KLASSIKOM=Innovations in classical music

Rudolph Tang

By award-winning music critic Rudolph Tang direct from China. Salty maybe, boring never. klassikom.substack.com

  1. Compose for Intangible Heritage

    4d ago

    Compose for Intangible Heritage

    On the evening of 2 June at 7:30pm, the He Luting Concert Hall of the Shanghai Conservatory of Music hosted Intangible Heritage of Shanghai, a concert of newly commissioned works for Chinese chamber ensemble. Using music to “map” Shanghai’s intangible cultural heritage, the programme featured ten newly composed works by ten composers, each inspired by a different element of the city’s local intangible cultural traditions. Earlier, on 29 May, the same programme and performers appeared at Shanghai’s Wanping Theatre as part of a public-benefit performance initiative presented by the Department of Composition and Conducting of the Shanghai Conservatory of Music. Marking the creative team’s first venture into community-oriented theatre outreach, the project sought to bring contemporary composition closer to the public and to give back to society through music. Centred on Shanghai’s intangible cultural heritage traditions, the concert embodied the ideal of “creating for the people and singing for the times,” receiving an enthusiastic response from audiences. Most of the ten featured composers are emerging young voices from the Shanghai Conservatory’s Department of Composition and Conducting. The programme includes: * Yuan Yuan — Weaving Brocade * Liu Ruixin — Lantern Festival Night * Xie Qinwei — Porcelain Patterns I * Li Yide — Candlelight * He Jianing — Endless Threads * Lan Junyi — Brocade Strings * Lou Jia — Flowing Light * Shi Zhixuan — Rain Bells * Li Nixia — Bronze * Lin Luxin — Boundless: Spirit of Martial Arts The concert showcases a wide range of traditional Chinese instruments, including pipa, guzheng, yangqin, dizi, xiao, sheng, suona, erhu, ruan, liuqin and percussion. Each ensemble combination is closely tied to a specific item of Shanghai intangible cultural heritage. * Weaving Brocade for pipa, piano and percussion draws inspiration from Shanghai-style wool embroidery, recreating the metallic shimmer of needles weaving through silk. * Lantern Festival Night for flute, sheng, guzheng, yangqin and percussion evokes the famed Yuyuan Lantern Festival, reimagining the poetic scene of “trees of flowers blooming in the night wind”. * Porcelain Patterns I for pipa, guzheng and percussion is inspired by Shanghai’s traditional ceramic restoration techniques and incorporates the folk tune Little Bench. * Candlelight for bamboo flute, suona, pipa and piano draws on the traditional gongs-and-drums storytelling art of Nanhui, using rhythmic patterns transmitted directly by heritage practitioners. * Endless Threads for percussion and piano takes inspiration from Mianquan martial arts, embedding hidden musical motifs within its pitch structure. * Brocade Strings for Chinese chamber ensemble reflects the delicate elegance of Songjiang’s Shijin gong-and-drum tradition, capturing the refined softness associated with Jiangnan culture. * Flowing Light for ruan and piano explores the folk beliefs surrounding the Little White Dragon of Jinshan, imagining a dance between the sun deity Xihe and water spirits. * Rain Bells for liuqin and accordion takes its cue from Jiading bamboo carving and musically depicts Emperor Xuanzong of Tang remembering Yang Guifei amid falling rain. * Bronze for sheng, guzheng and percussion is inspired by the bronze craftsmanship of the Shanghai Museum, conjuring the fierce imagery of ancient taotie motifs. * Boundless: Spirit of Martial Arts for Chinese chamber ensemble pays tribute to Jingwu martial arts culture, transcending sectarian traditions and transforming martial movement into musical expression. For general audiences, the most immediate appeal of the concert lies in the vivid imagery and storytelling behind each piece. Flickering candle flames in Candlelight, the crisp sound of silver needles touching silk in Weaving Brocade, or the wistful ringing of rain-soaked carriage bells in Rain Bells all create scenes that listeners can instantly picture and emotionally connect with. Each composition is also accompanied by a re-imagined digital visual projections, revamped from the first show last year. Images of traditional craftsmanship, historic streets illuminated by lantern festivals, and ancient bronze motifs will flow across the screen in synchronisation with the music, creating an immersive dialogue between sound and image. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com

