of China's advanced social forces (e.g., the historic "May Fourth Movement").
In addition, it is worth mentioning that a landmark event in the development of Chinese symphony music was the establishment of the first symphony orchestra in China under the leadership of the famous Italian musician Mario Paci (Mei Baiqi), conductor of the Shanghai Symphony Orchestra. This event marked the official start of China's symphonic music career and laid a solid foundation for its subsequent vigorous development.

Composer and distinguished pianist Aleksandr Nikolayevich Tchelpnin profoundly commented that Maestro Mario Paci's concerts are not only a musical feast, but also carry the far-reaching significance of education and evangelization. In China, Maestro Mei Baiqi is known as the "Master of Music", and each of his musical events is accompanied by a fascinating symphonic story, which helps the audience to better understand and feel the meaning and charm of the piece being performed. Maestro Mei Baiqi is not only dedicated to interpreting the classics but also to introducing audiences to the latest works by contemporary Chinese and Western European composers. He often outdoes his peers by bringing these works to Chinese audiences for the first time. It was thanks to Mei Baiqi's tireless efforts that the Chinese were able to enjoy outstanding works by such musical giants as Respighi, Ravel, Kodály, Bartók, Hindemith, and others. Even though the authorities at the time had reservations about the repertoire and failed to recognize its artistic value, Mei Baiqi always stood firm in defending his views and fought off skepticism with his professionalism, outstanding performance skills, and international reputation.

Talking about the development of Chinese symphony music, we have to mention the Shanghai Symphony Orchestra, a bright pearl in the history of oriental music. As one of the earliest musical organizations established in China, its predecessor can be traced back to the Shanghai Public Band founded in 1879. In its infancy, the orchestra consisted of 15 musicians from the Philippines and was conducted by the French flutist, composer, and conductor Jean Remusat (1815-1880). This French musician later settled in Shanghai and infused the orchestra with the essence of European music.
Subsequently, German musician Rudolf Bakke took over as conductor. He imported eight outstanding musicians from Germany and Austria to further enhance the strength of the orchestra and established a system of regular rehearsals and public performances. However, after the outbreak of the First World War, Barker was expelled from the country because he was misinterpreted as aiding the German army, and the orchestra was left without a nucleus of leadership for a time.
At this critical moment, Mei Baiqi took over the baton of the conductor and became the third conductor of the Shanghai Orchestra. The orchestra continued to grow under the auspices of the Municipal Bureau of Industry and Commerce, and its name, the Shanghai Symphony Orchestra of the Ministry of Industry and Commerce, bears witness to this history. Mei Baiqi was passionate and resourceful in building the orchestra, and after its first audition (16 Europeans and 21 Filipinos) he actively sought out new musical talent, inviting all kinds of stringed and wind instruments to join the orchestra, even musicians from nightclubs. He then traveled to Europe and attracted a group of professional musicians from Italy and Germany. Under Mei Baiqi's careful organization, the orchestra gradually developed into an excellent symphony orchestra capable of playing a wide variety of repertoire, laying a solid foundation for the development of China's symphonic music career.
Amid a busy season, Maestro Maybach has not only expanded the number of concerts from 20 to an impressive 40, but has also curated a series of chamber music concerts, jazz concerts, and youth concerts. He has also created and organized several unique and special music festivals, which have brought music lovers an unprecedented feast for the eyes and ears.
Maestro Maybach is also very selective in his choice of venues and is happy to perform in any concert hall that can accommodate a large number of people, always striving to create the most comfortable environment for the audience. For example, he allows the audience to smoke during performances to ease the fatigue that can be caused by long hours of music enjoyment, and he covers the windows with dark curtains to ensure that the audience can concentrate on the performance without the distraction of outside light. In the summer, Maestro Meibaqi has taken the liberty of moving his concerts to open-air venues such as parks and plazas, so that the public can enjoy the coolness of the day while being immersed in the beautiful music.
In planning his concerts, Maestro Mei has always been aware of the diverse tastes of Shanghai's citizens, and he strives to ensure that the program and the quality of the performances are as close as possible to the top level of the Western major symphony orchestras. This is reflected not only in the careful selection of repertoire but also in the extreme pursuit of performance details.
As a multi-ethnic and multi-cultural city, Shanghai is constantly developing under the economic and political influence of the representatives of various countries. Maestro Mei Baiqi organized the orchestra's concerts around "national themes", such as "French Music Nights", "Italian Opera Composers" and other special topics. Between 1923 and 1924, he organized six such concerts, including three evenings of French, English, and Italian music and two evenings of Russian music. To enrich the orchestra's repertoire, Mebakware also frequently traveled to Italy to purchase sheet music himself, even using funds from the Italian Embassy to do so.
Maestro Mei Baiqi's concert programs are seldom repeated, and each time he tries his best to bring a new audio-visual experience to the audience to attract more listeners. He once said in an interview that he wanted to break the stereotype that music is expensive and the privilege of the elite and wealthy few. Therefore, his concerts always strive to bring surprises to audiences from all walks of life.
In his choice of repertoire, Maestro Mei Baiqi's taste is both classical and modern. He performs classical works by European composers such as Bach, Beethoven, and Brahms, but also actively promotes and appreciates contemporary music and the "classical" styles of the twentieth century. Thanks to his outstanding contributions, the Shanghai Symphony Orchestra has gained a high reputation both at home and abroad, and Shanghai has become a must-visit destination for tours by world-renowned musicians. Numerous high-level professional performers and internationally renowned artists, such as Franz Kreisler, Arthur Rubinstein, Jascha Heifetz, Fyodor Chaliapin, Efrem Zimbalist, and John Mack Cormack, have worked with the orchestra and written colorful chapters in music history.

