Piano etudes by Lo Maisho: trends in the development of the genre

Chzhuan Tszyun'tsze Postgraduate Student, Department of Theory of Music and Composition, Novosibirsk State Conservatory named by M.I. Glinka 630099, Russia, Novosibirsk region, Novosibirsk, Sovetskaya str., 31, of. Vilyuiskaya 15, sq. 111 nsglinka@gmail.com

Michkov Pavel Aleksandrovich PhD in Art History Associate Professor, Department of Music Theory and Composition, Novosibirsk State Conservatory named after M.I. Glinka 630126, Russia, Novosibirsk region, Novosibirsk, Sovetskaya str., 31 p.michkov@nsglinka.ru

The genre of the etude is of great importance in piano creativity, being both a means of educating the pianist's performing technique and a work with wide interpretative possibilities. In China, the etude genre serves as the basis for the development of national musical art. It is not surprising that composers constantly turn to creating compositions in this genre. Of course, piano technique is the sphere for which the genre was initially formed: "it is in the etude that the most common textural formulas, technological tasks and methods of sound production on the piano are concentrated" ^{[1, p. 30]}.

In the history of music, the etude genre is gaining independence and gaining popularity by the time of the widespread use of various keyboard instruments. Composers and musical inventors of the Baroque era played a significant role in this regard. There are new techniques and techniques of the game. So, in D. Scarlatti's sonatas, the techniques of crossing hands and quick rehearsals were presented. In the classical era, "The Art of Piano Playing" by M. Clementi and "Piano Studies" by his student Kramer became the first systematic textbooks developing the technique of playing the piano. Clementi laid the foundations of modern piano technique, and Kramer's works gave freedom and randomness in phrasing, emphasizing balancing between the left and right hands, training the playing of chords, as well as the development of accuracy and consistency of fingers.

Of course, it is impossible not to mention the sketches of Karl Czerny (1791-1857). His works can be called an encyclopedia of piano technique of the first half of the XIX century. They contribute to the development of the pianist's technical excellence, as well as the education of his sound culture^[1].

The genre reaches its culmination in the era of musical romanticism. Franz Liszt (1811-1886) and Fryderyk Chopin (1810-1849) brought this genre to a new level: etudes "became the highest achievements in the field of pianism, characterized by completeness of content, a rich palette of images, a variety of pianistic techniques" ^{[2, p. 102]}. The works of romantic composers written in the etude genre acquire high artistic value and are included in the concert repertoire of pianists.

In the twentieth century, a new approach to the expressive and technical capabilities of the piano appeared. Etudes for various instrumental compositions were created, such as "5 etudes for piano and orchestra" by D. Millau (1920), "4 etudes for orchestra" by I.F. Stravinsky (1929) and "6 etudes for string instruments and organ" by B.A. Tchaikovsky (1977). Thus, the etudes they remained a popular genre of musical literature in various periods, developing and adapting to new technical and expressive requirements.

Professional piano art in China began to take shape quite late. At the beginning of the twentieth century, the first samples of professional compositions appeared, piano schools were formed. Etude, as a genre of piano music, penetrates the art of China in the first quarter of the twentieth century. In 1927, the "New Piano Textbook" was published, created by Xiao Yumei (). Of the pieces that make up the collection, one work entitled "Exercises for fingers on the pentatonic" refers to compositions designed to develop the pianist's performing technique. Later, Chinese researchers Dou Qing and Yang Chengxiu will write: "It is obvious that there is a national character in Chinese etudes for piano" ^{[3, p. 77]}. So this composition became the starting point in the emergence of the national piano etude of China.

The genre definition of "etude" for these plays in China will appear much later, when in 1955 the work of Du Mingxing () titled "Etude" will be published. Since then, piano etudes have become a popular genre of the Chinese school of composition: it is worth calling "Etude for Piano Lovers" (, 1956) Ma Siju (?)), "Simple Etudes for Piano" (, 1965), prepared by a team of piano teachers of the Central Conservatory, "Two Etudes" (, 1965) Go Zhihong and other writings. These works in the intonation model are based on pentatonics, and in structural features – on the established musical forms in the European tradition. It should be noted that already at the initial stage of its development, piano studies were based on national cultural specifics. Wang Nan points out that "Chinese piano studies are based on spiritual heritage and innovation in Chinese musical culture. They include the features of musical intonations of various stages of Chinese history and folklore groups, using the sound of the piano as a means to express the Chinese style" ^{[4, p. 9]}. The same definitions are found in the work of researcher Yang Chengxiu: "the creation of Chinese etudes for piano is based on the foundation of national culture" ^{[5, p. 59]}.

The last quarter of the twentieth century in the history of China is marked by the active development of the economy, social sphere and culture. The genre of piano etude is also developing. In the sketches of this period, new models of national self-identification arise. From now on, composers are not limited only to the inclusion of pentatonics, elements of the national theater, regional folklore traditions, techniques for imitating the sound of national instruments, general philosophical concepts penetrate into the genre of the etude. This new wave finds its justification, since "most of the compositions of the period of intensive development of professional piano art in China are based on the basic postulates of philosophical concepts" ^{[6, p. 1960]}.

