Activating Chinese pianists’ artistic endeavour within the context of world performance culture
Keywords:performing culture, professional pianist, creative activity
The article under consideration reveals the significant role of the piano as a powerful medium of music culture, including Chinese one, where piano musicianship has become a meaningful developmental factor. Chinese culture of pianoforte performance went through a complicated long-lasting formation stage. The issue of worldwide known Chinese pianists’ performance mastery level is being disclosed. This is confirmed with their remarkable achievements at International pianoforte competitions. The fact of a great many Chinese pianists’ integration in the world’s performance artistry, as well as Ukrainian music and teacher training institutions’ growing interest to supporting their musicians nationwide, are being revealed. The article suggests an analysis referring to specifics of revealing several Chinese musicians’ piano genius in the process of their artistic evolvement; the constituent elements of the phenomenon are also put forward. A number of case studies for further Chinese piano culture awareness are also being introduced, such as: Liu Shih-Kun, Li Yundi, Fou Ts'Ong, Zhu Xiao-Mei, Siqian Li, Wang Yuja, Chen Sa, Zhang Haochen, Zhang Shengliang, Anke Chen. The information of Liu Shih-Kun, Chinese and world influential teacher, the Second International Tchaikovskyi Competition Laureate, facilitator of thirty music schools in various Chinese cities, is provided. Due to this contribution, the number of pianoforte contests in China has increased for the recent decades; hundreds of young musicians perfect their skills and demonstrate them at international music competitions. Since the nineties, Chinese pianists have been given prestige awards at international contests. The progress of Li Yundi, one of the prominent pianists, is also rendered; at the age of seventeen the musician participated in Frederic Chopin competition (Warsaw, 2000) where he won the First Award. Fou Ts'Ong, another distinguished teacher and musician, was granted the Third Award at Chopin Competition in 1955. In the early 21st century, the development of Chinese pianoforte culture was marked with a significant event, i.e. the rise of Lang Lang, who was given the first awards at Shenyang and Beijing contests. Another outstanding profile is the one of Zhu Xiao-Mei’s, a Chinese pianist who has become one of the most honourable musicians of today, and who is a great devotee of Johann Sebastian Bach’s compositions. Tian Tsang, one of virtuoso pianists, the status he was credited with after his debut in Carnegie Hall in the late 20th century, is also presented. Background information of Siqian Li, Grand-Prix and special prize owner (International V. Krainev young pianists contest, Ukraine) and her performances that are highly evaluated in great many world pianists’ responses and recognised by prestigious Spanish, French, Egyptian festivals, is rendered in the article. By the end of the first decade of the 21st century, the names of Chinese pianists having started their career in China in their early years have become famous worldwide. Thus, Wang Yuja was granted the Third Award and young musician’s special prize at Japanese competition in 2001 when she was only fourteen; Chen Sa, whose successful career started with the First Awards in China, 2005 and being granted the Fourth Award at the Twelfth International Van Cliburn pianists competition, the USA. Zhang Haochen, Zhang Shengliang, Anke Chen, who started perfecting their skills in their early years and attained remarkable results in their music career, are given their due as well. The information and data presented in the article reveal the issue of activating Chinese pianists’ artistic endeavour within the context of performance culture, as well as the significance of their contribution in the world pianoforte domain.
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