Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)
Authors: Zhang Guangjian 
Published: March 2021

Background. The article is devoted to the piano work of the famous Chinese composer Zhang Zhao. The focus is on the “Pihuang” Fantasy, which embodies the national characteristics of Peking opera. This work won an honorary award at the 2007 Chinese composition competition for high artistic qualities and deep content. The article examines, how the composer uses the musical elements of the Chinese opera tradition to create a certain drama of the work, how the sound specificity of the timbre colors of the voice, the techniques of vocal sound production and recitation, the image of Chinese instruments is embodied on the piano. The role of the first performer of the work – the famous pianist Li Yundi – is revealed to popularize the works of Zhang Zhao in China and around the world. The importance of considering the performing aspect of the realization of this music is proved. It is emphasized, that such an analysis creates a wide field for creative research in the interpretation of the music by Chinese authors, takes into account modern requirements that contribute to the development of independence and initiative among young pianists. Objectives. The purpose of the article is to identify the universal mechanism for interpreting the piano compositions of ZhangZhao by the example of his Fantasy “Pihuang”. For the disclosing of the research theme the complex methodological approach, combining the principle of musical-theoretical, musical-historical and performing analysis is taken. Results. The composer also embodied the centuries-old traditions of Chinese instrumental folk art, its timbre specificity and unique rhythm in the piano sound of the Fantasy “Pihuang”. An important point is the formal and dramaturgical organization of this composition. Zhang Zhao organically combines the traditional mosaic structure of the Beijing opera with the Western genre of opera transcription, which allowed to give the whole musical composition “elasticity” within the framework of a fixed large form. This work attracts not only with the beauty of its melodies, the richness and originality of a harmonic language, the perfection of a form, various requirements for a performer, but also because all these features of his music are inextricably linked with the disclosure of the philosophical depth of content and eternal vital themes in it. A performer should be ready for frequent changes in images and moods, since the work of Zhang Zhao is romantic, rich in figurative and emotional content. From this point of view, one need to imagine different plot scenes and relate them to the sections of the music. The various characteristics of the sections will help a pianist to some extent decide, which timbres, tempo and mood are most appropriate. Throughout the performance, a pianist must be in the determined “role”. The piece opens by the loose improvisatory introduction, Rubato. The pianist must listen in advance to the Beijing opera in order to imagine how this music should sound, to understand and feel the free movement of its rhythmic organization (sang-bang). To achieve expressiveness in melodies, preeminently, one needs to have a flowing, singing sound. Sound quality is determined by the style and nature of the work, where each of the episodes and even a separate voice in polyphony require special coloring and special sound production. The task of the performer is to show as more clearly the features that are essential for various types of the texture presentation: in the same material one can emphasize the melodic beginning or the character of the chord movement, give preference to the bass part or soprano echo; finally, highlighting a certain chord sound, one can strengthen the latter’s attraction to a particular functional sphere. It is well known, that a performer can, without deviating from the pitch line given by a composer, but actively using the means of dynamics, articulation, agogy, create an individual version of the melodic pattern with its own logical emphasizes, its own types of breath and plasticity. It is obvious, that the study of the laws expressing the substantial characteristics of the texture is of practical importance for the performer, since the texture is directly related to the problem of figurative-sound versatility of performance – one of the most acute for musical interpretation. Therefore, a performer’s attention to a significant extent should be focused on which figurative-semantic characteristics are concentrated in each texture layer, what of these characteristics are dominant and what constitute the psychological complement of the image or act as an opposing force. Conclusions. “Pihuang” attracts the attention of performers with the uplifting and joy of vitality, original, artistic language, specificity of rhythm, and improvisation. This work reflects the highest achievements of the Chinese pianistic school, the importance of which has long crossed national boundaries, occupying one of the honorable places in the education of young pianistsperformers. The study of the performing interpretation of the piano works by Zhang Zhao, the identification of the relationship between expressive techniques and the peculiarities of the author’s style has many-sided significance. Based on the analysis of the interpretation of the Piano Fantasy “Pihuang” by the outstanding Chinese pianist Yundi Li, as well as checking the conclusions of theoretical analysis with the practice of concert performances, we establish certain connections in Zhang Zhao’s piano work, which can be traced as stable signs of his style. It should be noted that different performers can reveal a significantly different understanding of the same work and sometimes we have to talk about the difference in the very content of the sounding work. Auditory impressions from listening to Beijing opera, the sound of Chinese folk instruments should be the basis for the realization of the objective properties of the piano texture, reproduction on the piano laid in the musical notation features of rhythm, dynamics, agogics, timbres etc. This not only clarifies the understanding of the composer’s style, but also the specifics of all Chinese performing arts.