For example: Ni Hongjin's "Four Piano Etudes" ( , 1979) presents four national images characteristic of the Xiju Theater. The study "The Sound of Qin in Dianhu" (1980) by Zhao Xiaosheng in its intonation is based on the regional intonations of the city of Dianchi () of Yunnan Province, and also imitates the sound of yuecin (Chinese plucked instrument in the shape of the moon). Li Yinghai's sketch "Walking on a Tightrope" (, 1988) uses a free interpretation of the Sanban rhythms () used in Henan opera.

During the period from the 1980s to the 2020s, the development of the piano etude genre was formed along the line from intonation borrowing to an organic combination of many elements of related musical genres and varieties of national art. In this regard, the cycle of Lo Maisho's pieces "Twelve Piano Etudes" ( ) is of particular importance in the development of the genre.

Luo Maisho (born 1986) is a representative of the younger generation of modern Chinese composers. He received his initial composition skills at the Sichuan () Music School, which he entered at the age of 12. In 2001, the musician continued his professional education at the Tchaikovsky Moscow State Conservatory in the composition class of Vladislav Germanovich Agafonnikov. In 2010, Luo Maisho graduated from an assistant internship at the Moscow Conservatory and in the same year he was accepted into the Chinese Conservatory (Beijing) as a teacher in theoretical disciplines. 

He actively collaborates with such collectives as the Beijing chorus "Voice of Harmony" and the National Orchestra of Chongqing. Lo Maisho's compositions are performed in the largest concert halls in China, performed abroad (New York, Moscow, Seattle, Singapore, etc.). The composer's creative achievements have been awarded many prizes: Lo Maisho is the winner of the 14th, 17th and 18th National Competitions of Composers "The Voice of China" ("The Voice of China"), winner of the Prize of the Ziqin Festival of Culture and Art, diploma winner of the I International Rachmaninov Competition (in the nomination "composition"). Young Chinese scientists also gave appropriate assessments to the work of Luo Maisho: "his musical language has subtle and bold romantic feelings of the Russian school. The level of mastery of the composition technique, consistent melodic development and multi-layered design form a clear and recognizable musical temperament" ^{[7, p. 31]}.

Proceeding from the fact that "new knowledge about the composer's work can be revealed based on the analysis of various subsystems" ^{[8, p. 101]}, let us turn to the composer's genre heritage. The palette of genres in which Lo Maisho works is wide: these are works for solo piano, piano concerts, symphonies, concerts for national musical instruments. At the heart of his work is a respectful attitude to national culture. Therefore, all of Luo Maisho's works are somehow connected with national Chinese traditions and art. For example, his concert for guzheng "The Border of Water" (2021) () is plot–related to a literary work - an old Chinese novel "Shui hu Zhuan" ("River Backwaters"). This is a classic Chinese novel of the XIV century, which tells about the life of "108 noble robbers" – rebels who opposed the power of Emperor Huizong in 1124-1127 (the last emperor of the Song dynasty, reigned 1100-1126).

The opus of piano etudes by Lo Maisho consists of two equal parts, each of which includes 6 etudes. The first part (op. 19) was created in 2010-2011, the second (op. 23) – in 2013-2016.

The sketches have the following program names:

Op. 19

1. "Wind Music" ();

2. "Flea" ();

3. "Wind" (?);

4. "Flowing water" ( );

5.                 Basso ostinato ();

6. Fugue.

Op. 23

1. "Circle" (?);

2. "Contrast" ();

3. "Bamboo" (?);

4.                 «F1»;

5. "Ink" (?);

6.                 Variations ().

In the etudes, the composer uses a number of techniques characteristic of the current state of the piano etude genre in China: along with intonation borrowing, Lo Maisho uses imitation of the sound of Chinese national musical instruments. The works are also notable for their innovative approach in terms of metrical and rhythmic organization. Irregular metrrhythm changes between sections, as well as the use of dotted lines, violate the traditional way of rhythmic structures characteristic of piano music.

This method of metrorhythmic organization is characteristic of traditional Chinese folk music. So, in the folk song "The Little Boatman" () (Fig. 1) from Zhejiang Province (), a constant change of meter from 2 to 3 is used, which creates a feeling of free variation. In the Mongolian folk song "A foal born on a hill" (the clock divisions are indicated by a dotted line, together with an unfixed meter and long notes, the music has free development, and the features of the form and metrorhythm become difficult to define at all (Fig. 2).

Fig. 1. "The Little boatman" ())

Fig. 2 "A foal born on a hill" ( ))))

In the sketches "Wind Music", "Wind", "Circle" and "Ink", the technique of free meter is used in combination with the irregular duration of the beat, indicated by the composers with a dotted line. Due to the use of long notes in the "Ink" sketch, the grouping of bars cannot be calculated in the usual form, where the number of durations in the bars is the same. Instead, each group corresponds to the beginning of a sustained note, and groupings 1-6-8-9 are observed between different bars. In the "Wind Music" eight parts are taken as a basis, but within the bars there are structures equal to 4, 5 and 8 parts. Moreover, in some bars, the number of fractions reaches 28, and the minimum number encountered is 4. Thus, the range of metric expansion from 4 to 28 fractions creates a feeling of the absence of a single metrotemp designation and demonstrates the freedom of rhythmic structures.

