Musos. Photo: Deborah Howard

By Deborah Howard

What is the future of classical music in China? Two young people involved in the music world discussed this topic over a traditional Shaanxi meal. Yang Xuefei, internally renowned guitarist and Zhang Yang, former Programming Department Project Manager for the Xi'an Concert Hall and an up and coming agent, gave their views on the future of both Chinese and Western classical music in China.

Yang Xuefei and Zhang Yang agree that most westerners would think of the Beijing Opera and would have little knowledge about the growing interest in Western classical music in China.  Most do not realize that the number of orchestras, theaters and concert halls has increased rapidly over the last five-ten years. 

When Chinese music lovers are asked about western classical music, they can name some of the most famous composers and their most famous works. Zhang pointed out that  "Swan Lake" is performed regularly.  Beethoven's symphonies are familiar. But most Chinese people do not know more modern classical pieces. Yang added that few Chinese people know or listen to works other than symphonies.

The growth in the arts has come from the Chinese government's policy to encourage development in this area. Zhang Yang is excited at the changes that have taken place over the last few years because of increased government support. From the beginning of the year 2000, the Chinese Government increased funding and sponsorship to the arts and this is reflected in the number of local and regional orchestras, the new concerts halls, theaters and art galleries in many cities.

Chinese people are also beginning to appreciate and understand Western classical music, along with Chinese classical music. Zhang Yang, believes that interest in Western classical music is still in its infancy and will increase over the next few years. The concerts and performances with the highest attendances are well-known symphonies from the west, and famous Chinese traditional musicians.

He believes that with more exposure to Western music, Chinese people will increase their interest and begin to enjoy other works as well, including ensembles, chamber music, opera, jazz and blues. Zhang hopes Western classical music will become more accessible and open-air concerts and more music festivals will see more modern compositions performed and more new performers being showcased. Beijing and Shanghai hold annual festivals and in 2011 Xi'an will hold an International Music Festival.

When asked about individual performers Ms. Yang and Mr. Zhang were excited about the talent being nurtured in China. They agree that when we think of internationally famous Chinese musicians we think of Li Yundi, Niu Niu or Lang Lang. China has a strong reputation for producing wonderful pianists and violinists. 

The violin and piano are very popular in China, with approximately 100 million students studying one or the other. Less common though are the other instruments used for Western classical music. This is an area that needs greater encouragement through funding, more programmes in music schools and a greater understanding of the important roles each instrument plays in a western repertoire.

One example is the guitar. This instrument is often seen as less important than other strings, like the violin or cello. However, there is a long tradition for the classical guitar. Chinese guitar players are just beginning to make in-roads into the classical music scene in China, and Yang Xuefei is one such case.

Yang Xuefei. Photo: Deborah Howard

Yang Xuefei has just completed a performance of the classical guitar in Xi'an's new Concert Hall.  Her beautiful classical guitar work has inspired many people in the west and she gives 60 concerts a year in Europe, South-East Asia, Australia, and the Americas. However in China, she is not as well-known as overseas.

Yang Xuefei studied at the Central Conservatorium of Music in Beijing and went on to become the first Chinese guitarist to study in Britain and the first guitarist to receive an international scholarship to the Royal Academy of Music in London. She is a strong advocate for the guitar in China. "Many young people like the guitar, but only see it as an instrument for playing rock or pop music. Their parents do not know about it as a classical instrument", she says, "Chinese people have little chance to see live performances of classical guitar".

"One of the reasons for this is that the tickets are very expensive". Tickets for concerts, ballet and theater productions in Europe are much cheaper and there are performances in most theaters and concert halls every week. Zhang agreed and added that the venues in China are now so much better than they were five years ago and this encourages performers to give recitals. With this investment in infrastructure it would be good to reduce the price so that more and more young people can see wonderful live performances and develop their own dreams of being a performer.  Internationally, governments at city, provincial or state level, and big companies sponsor musical events ensuring lower priced tickets.

Traditional and modern Chinese classical music needs a greater platform and a way of reaching western audiences. Having a broader range of Chinese musicians provides opportunities for the rest of the world to understand and appreciate Chinese traditional music. Most westerners only know the Beijing Opera, but, as Zhang Yang points out, Chinese traditional music is so much more and can appeal to a wide audience. Westerners need exposure to the whole variety of Chinese traditional music and then they will begin to appreciate it.

Both Zhang Yang and Yang Xuefei believe that what is really needed to develop both Chinese and Western classical music in China is a better musical management system. Agents and companies promoting musicians and orchestras, ensembles, bands and soloists need to have links internationally, and large international companies need agents in China. This would create more opportunities for Chinese performers to play overseas and more international performers to perform in China.

Along with this, better CD and DVD production facilities are required. High quality recordings are able to be treasured long after the musician has performed. Imported CDs spread western music, and it is important for Chinese people to be able to buy high quality recordings made by Chinese performers.

Zhang Yang. Photo: Deborah Howard

Zhang Yang has worked in the music industry, bringing performers to Xi'an and believes that many western agencies would like to bring more performers here, but know little about the Chinese music scene. He also sees an important role for agents to be in close contact with overseas theaters and concert venues and festivals to ensure greater exposure for Chinese musicians.

The impact of new media on live performances is still to be seen. Yang Xuefei believes that recording companies need to come to an arrangement with internet download companies.  Western recording companies are digitalizing the music and selling more and more on-line. Chinese companies could look at this as a way of expanding sales and also coverage of Chinese music. 

Most music can be downloaded easily now and as a performer Yang Xuefei is happy to have new people introduced to her music via the internet, but sees a problem with declining CD or DVD sales. "To survive as a musician, it is live performances that are most important", she said.  "People are introduced to my music through CDs or the internet and then when I give a performance, they come to hear me play. A live performance is very different. There is an interaction between the musician and the audience and magic happens".

Yang Xuefei has just released her fifth CD "Rodrigo – Concerto de Aranjuez", featuring works by Albeniz and Steve Goss. The featured orchestra is the Orquestra Sinfonica de Barcelona I Nacional de Catalunya, conducted by Maestro Eiji Oue.

Her previous CD "40 Degrees North" was created to honour Beijing and Madrid – both situated 40 degrees north on the globe. "Si Ji" is strongly influenced by Chinese themes and helps her introduce this music to the world. 

Yang Xuefei is looking for Chinese composers for the guitar to write compositions that reflect a Chinese sound. Steve Goss composed "Chinese Garden" for her and Yang has arranged guitar versions of Chinese classical pieces, including "The Butterfly Lovers" to help bring the music of China to the world. Increasing exposure of different instruments is important for developing Chinese music to add to the Western repertoire.

To increase interest in the guitar and to encourage people to attend more classical music concerts, Yang Xuefei plans on spending more time in China in 2011, holding Masterclasses and encouraging young people to take up this instrument. She wants to encourage creativity and personality in young people, a necessity for any artist.

Zhang Yang is looking for management opportunities to build his dream of bringing more musicians to China and send more Chinese musicians abroad. "Classical music in China is about to explode and we need more opportunities to showcase the Chinese talent. We also need to gain inspiration and techniques from international artists."