Rao Yuyan’s polyphonic works for piano in terms of performance

Abstract

Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works of the composer are considered in the aspect of performance realization. The purpose of the study is to determine the most important performance principles and set of performance tasks in Rao Yuyan’s polyphonic works for piano. The article bases on Rao Yuyan’s piano works “Introduction and Fugue” (1956), the suite “Sketch of Life in Yan’an” (1963), “Prelude, Fugue and Chorale” (1964) and “Three Polyphonic Pieces on the Ancient Music of Chang An” (1992). The article uses historicaltypological, structural-functional, comparative, intonation and interpretative methods as necessary for performance analysis. The fundamental theoretical positions of Chinese polyphonic musicians (Su Xia, Ding Shande, Chen Mingzhi, Duan Pintai and others) uses, and Rao Yuyan’s theoretical works devoted to polyphony has particular importance. The issues of pianistic realization takes in account the polyphonic principles considered by Ying Jiang, Bai E. Results and conclusions of the research. RaoYuyan’s beautiful piano works have a great art value, they became a significant contribution to Chinese art of the 20 century. We can even define Rao Yuyan’s role as a creator of national polyphony who modernized the ancient national musical legacy. Rao Yuyan’s piano works discussed in this article use almost all known types of polyphonic techniques of Western music. The vividly example of it is the double fugue from the cycle “Prelude, Fugue and Chorale” or the last number “Weeping Willow” from the series “Three Polyphonic Pieces on the Themes of Chang An Ancient Music”, where the sort of “cantus firmus” technique – “basso ostinato” is used. In the piece “Sunrise” from the piano suite “Sketch of the Life of Yan’an” the polyphonic texture becomes almost like to consonant sonority. At the same time, the laconic themes used in the Suite call upon the thought that J. S. Bach was a spiritual teacher of the composer. However, the composer borrows his main ideas from the Chinese folk musical tradition. Rao Yuyan was well versed in traditional fugue techniques, however, in the cycles “Introduction and Fugue” and “Prelude, Fugue and Chorale” he included the local national musical elements to emphasize their cultural identity. Among the main pianistic tasks facing the performer of polyphonic works of Rao Yuyan – the development of clear auditory attention, the idea of the general form of the work. The auditory sense of the work controls the sound, covers both the whole and individual details of the polyphonic form. It not only controls the performance, but also takes an active part in the birth of the artistic way of playing polyphony. Breathing emphasizes the essence of polyphonic development, which consists in the continuity and fluidity of melodic lines through the relief introduction and plastic completion of individual polyphonic voices.