June 14, 2018

Yi-Wen Jiang Publishes “ChinaSong”

Shanghai Quartet violinist Yi-Wen Jiang’s arrangements of Chinese folk melodies were published this spring by the Hucheng Publishing Company in Guangzhou, China. Prof. Jiang has served on the Cali School faculty since 2002. The Shanghai Quartet’s performances of ChinaSong, both live and recorded, have been acclaimed world-wide. He wrote this introduction to the publication:

ChinaSong: An Anthology of Chinese String Quartet Miniatures Arranged by Yi-Wen Jiang has finally been released to the public, and the Guangzhou-based Huacheng Press has done an amazing job. I was filled with mixed emotions when I held a sample copy of this wonderfully printed volume because it is a milestone of my effort in the promotion of both Chinese folk music and Chinese chamber music. I have poured my heart into the creation of these pieces and have spent many sleepless nights on them. It is such a reward to me that these musical gems have earned great acclaim in China and beyond.

After graduating from the Central Conservatory of Music in 1985, I moved to the United States. Since then, I have devoted myself to music performance and music education for more than three decades. To expand the repertoire of the Shanghai Quartet, of which I am a member, the idea of arranging Chinese tunes into string quartet pieces was born. The finished works have proven to be showpieces and well-received encores at our concerts. They have spread far and wide and were released on CD 16 years ago by Delos, a leading American record company. The album has added to their popularity across the world.

It has been my passion arranging these Chinese works for chamber ensemble because I deeply love string quartets. Having performed the masterpieces from different eras and in different styles – those by Haydn, Mozart, Beethoven, Brahms, Schubert, Dvorak, Bartok, Shostakovich, and Penderecki – I am fully aware that their recognition as all-time greats owe no small debt to the respective cultural backgrounds from which they came. With this in mind, I am determined to reinterpret the quintessential Chinese spirit with the musical idioms I am familiar with – the structures of voices, arrangement of harmony, counterpoint, and performing techniques – which have introduced innovative elements into my arrangement process.

When I saw the pleasant surprise of audiences when listening to the unconventional renditions of traditional tunes, it encouraged me even more to contribute to the Chinese heritage that I am so proud of. My hard work has translated into resounding success, and my earnest wish has come true: these string quartet pieces have been well received, and my efforts have finally paid off.

I sincerely hope that this collection will raise the interest of the musical circles in China and abroad, and that it will promote chamber music in China.

As spring is a blossoming season, hopefully this volume can bring you a bouquet of flowers with the grace of an exuberant spring scene.