    9 min
  2. Paloma So on the Transformative Power of Verbier

    May 13

    Paloma So on the Transformative Power of Verbier

    Violinist Paloma So views the Verbier Festival as a “musical paradise,” a unique ecosystem where the world’s most elite artists, students, and fans converge to “take over” the town in a shared celebration of music. After first attending the Verbier Academy two years ago, So returned last year as a featured artist, finding that the festival’s true value lies in the profound sense of community and the proximity to the industry’s “best ears.” For So, the experience is a masterclass in professional discipline. Observing how top-tier musicians organize their rehearsals, act in real-time on stage, and reflect on their performances, whether through quiet study or social decompression. has fundamentally reshaped her own approach. She credits these short but intense encounters with making her a significantly better chamber musician, viewing music-making as a process of reflecting everything in one’s environment. This summer, So returns to the Alps to explore the “complex and intricate” quartets of Raykhelson and Medtner. These relatively under-programmed works offer a fresh challenge, maintaining a sheer elegance that So is eager to bring to life alongside her peers. As she prepares for this latest chapter, she remains driven by the anticipation of how the Verbier community will continue to transform her artistry. Interviewed on May 2nd, 2025 at the Xinghai Concert Hall in Guangzhou, China. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com

    5 min
  3. Return of Legendary “All-Chinese Ring” with Die Walküre

    May 12

    Return of Legendary “All-Chinese Ring” with Die Walküre

    Between 2013 and 2015, I saw the final three operas of Wagner’s Ring cycle at the National Centre for the Performing Arts in Beijing, conducted by Yu Feng, then Preisident of the China National Opera, and directed by Wang Huquan produced by the China National Opera. Because every leading role was sung by Chinese artists, the production quickly became known as the legendary “all-Chinese cast” Ring.For me, the significance of that project went far beyond novelty. It gave a generation of Chinese singers the rare opportunity to perform the complete Ring cycle, nurturing and establishing many of the country’s finest Wagnerians in the process. More importantly, it marked a historic breakthrough: a fully home-grown Chinese Ring production capable of standing on its own artistic merits.Yet after the new theatre of China National Opera was completed, this milestone production quietly disappeared from the company’s seasons. Over time, the “all-Chinese cast” Ring took on an almost mythical status - until Sunday evening at the Shanghai Symphony Hall, when Yu Feng returned with a hand-picked ensemble to present a three-hour concert version drawn from Die Walküre.Two bass-baritones were particularly remarkable. Most striking of all was the portrayal of Wotan, moving seamlessly from divine authority and rage to heartbreaking human vulnerability. In the third act, his farewell to Brünnhilde - sung by China’s leading Wagnerian soprano Wang Wei - was profoundly moving, the kind of performance that leaves the audience emotionally shattered.Under Yu Feng’s commanding direction, the combined force of Shanghai and Ninbo Symphony Orchestras recaptured the fire, discipline, and sheer dramatic intensity that defined the China National Opera Orchestra more than a decade ago. The refinement of the details was often breathtaking. When it comes to Wagner’s Ring, the national company still shows what the highest level of Chinese operatic forces can achieve.Hu Yifan, a guest of KLASSIKOM, shared her story performing and listening to Die Walküre.Filmed and interviewed on May 10, 2026 in Shanghai.This is a Chinese language programme with bilingual subtitles. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com

    16 min
  4. Paloma So’s Harvard Journey

    May 10

    Paloma So’s Harvard Journey

    Following her recent concert tour to Guangzhou and Beijing, violinist Paloma So is returning to the United States to continue her studies at Harvard University. While the transition from the concert hall to the classroom might seem like a leap, So views her Ivy League education as vital nutrition for her growth as a musician. Though she is an economics major, So’s academic interests are vast and varied. She actively takes classes in government department and romance languages, specifically French, and everything from Roman history to cosmology. For So, this interdisciplinary path is essential because she believes that to be a great musician, one must first be a well-informed, well-read, and well-rounded human being. This liberal arts education provides her with a broader perspective, allowing her to see music as a small but profound representation of humanity and art within a ginormous world. So describes Harvard as an incredible and unique community that provides inspiration beyond the classroom. She highlights the privilege of being exposed to top-tier professors and even the occasional lunch with a Nobel Prize winner. Her peer group is equally diverse, consisting of talented actors, writers, and athletes who may one day lead the world. Her typical day mirrors that of many students - attending classes, catching up on work, and reading on the lawn. However, her schedule has a musical edge. Every Tuesday, she travels to the New England Conservatory for her violin lessons. She prefers to practice in the evenings or at night, as that is when she feels her brain is most active and she has the most to say musically. While some might see a double interest in economics and music as a fork in the road, So’s career goals have been fixed since childhood. She has always known she wanted to be a professional soloist, noting that the violin brings her immense joy and fulfillment. Rather than distracting from her musical path, she sees Harvard as a supplement that helps shape her into the artist she hopes to become. Interviewed on May 2nd, 2026 at the Xinghai Concert Hall in Guangzhou. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com

    8 min

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By award-winning music critic Rudolph Tang direct from China. Salty maybe, boring never. klassikom.substack.com