Bach's traditions in polyphonic works for piano by Chinese composers

During the formation of Chinese professional music in the twentieth century, one of the most important tasks that musicians faced was the creation of a repertoire in various genres. The development of European polyphonic genres, forms and techniques by Chinese composers took place in close connection with the study of the history of polyphony and the analysis of the features of polyphonic writing by outstanding composers of the past centuries. The study of J. S. Bach's work is the basis for the training of both piano performers and composers. The purpose of the research in the article is to discover the methods of interaction of polyphonic genres and techniques developed in Bach's keyboard works with the peculiarities of the national musical style. The article analyzes the works: the invention "Deep at Night" by Zhu Shi, fugue No. 8 on the theme of fugue from Bach's HTK and Passacaglia-fugue No. 24 from the cycle "24 fugues" by Yu Xuxian. The author of the article relies on the provisions developed in the works of Russian and Chinese scientists on the problems of polyphony V. Protopopov, I. Kuznetsov, Chen Mingzhi and others. The article uses a set of methods aimed at studying the peculiarities of mastering Bach's work by Chinese musicians, the interpretation of the genres of invention, fugue, passacaglia in the works of Chinese composers. Based on the study of the works of Chinese scientists and the analysis of works in the genres of invention, fugue on the theme of Bach as part of a large polyphonic cycle, passacaglia, a conclusion is made about the uniqueness of samples of Chinese polyphony and a peculiar interpretation of Bach traditions in Chinese piano music, coming from the collision of different cultural and aesthetic ideas of the Chinese and Europeans. In the considered works, the forms that have developed in Western European Baroque music are filled with new content, and the means of expression inherent in Chinese traditional music are adapted to strict polyphonic canons. The combination of diatonics and angemitonic pentatonics, complementary rhythmics and rhythmic figures characteristic of Chinese traditional Peking opera, a mixture of polyphonic and harmonic texture types are decisive in the considered works.

Chinese music, Chinese polyphony, Chen Mingzhi, Zhu Shirui, Yu Suxian, invention, fugue, passacaglia, Johann Sebastian Bach, large poliphonic cycle