In conversation with CCOM composers
1. How would you describe your music to someone who is not familiar with it?
Through listening, I convey my understanding and spiritual pursuit of musical themes, as well as my own proud creative ideas and technical means of expressing musical content.
2. What is your educational background and training in music composition?
Entered Jilin School of the Arts in 1970 to study percussion.
Enrolled in the Composition Department of Shenyang Conservatory of Music in 1978, majoring in composition, obtaining a bachelor's degree.
Admitted to the Composition Department of the Central Conservatory of Music in 1985, pursuing a master's degree in composition.
In 1989, enrolled in the Composition Department of the Central Conservatory of Music to pursue a doctoral degree in composition.
3. Why did you decide to become a composer?
In 1973, studied percussion at Jilin School of the Arts for 3 years and remained as a teacher after graduation. During this time, began arranging music for bands and composing solo pieces for colleagues. I felt that being a percussion teacher couldn't fulfill my love for and curiosity about music. In 1977, after China resumed the college entrance examination, I decided to attend university. Studying composition would allow me to explore my musical fantasies more deeply.
4. Can you walk us through your process of composing a piece?
My creative genres, themes, and styles are diverse, with almost every work being unique. In my music composition, I pay close attention to themes, studying their cultural and emotional connotations. I conceive and create thematic materials that I like, which may serve as the main theme or as musical ideas for a particular section. I have composed numerous large-scale works, including operas, ballets, and symphonic suites. When I feel satisfied with the existing musical materials, I find that all the different elements come together to form an integrated and exclusive musical system. At that point, the conceptualization is essentially complete, and I proceed to the technical writing phase.
5. What are your main sources of inspiration for composing music?
Despite my deep appreciation for Chinese traditional and folk culture, as well as my dedication to studying Western music, I believe that music flows naturally from the heart. While learning involves absorption, creation is the expression of inner emotions. I feel fortunate that every composition originates as a genuine, heartfelt musical idea. My musical ideas are rarely transformed from borrowed elements; even if they are, they undergo emotional fusion through the transformation of the soul.
6. Who is your favorite composer or what is your favorite piece, and why?
It can be said that during my university years and before starting my master's at the Central Conservatory of Music, the works that touched and inspired me the most were Rachmaninoff's "Symphony No. 2" and Richard Strauss's "Ein Heldenleben." I concluded that the music of the former is giving in nature, while the latter's music is conquering. These two temperaments have had a significant impact on me.
7. What advice do you have for aspiring composers who are just starting their careers?
Creating music that you enjoy making, as well as music that you don't particularly like.
8. In your opinion, what is the biggest challenge facing composers today?
Addressing the issue of music's individuality and universality.
9. What do you think one should know before becoming a composer?
The reason why to compose.
10. Dream venue and performers for a world premiere?
No specific dream ones. It depends on the purpose of viewing certain works and performances.
11. Piano compositions or orchestral compositions?
My operas have been performed in key locations across Europe, America, and Asia. For example, operas such as "The 170 Days in Nanking/Die Tagebücher von John Rabe ";"The Dawns Here Are Quiet"; "Voyage To The East-A Fearless Buddhist Master’s Mission To Japan"; and"The Grand Canal" have been staged at venues including the Lincoln Center in the United States, the Berlin State Opera in Germany, and the Mariinsky Theatre in Russia.
12. Composing on paper or digitally?
I use both.
13. Coffee or tea?
Tea