The Formation of Chinese Symphonic Music

The 1920s and 1940s were the formative years of Chinese symphonic music. Although the first symphonic works by Chinese composers at that time were still young on the artistic level, their release undoubtedly became a significant milestone in the history of national art, marking the beginning and awakening of Chinese symphonic music creation.
Against this historical background, November 23, 1930, was destined to be a day to remember. At the Guangming Grand Theater, Maestro Mei Baiqi personally directed the orchestra to complete the premiere of Chinese musician Huang Zi's first symphonic work "Homesickness". With its unique charm, this work aroused great interest from the audience and gained an unprecedentedly enthusiastic response. Later on December 18, 1935, Mei Baiqi once again led the choir and the Symphony Orchestra in a performance of Chinese composer Zhang Hao's outstanding work "Victory of Democracy". In the same year, the Symphony Orchestra also performed Huang Zi's Fantasia on Urban Scenery, which was eventually recorded as the first Chinese symphony recording and became a timeless art treasure.
During the 28 years, he spent in Shanghai, Maestro Mei Baiqi not only left his mark on the symphony stage but also devoted himself to the popularization and promotion of piano education in his spare time. Many of his students became professional musicians and teachers in the field of music, including Dong Guangguang, Fu Cong, Zhou Guangren, Wu Yili, Wu Lei, Yang Jiaren, and a series of other thunderous names.
In the mid-1930s, the Shanghai Symphony Orchestra began to venture into the field of film scoring, demonstrating its diverse artistic charms: in 1935, the orchestra composed the Fantasia on Urban Scenery for the movie City Scenery, and in 1937, they composed the classics Songs of the Four Seasons and Songs of the End of the World for the movie The Angel of the Road, both by the talented composer He Luting. Both were composed by the talented composer He Luting. It is worth mentioning that the recording of Huang Zi's music for the movie "Cityscape" was perfectly presented by the Shanghai Orchestra under the superb baton of Mei Baiqi, and has survived to this day. This is not only the first instrumental soundtrack composed for a movie in China, but also the first symphonic work by a Chinese composer to be recorded, marking a new chapter in the art of Chinese movie scoring. Before this, most Chinese movies used music composed by composers for concerts as soundtracks.
However, history is always full of twists and turns, and in 1942, with the arrival of the Japanese invasion forces, the cultural life of the Concession was strictly controlled. The Shanghai Municipal Symphony Orchestra was forced to change its name to the Shanghai Philharmonic Orchestra. Although the invaders wanted Meibaeki to continue as a conductor, the resilient Italian made his position clear by refusing to cooperate.
For the next four years, Mei Baiqi devoted himself to piano education, providing invaluable private piano lessons to many Chinese musicians. However, on August 3, 1946, the great musician passed away from a stroke.

