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Music and Time

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Adapting the Traditions of the Beijing Opera in Zhang Chao’s Piano Piece «Pihuang»
Han Yipeng

The article is devoted to the problem of the implementation of the traditions of the Beijing opera in the piano piece "Pihuang" by the modern Chinese composer Zhang Chao. This work did not fall into the field of attention of Russian-speaking researchers before. The composer refracts the legacy of jingju on several levels. First of all, at the level of the structural principles of the banshi’s metertempos, which form the national aspect of the musical form and predetermine the character, tempo and meter of the nine sections of the composition replacing each other. An equally important factor is the stylization of the timbres of Chinese instruments that make up the Beijing opera ensemble (jinghu violin, dizi flute, bangu drum, yueqin lute, yangqin cymbals), as well as instruments that are a sign of the national religious tradition (temple bell). Allusions to the Beijing opera also appear at the level of texture imitating the duet of voice and instrument characteristic of the traditional Chinese opera art, and even at the level of plastic embodiment of the role of theatrical heroes-masks. The adaptation of Chinese traditional music to the piano genre led to an organic synthesis of national and European writing techniques: the sequence of Zhang Chao’s chosen meter-tempos of the Beijing оpera corresponds both to the three-part model of the “fast-slow-fast” sonata cycle and the form of romantic free variations (Phantasievariationen). The composer managed to achieve an organic combination of the centuries-old musical traditions of the East and West.
Keywords: Pihuang, Zhang Chao, contemporary Chinese piano music, Beijing opera, banshi meter-tempos.

Pp. 17-23.

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