Wang Li-san

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Wang Li-san ( Chinese  汪 立 三 , Pinyin Wāng Lì-sān , W.-G. Wang Li-san or Chinese  王立 三 , Pinyin Wáng Lì-sān ; born March 24, 1933 in Wuhan , Hubei Province , Republic of China ; † 6 July 2013 in Shanghai , People's Republic of China ) was a Chinese composer .

Life

Wang grew up in Qianwei in the province of Sichuan on. Before the advancing Japanese troops in the Second Sino-Japanese War , his family fled with him to Chengdu in 1937 . With the support of his parents, he was early engaged in music and painting in his country, but also in Chinese opera , calligraphy and Taoist philosophy . His early influences included local forms of folk music, the songs of Chao Yuen Ren (1892–1982), Huang Zi (1904–1938), Xian Xinghai (1905–1945) and Nie Er (1912–1935). At the same time he got to know the works of classical European composers such as Johann Sebastian Bach , Ludwig van Beethoven and Claude Debussy through recordings . In addition, he was influenced by the musical novels by Romain Rolland ( Vie de Beethoven and Jean-Christophe ), which were accessible in translations by Lu Fei, as well as the writings of Feng Zikai (1898–1975) and Wang Guangqi (1892–1936).

In 1948, Wang took piano and violin lessons from He Huixian and Zhang Jishi at the Hubei Art College in Wuhan . After a stopover in 1950 as a piano teacher in Tianjin , he moved to the Shanghai Conservatory in 1951 , where he studied composition with Ding Shan-de , Sang Tong (1923–2012) and the Russian Fyodor Grigoryevich Arsamanow (1925–1995), as well as with Chen Mingzhi (1925–1925). 2009) and Qian Renkang (1914–2013). Under the university director He Lüting , both Chinese and Western classical music were taught there. Wang belonged to a group of young composers who, in the wake of Claude Debussy and Béla Bartók , but also Modest Mussorgski and Sergei Prokofiev, were pushing the boundaries of tonality and striving to develop the Chinese pentatonic scale. With this he came increasingly into conflict with the party doctrine, which at that time began to fight more and more Western influences. Wang's first compositions included the piano pieces Lan Hua Hua (1953) and Sonatina (1957).

In April 1957, he lit in the journal folk music ( Renmin Yinyue critical) the orchestra -music of Xian Xinghai , who by Mao Zedong estimated cantata from the Yellow River had composed. On the occasion of this article Wang was as rightists branded, expelled from the university and exiled to the North East in 1959 to forced labor there in the country in Hejiang Reclamation Bureau's Art Troupe abzuleisten. After the group was disbanded in 1962/63, he was transferred to the music department of the Harbin Academy of Arts in Harbin , Heilongjiang Province , and was able to work there as a teacher. During the Cultural Revolution from 1966, he was again given sanctions. He had to give up his apprenticeship and was only able to take it up again in 1972. In 1979 he was appointed visiting professor at the Harbin Academy of Arts and in 1986 professor. Until 1996 he was also head of the institute, a time in which he worked primarily as a pedagogue , university lecturer and scientist and hardly got to composing. As a representative of Chinese music, he was also sent to international exchange meetings in Stuttgart in 1987 , in New York in 1988 and in Hong Kong in 1990 . In 2002 he retired and returned to Shanghai. Despite a stroke in 2003, he continued to compose until 2007. He died in July 2013.

Create

Wang also left behind individual orchestral and vocal works, but he mainly wrote works for piano . In his pieces he often referred to folk songs, dances and local theater and opera traditions , which he processed with modern western composition techniques. One of the earliest surviving works is A Miniature - Impression of a Dulcimer , created in 1950/51, still very much influenced by pentatonic structures and inspired by the sound of the Sichuan dulcimer. In 1953 he wrote Lan Hua Hua - The Beautiful Girl , a piece based on a folk song and designed as a dramatic narrative. In its already significantly expanded harmonics , it was also used in Europe and was considered a pioneering work in the development of Chinese piano music. The sonatina from 1957 , which he was only able to publish in 1981, and the poem composed before 1959 showed how far Wang had strayed from the party-conform music norm. During the exile, only a few, more adapted works such as We Are Walking Along the Broad Road (1964) were created. In 1977 he wrote the ballad - Song of the Guerrilla , a homage to his teacher He Lüting, and Brother and Sister Cultivate the Wild Land , both works in which he used polytonality and cluster technique. Inspired by an exhibition by the Japanese painter Kaii Higashiyama , Wang composed the suite Impressions of Paintings in 1978 .

The 1980 Two Fantasies based on poems by Li He, a poet from the Tang Dynasty , marked a leap in development . The first piece in particular, A Dream of Heaven , inspired by a moonlit night atmosphere, was described as the first twelve-tone composition to be released in China . In the years that followed, Wang wrote few works such as Paintings by the Little Brother (1999). From 2003 to 2007 a suite of the same name was created, influenced by the text The Prophet by Khalil Gibran . In 2007, after several attempts, he presented the last version of a fantasy sonata called Black Soil , which is dedicated to the memory of Errenzhuan , a popular form of song and lecture from the northeastern province of Heilongjiang. In this almost 15-minute composition, Wang worked through his exile from 1959 to 1963. His probably last piano work was the suite Capriccio of Animals, completed in 2007 .

literature

Web links

Individual evidence

  1. ↑ a b c d e f g Ludwig Finscher:  Wang Lisan. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 17 (Vina - Zykan). Bärenreiter / Metzler, Kassel et al. 2007, ISBN 978-3-7618-1137-5  ( online edition , subscription required for full access)
  2. ↑ a b c d e Frank Kouwenhoven:  Wang Lisan. In: Grove Music Online (English; subscription required).
  3. ↑ a b c d e f g h i j k l m Yiming Zhang: Wang Lisan (1933–2013). (PDF) In: Complete Piano Works. Naxos , December 2015, accessed on November 28, 2019 (English, CD booklet).
  4. ↑ a b c d e f Qing Yu: The Musical Road of Mr. Wang Lisan . Atlantis Press, Conservatory of Music, Qingdao University, Qingdao 2017, p. 137–141 (English, atlantis-press.com [PDF; accessed November 30, 2019]).
  5. ↑ Barbara Mittler: Dangerous Tunes. The Politics of Chinese Music in Hong Kong, Taiwan, and the People's Republic of China since 1949 (=  opera sinologica . No. 3 ). Harrassowitz, Wiesbaden 1997, ISBN 3-447-03920-5 , p. 138 (English, 521 pages, full text in Google Book Search [accessed November 28, 2019]).
  6. ↑ Hon-Lun Yang: The Making of a National Musical Icon: Xian Xinghai and his "Yellow River Cantata" . In: Annie J. Randall (Ed.): Music, Power, and Politics . Routledge, New York 2005, ISBN 0-415-94364-7 , pp. 100 (English, 87–112 pp., Full text in Google Book Search [PDF; accessed on November 29, 2019]).
  7. ↑ a b Short biography and discography at: naxos.com (English)
Note: This article places the family name before the person's first name. This is the usual order in Chinese. Wang is the family name here, Li-san is the first name.
personal data
SURNAME Wang, Li-san
BRIEF DESCRIPTION Chinese composer
DATE OF BIRTH March 24, 1933
PLACE OF BIRTH Wuhan
DATE OF DEATH July 6, 2013
Place of death Shanghai