Although Mei Baiqi's life was short, his contribution to the popularization of Western classical music and the development of professional music education in China is immeasurable. Under his influence and impetus, the Shanghai National Orchestra grew to become a world-class professional orchestra, capable of handling a wide range of complexities, styles, and genres with ease. The orchestra's success also inspired Chinese educators to open the first institution of higher music education in Shanghai, providing valuable learning opportunities and platforms for later musical talents. The students grew up under the careful guidance of the orchestra's teachers and became the backbone of the orchestra after graduation. It can be said that Mei Baiqi is not only one of the most famous foreign conductors in China but also an indispensable and important figure in the history of China's symphonic art development.
Although the Shanghai Symphony Orchestra was founded under the license of Western European countries, some Chinese historians believe that this fact is not enough to influence the birth and development of national symphony music. They argue that the orchestras created by English, French, German, and Italian musicians were somehow different from the cultural needs and aesthetic habits of the Chinese public. The members of the orchestra were almost exclusively foreigners in the beginning, and although two Chinese musicians joined later, the fact that foreign symphony orchestras were working in the context of an invading country at that time may have brought some influences to the national culture, but these influences were not directly related to the independent development of the Chinese symphony itself.

Symphonic Practice

During the War of Resistance against Japan, the Chinese began to organize rehearsals for the symphony, and in 1940, when the capital was moved to Chongqing, musicians from Shanghai and Nanjing went to the new capital. There were so many of these musicians that Sun Ke, president of the Sino-Soviet Cultural Association, used the association's funds to set up the "Chinese Symphony Orchestra" and planned to organize a patriotic performance on the occasion of the fourth anniversary of the war. This project attracted the attention of the Conservatory of Music at the Jade Palace Concert Hall and the Chongqing Radio Station. The leaders of the Conservatory and the Radio Station were also involved in organizing the symphony orchestra, and on the anniversary of the war, the three symphony orchestras performed on the same stage to promote the spirit of patriotism. Soon, more than 50 small scheduled orchestras began to participate in public concerts to inspire the public.
After the end of the war, the Chinese Symphony Orchestra returned to Nanjing. Lai Kwok Tsuen was appointed as the orchestra's director and chief conductor, and the post of conductor was then taken up by Wu Ho Yip. With the defeat of the Kuomintang in 1948, the Chinese Symphony Orchestra retreated to Guangzhou.
During this period, the creation of Chinese symphonic music began to take off. The young and promising composer Huang Zi wrote China's first symphonic overture, Nostalgia. This was followed by Jiang Wen's orchestral overture Taiwan Dance, Xian Xinghai's orchestral works National Liberation and Sacred Battle Symphony, and He Luting's orchestral adaptation of the national melody Senjidema.
Against the backdrop of the war years, the works all exude strong patriotic feelings and the rise of creative forces. In this particular period, an in-depth understanding and mastery of the musical resources of Western Europe was particularly crucial and profound. The orchestral works show a distinctive fusion of the best of Eastern and Western music: it skillfully combines the rigorous compositional norms of Western music with the unique techniques of Chinese folk music, allowing Chinese melodies to be expressed in the chordal structure of Western European romanticism. Sensing the inadequacy of symphonic music in terms of depth and breadth of expression, musicians endeavored to explore the perfect fusion of Chinese and Western musical elements and to find a unique way of composing that could reflect the flavor of traditional Chinese music and at the same time demonstrate Western musical techniques.
The most prominent feature of this period was the vigorous development of the orchestral movement as a whole. Faced with trials and challenges, China's advanced social groups deeply realized the value of orchestral music as a form of artistic expression in reflecting the dramatic experiences of the people amid history's vicissitudes. As a result, musicians devoted themselves to promoting the rise of collective performance and turned to the creation of more profound and serious works of theater music. Composers have actively sought to combine orchestral and folk music content in their compositions, to create outstanding works that are both national and international.

