By: Xuanchao Zhou
Shengzhao Jiang is a young Chinese musician based in the UK who has made a name for herself with her innovative series of concerts. Influenced by her dual Chinese and Western educational background and the historical legacy of the Silk Road, she initiated the ‘East-West Concert Series’. Initially focusing on performances of selected classical pieces from both traditions, she later embarked on a bold venture to adapt classical music through cultural fusion, inspired by London’s vibrant arts and creative industries. Her performances blend traditional Chinese instruments and classical poetry with Western modes and instrumental music, merging classical and contemporary musical styles. Collaborating with musicians of diverse backgrounds, she showcases non-Western classical music, works by female composers, and the concept of cross-cultural exchange.
Among Jiang Shengzhao’s many performances, ‘关雎’(Cooing and Wooing) stands as a classic example. Its lyrics are drawn from the opening piece of ‘诗经’(The Book of Odes), China’s reputable poetry, dating back five centuries. The poem employs neat even-numbered stanzas and rhyming couplets, using ‘ou’ as the rhyme scheme, whilst the onomatopoeic term ‘Guan Guan’ mimics the courtship calls of osprey birds. Through its strict verse structure, the narrative tells the tale of a noble gentleman enduring hardships in pursuit of love, ultimately achieving his heart’s desire. In the melody, contemporary composer Jiping Zhao blends Western polytonal compositional techniques with the traditional Chinese D pentatonic scale. Shengzhao sings in a synthesis of Chinese folk and Western classical singing styles, transitioning from the previous use of more pointed and thin tones to a more chesty and mellow tone, with the Chinese diction of the words employing straight and rounded pronunciation.
In addition, the Guzheng, a traditional Chinese instrument with a history spanning over 2,000 years, is incorporated into the music, characterized by its clear and melodious tone. Its techniques – arpeggios and vibrato – are heavily represented in the accompaniment of the central theme, and at the prelude and ending, the ‘vibrato’ is used to imitate the sound of a xiao, and uses a large number of scrapes in the left hand part, creating a scene of a fresh breeze on a riverbank in an ancient style.
Photo Courtesy: Shengzhao Jiang
菩萨蛮·小山重叠金明灭(Pusaman·The one) is a popular music piece taken from the TV Series ‘甄嬛传’(Empresses in the Palace). Shengzhao combines classical singing with traditional Chinese instruments, creating a novel interpretation that has garnered attention on social media. The lyrics depict a woman rising and grooming herself, with her beautiful features and sumptuous attire contrasting with her solitary state of mind, while also symbolizing the melancholy plight of the imperial concubines in the original drama. Shengzhao employs classical techniques in singing, adding pipa, erhu, and piano to the arrangement. The pipa, with its 2,000-year history, produces a granular, staccato sound with a crisp timbre. The erhu, introduced to play the melody of another song from the opera, ‘凤凰于飞’(Phoenix Pair on the Wind), contributes a voice-like tone that evokes a plaintive, lamenting effect, conjuring the dramatic emotions of the original production.
In addition to Chinese voice pieces, the concert also feature opera selections, instrumental and dance repertoire, such as aria – ‘Care Compagne’ from ‘La sonnambula’, an adaptation of popular music ‘兰亭序’(Lan Pavilion Preface) for guzheng and violin duet, ‘渔歌唱晚’(Fishermen’s Song at Eventide), ‘蝴蝶与蓝’(Butterflies and Blue) for violin and guzheng duet, and ‘只此青绿’(The Unique Blue Green) for guzheng and guqin duet, which combines traditional Chinese dance.
Photo Courtesy: Shengzhao Jiang
At times of increased cultural hegemony and clash of values, audiences from a globalised context enhance their understanding and respect for different cultures through the perception of melody and timbre. Shengzhao’s concerts interpret music through cross-cultural forms, which is beneficial to the promotion of artistic innovation, global cultural identity, and peacebuilding. The effective transmission of traditional culture can also help alleviate conflicts between different cultures and promote cultural harmony and coexistence. However, preserving ethnic cultural characteristics in the face of global cultural homogenization requires a more profound reflection.
In the history of Western music, the church has always played a significant role. From the early Middle Ages, chants sung in churches formed the earliest form of choral singing, paving the way for the emergence of Bel Canto from religious music to the Renaissance. Famous composers such as Bach and Mozart wrote music for churches.
St James’s Church, in Sussex Gardens, London, was built in 1841 and damaged during the Second World War. This Gothic-style church features a dome designed to create natural reverberation.
Shengzhao’s concerts have been staged many times in such a context, combining space and religion, history and culture, making the concerts an artistic, inspiring, and social platform for stress reduction, and providing the viewer with a deeper space for cultural reflection and critique. From the perspective of multiculturalism, this not only promotes the diversification of the music industry but also favours the development of pluralism and cultural diversity in music education.
Photo Courtesy: Shengzhao Jiang
