LAST month, as the second invited Chinese performer to the Bach Festival in Leipzig, Germany, 37-year-old Shanghai pianist Tang Jin wowed the audience with her concert “Bach and Chinese Music.”

Rather than simply presenting the maestro’s work, Tang arranged six Chinese piano works into concert, creating a musical dialogue between the West and the East.

She is now busy preparing for a similar concert at Shanghai Symphony Hall in late September.

Tang, who also works as an associate professor at the High School affiliated to Shanghai Conservatory of Music, enjoys stage performances where she can communicate with her audience through music.

She recently talked with Shanghai Daily about her favorite music and music education.

 

Q: Are there any composers whose works you prefer?

A: I’m more inclined toward the German-Austria School, probably because of my study with Markus Groh in Germany. Bach is one of my favorites. With age, I’ve gradually found myself favoring works with profound emotions more than those featuring difficult techniques.

I am very interested in collaborating with contemporary composers, especially Chinese ones. I tend to talk with the composer before interpreting his or her works, so as to make sure the right message is delivered.

There are so many great interpretations of Beethoven’s work that could scarcely be surpassed. But as a Chinese pianist, I believe that my advantage lies in interpreting the works of my country and time.

 

Q: Is that why you selected six Chinese works for your concert at the Bach Music Festival?

A: The committee actually asked for Chinese works apart from Bach’s when inviting me to the festival.

Despite that there are only some 100 years of piano history in China, Chinese pianists and composers are gradually being recognized by the world. This is good news for everybody, but we also have to admit that the voice of China is still quite weak here. Most Chinese pianists are still competing with Western pianists in interpreting Western pieces, with few Chinese works becoming known to the world.

 

Q: How do you see the child piano player phenomenon in China?

A: I have to admit that there is a dilemma in it. Although it will be very difficult — though not impossible — for pianists to succeed if they start learning in their 20s, I don’t think it is a good idea to determine somebody’s career from five years of age.

I started playing the piano very early myself. And there were times when I questioned whether it was the best choice for me.

I didn’t find an answer, so I didn’t try anything else — and I seemed to be quite good at playing the piano. But what if a child is actually a genius at painting but is forced to practice the piano every day?

Music is a beautiful art about emotional expression. A good musician should enjoy his or her own playing at first so as to have the message delivered.

I once graded piano tests in Shanghai, but quit. It was torture to hear so many students mechanically finishing pieces with no emotional attachment at all.

It might just be meaningless for them to spend so much time on something they don’t even like. We don’t need piano-playing machines.

 

Q: Do you see any problems in music education?

A: The famous “duck-feeding” style of teaching exists not only in ordinary Chinese education, but also in music education as well. Students are just told how to operate the keys on the piano, rather than how to appreciate the art.

I still remember a lesson where my teacher encouraged us to paint or write whatever in our mind after listening to a piece of music. There are no such lessons today at most schools.

I encourage my students — especially those from non-art-related families — to approach more forms of art, including concerts, art exhibitions or simply going out to the nature. This will help them discovering the beauty in what they are doing.