Formation of the orchestra function

Between 1949 and 1957, the space for orchestral creation became wider and wider, and imagination was fully unleashed. The victory in the Anti-Japanese War paved the way for Chinese orchestral composers to create brand-new works, bringing unprecedented development opportunities. During this period, Chinese composers focused their orchestral works on life themes and subjects, creating a series of works with profound connotations.
Ma Sicong's Song of the Mountain Forest, Liu Tieshan and Mao Yuan's Yao Melody, Li Huanzhi's Spring Festival Overture, and Shi Yongkang's The Story of the Yellow Crane are just a few of the classic works that demonstrate Chinese composers' dedication to the pursuit of distinctive national musical images. In these works, the original folk melodies and tunes are carefully orchestrated and perfectly blended with the rich colors of the orchestra, highlighting originality and giving the works new artistic vitality.
With time, the sound image of orchestral music has gradually penetrated people's hearts, and the harmony and unity with folk music have become a new artistic fashion. People began to actively explore how to master folk music materials in a symphonic way, skillfully blending tradition and modernity, the East and the West, and creating unique artistic masterpieces. The orchestral compositions of this period undoubtedly left a colorful mark on the history of Chinese music.

The Cultural Revolution (1966-1976)

In the musical and cultural history of twentieth-century China, the twenty years from 1957 to 1976 were a period of stagnation caused by the political situation in the country. In the first decade (1957-1966), the Cultural Revolution had a profound impact on the symphonic music of Chinese composers. Like other rapidly developing forms of art and culture in China, symphonic music was in a state of artificial stagnation during the Cultural Revolution. Under the slogans "satellites in the sky" and "metallurgical leap forward," artists were sent to work in factories or in the countryside. For politicians, the orchestra was an obvious reserve of labor that could be used in agricultural production or at least enrich the leisure of peasants.
However, the pace of development of creativity of musicians and composers who connected their lives with music could not be stopped; they only adapted to the moment to the extent that allowed them to survive in such conditions. The composers emphasized the social significance of symphonic music, using the plots of real historical events to demonstrate the importance of symphonic works. The works of this period are filled with the strengthening of national peculiarities of the musical style. The program factor is of particular importance.
The careful composition of the program's repertoire gives an idea of the depth and thoughtfulness of the authors' work. The skillful use of military-patriotic or folk themes made these works more accessible and understandable to the public in difficult times. Exemplary works of this period include Wang Yunjian's Symphony No. 2, "The War of Resistance of Japan," Ding Shande's Symphony "Long March," Cui Wei's Symphonic Poem "Monument to the People's Heroes," and He Zhanhao and Chen Gang's violin concerto "Liang Shanbo and Zhu Yintai." All the works by He Zhanhao and Chen Gang are exemplary for this period.
It is especially worth noting that Liang Shanbo and Zhu Yintai, with its gentle melody and bright orchestral colors, successfully conveys the charm of folklore and has become a brilliant hallmark of contemporary Chinese programmatic concert symphonies.

Symphony in Peking Opera

During the second decade of the Cultural Revolution, China's symphonists turned their attention to opera, and the visit of Mao's wife Jiang Qing to the Central Orchestra in January 1965 was a watershed moment that opened up new perspectives on the future of the composer's symphonic work. Her unexpected visit and her active participation in the study of the musicians' orchestral activities heralded the beginning of a new chapter. Under Jiang Qing's leadership, all members of the Symphony Orchestra worked together to rehearse the modern revolutionary Peking opera Shajiabang and insisted that the Symphony Orchestra accompany the production. This forward-looking proposal, originating from a senior figure with profound influence, was a remarkable impetus.
After realizing the charm of the opera, Li Delun quickly responded by recommending composer Luo Zhongrong to set up a team of composers to create an opera concert piece in a short period that would be a perfect fit for the symphony orchestra's accompaniment. This urgent compositional task led to an unexpected leap in the development of Chinese symphonic music.
The practice of the Opera Concert greatly expanded the orchestration techniques, allowing the orchestra to fully integrate into the emotional expression of the dramatic work for the first time. In the orchestral part, the audience was able to listen to the delicate portrayal of the characters and the tense orchestral expression at the key moments of the drama.
Nowadays, orchestral music plays a pivotal role in theater, creating an expressive parallel to the plot, interpreting the dramatic situation in the language of music, and further emphasizing the symbolic and exaggerated effects inherent in the Peking Opera genre. From the perfect fusion of Chinese drama and orchestral music, we can glimpse the inevitable trend of mutual integration and common development among various fields of culture and art.
The art of Chinese symphonic music has inspired a new round of research on the art of Chinese symphonic music, based on the essence of European musical giants such as Beethoven and Mozart, and the close relationship between theater and symphonic music. Shortly after the successful premiere of the symphonic version of Shajiabang, the orchestral overture Wise Up, whose thematic content is full of transformative power, came into being: the lyrical melodic theme exudes an epic timbre, while the dramatic atmosphere of the finale section skillfully integrates the spirit and rhythm of dance elements.
Another work, Little Sisters of the Prairie Heroes, displays rich contrasts and layers. Many of the works of this period are the result of collective wisdom, and they fully demonstrate the rare quality of Chinese musicians - their high degree of unity in artistic pursuits allows individual creative inspirations to stir and multiply each other. This trend not only gave Chinese theater culture a richer and more diverse impetus for development, but also allowed different art forms (e.g., dance, singing, acrobatics, acting, etc.) to borrow from and integrate, and together they united a variety of meanings or components of meanings into a more harmonious and perfect form of art.

The Age of Openness

Since 1979, China has entered a new era in its history - a new era of openness. In this era, Chinese symphonic music finally broke free from the shackles of political restrictions. Symphonic works thus became a creative resource for Chinese composers, who not only familiarized themselves with the essence and techniques of Western European musical language but also deeply grasped the inner rules of various musical forms and genres.
Chinese music in this period showed unprecedented new qualities, the most notable of which was the remarkable increase in the sense of subjectivity. Composers began to express their personal styles and unique concepts more distinctly, and their works incorporated their profound insights and unique understanding of the world. At the same time, their comprehension of the national music language also reached a new height, and their newly created symphonic works all revealed a strong desire to realize their artistic concepts and pursue aesthetic ideals.
The outstanding works of this period are endless, such as Liu Dunnan's Suite for Violin and Orchestra "Mountain Forest", Tan Dun's Symphony "Li Sao", Du Mingxin's Concerto for Violin and Orchestra, and Wang Xilin's Symphonic Suite "Yunnan Poem". These works reflect at a deep level the harmonious balance between Chinese culture and the new genre of national thought. Chinese symphonic music gradually developed a unique genre and stylistic profile during this period, inheriting the essence of traditional music while incorporating innovative elements of modern music. The principle of the suite and the tendency towards the epic lyric musical mode were also realized in conjunction with the philosophical depth and scale embodied by the orchestra.

Chinese Contemporary Symphony

The last stage, but by no means the end, is an open and contemporary one. It began precisely during the period of China's reform and opening up. With the reform and opening-up policy adopted at the Third Plenary Session of the Eleventh Central Committee as an important historical node, a new page was turned in modern history, which brought a new social and cultural environment and creative opportunities for performing arts organizations. Symphony orchestras in the past did not have a dedicated artistic leadership and lacked a standardized system of organizing music seasons. However, they are now able to draw up their program list, select repertoire, and arrange rehearsal activities. The operation of the orchestra is also closely linked to the musicians' remuneration system, which is more standardized and reasonable. Mr. Li Delun has repeatedly mentioned the inadequacies of the orchestra's mode of operation among the music community and has actively put forward proposals to the national leaders and the Ministry of Culture on the reconstruction and optimization of the orchestra's work.

In 1996, the Ministry of Culture carried out an in-depth reform of the twelve nationwide symphony orchestras, and based on the former Central Philharmonic Symphony Orchestra, the highly acclaimed China National Symphony Orchestra was elaborately crafted and organized. Given Mr. Li Delun's outstanding contribution to the development of Chinese symphony music and his high reputation in Chinese music and cultural circles, the Ministry of Culture specially awarded him the Conductor's Honorary Prize in recognition of his outstanding contribution to the cause of Chinese symphony music.
On June 6, 1997, Mr. Li Delun's 80th birthday concert was held in Beijing. The concert was not only an affectionate tribute to this great musician but also a concentrated display of the brilliant achievements of Chinese symphonic music in recent years.
In the last decade of the 20th century and the first decade of the 21st century, the creation of Chinese symphonic music entered a brand new stage. The works of this period comprehensively reflect the composers' profound reflection on history, close attention to the fate of the motherland, and fervent expectation for national revitalization. These symphonic works, with their unique dramatic perspective, are like a lyrical or dramatic epic, showing the noble spirit of humanity and the rich inner world. They contain both a sense of historical gravity and a modern flavor, demonstrating the philosophical intensity of Confucianism and the keen perception unique to contemporary people.
Among the many works of this period, Zhu's Symphony No. 2 "A Hundred Years of Changes" is undoubtedly one of the most remarkable masterpieces. The work continues the theme of the tragic consequences of the Cultural Revolution, which the composer explored in his first symphony, and analyzes the profound impact of that particular historical period on human nature and society through the language of music. In his review of this work, Zhu Zhen'er wrote: "A nation that can understand its tragedy is civilized and self-respecting. A brilliant tomorrow is nurtured amid adversity."

The composer's Second Symphony follows the natural laws of psychological development, skillfully incorporating multiple emotional elements such as surprise, sadness, anger, and power. Between the four movements, the mood of the music ebbs and flows like waves, forming a sharp and tense contrast.
This work is a generous gift to the Tibetan compatriots with the composer's passion. 1986, he set foot on the mysterious and beautiful land of Tibet and was immediately shocked by its magnificent scenery, and even more deeply attracted by its long and colorful traditional culture. The simple, mysterious, solemn, and joyful artistic temperament of Tibetan music made the composer marvel and provided endless inspiration for his future creations.
In the first movement of Symphony No. 2 - A Hundred Years of Vicissitudes, Zhu Zhen'er wrote a thought-provoking program with poetic strokes: "Buddha's light or sunshine? In the world or the sky? Is it the valiant war drums of the past or the footsteps of the new era? History is like a long, shifting scripture." The epic tone of this symphony is built on the principle of developmental variation, skillfully blending the richness of ethnic melodies, the harmonic charm reflected in Chinese harmonic structures, and the techniques and sequential principles of Western classical polyphony. Together, these elements form a solid foundation for the musical language of orchestral music, enabling Chinese symphonic music, in its short history of more than 80 years, to rapidly approach and match the cultural paradigm accumulated in the West for nearly 300 years.

Conclusion

The development of Chinese symphonic music is closely linked to the growth of China's modern symphony orchestras, and the two have promoted and developed together. Today, almost all of the country's 22 provincial capitals have their symphony orchestras, making them an important force in China's cultural and artistic endeavors. With the rapid development of China's economy, many second-tier cities have also begun to consider establishing new symphony orchestras to enrich the city's cultural life and enhance the artistic literacy of its citizens.
In Zhangjiajie, for example, through the active efforts of the municipal government, the Philharmonic Orchestra was successfully created at Zhangjiajie Academy in 2018. This orchestra brings together guest foreign musicians from Europe and Asia, who have injected new vitality into the orchestra with their exquisite skills and profound artistic cultivation. The orchestra's repertoire is rich and varied, including classical works by Chinese and foreign composers as well as adaptations, providing audiences with a colorful musical experience.
On April 26, 2024, the successful premiere of Ukrainian composer Kukuchenko Taras' symphonic poem "The Power of Nature in Zhangjiajie" took place. The work poetically depicts the journey of one's life as challenging and arduous as climbing a mountain. However, in the pursuit of progress, people continue to overcome difficulties and transcend themselves, reconnecting with the power of nature and displaying a resilient spirit.

Looking to the future, Chinese composers will continue to uphold their creative dreams and dedicate themselves to creating a new symphonic work that fully demonstrates "China's modern national temperament and musical level, as well as the depth of thought and understanding of history". They will actively participate in the creation of world symphonic music with their unique perspectives and profound understanding.

Editorial Team:

Ph.D. in Philology - Ma Limin
Vice President of Zhangjiajie College: Yuan Qijun.
Doctor of Philosophy, New York University: Alex Sino