In the sketches "Flea", "Flowing Water" and "Bamboo" there is also a free metric alternation. In "Flea" it is the following of 6, 7 and 8 lobes, in "Flowing water" – 3 and 4 lobes, in "Bamboo" – 3, 4, 5.

The combination of a freely moving meter with intonation development creates unusual auditory sensations. So, in the sketches "Wind Music" and "Wind", the free expansion of the duration of the sound of individual notes (as a rule, either at the beginning of the melodic construction, or closer to the zone of its completion) expresses the unpredictability of wind as a natural phenomenon. These etudes provide ample opportunities for interpretation, since "the individual participation of the performer consists of notes not specified by the author: tempo according to the metronome, range of dynamics, pedalization and touch (touching the keyboard)" ^{[9, p. 13]}.

In the study "Flowing Water", the same repetitive rhythmic figure in the form of a sextole throughout the play becomes an iconic element. By the culmination point of the development of the work, the figure acquires the meaning of the image of water and symbolizes the continuation of life against the background of constant event changes. The echo effect reflected by the composer in the piece's code refers to the image of a receding stream of water (Fig. 3. "Flowing water").

Fig. 3. "Flowing water"

The Circle etude is based on a polyrhythmic combination of groups of 5 and 3 sounds. Combining in various combinations in the process of sounding, these groups perform the role of an accent shift.

In terms of interspecific interaction of national art, the "Ink" sketch is noteworthy. Ink painting is an art of painting based on the national tradition and occupies a central place in the cultural system of China. This art is characterized by the use of unique tools and materials (brush, rice paper, ink). The drawing technique is also a cultural asset of China.

Luo Maisho uses a free metrrhythmic structure in the Ink sketch, imitating the process of creating Chinese traditional artistic and cultural ink painting, where the concepts of Bifeng () (a method of constructing a general compositional structure) are present and Bifa () (decorative finishing technique after the completion of the main structure)^[2].

In the work, the first note of each group serves as the initial one, imitating the Bifeng (), then the free movement of the notes reflects the free movement of the brush, creating the overall structure of the painting. Accent strokes with a brush, in the form of dots characteristic when applying ink, are imitated by the composer by repeatedly rehearsing sounds in a free rhythmic relation (Fig. 4. Imitation of the techniques of Bifeng and Bifa in the "Ink" sketch):

Fig. 4. Imitation of Bifeng and Bifa techniques in the "Ink" sketch

Bamboo is of great importance in the art of China. This is both an image and a plant that serves as the basis for musical instruments, and a symbol: "bamboo, as a symbol, generates abstract meanings that transmit the power of the human spirit and emotions" ^{[10, p. 150]}.

Thus, the bumbook flute is a traditional wind instrument and one of the most ancient musical instruments in Chinese musical culture. It has a unique timbre and performance features. Among the playing techniques on the bamboo flute there are Liin () – a rapid sequential progression, bain () – notes of equal duration.

The bumbook simultaneously symbolizes the images in art associated with this plant, and imitates the playing techniques on a bamboo flute. At the beginning of the pentatonic composition, free passages of sounds are added, usually consisting of 14 tones. These figures create the effect of playing on a bamboo flute in a certain technique of the game – liin (Fig. 5. Etude "Bamboo". Simulations of playing a bamboo flute):

Fig. 5. Etude "Bamboo". Simulations of playing a bamboo flute

Within the strict metric system in this work, the passages not only imitate the playing of a brass musical instrument, but also create the effect of freedom from the given framework. This approach is closely related to the traditional musical culture of China. Using a custom technique, the author combines the European academic tradition and folk national art.

In piano studies, Lo Maisho reaches a new level in the progression of the genre. He identifies new trends in Chinese piano music, introducing elements of folk songs, imitation of the sounds of traditional musical instruments, reflecting the imagery and various cultural characteristics of the peoples of various regions of China, introduces new techniques of metrorhythmic organization. The composer does not limit himself to the use of pentatonics, but resolutely strives for innovations in the genre of etude. It is noteworthy that the author departs from the established tradition, which is based on the use of Western European techniques combined with the intonation culture of Chinese melodies, he offers new forms of compositional solutions. The conducted research confirms the opinion of S. A. Eisenstadt, expressed about Chinese pianism: "Chinese pianism is a part of the artistic culture of the country, which for thousands of years has demonstrated truly unprecedented civilizational resilience, the ability, responding to historical challenges, to find internal resources for renewal" ^{[11, p. 7]}. At the same time, the internal structure of metrorhythmic borrowing remains largely a little-studied area in music science.

Lo Maisho demonstrates his own unique creative style in which he inherits and explores traditional cultural traits, as well as designates various ways of expressing them. He gives the genre of the Chinese etude artistry, opening up new directions in the development of Chinese music with an eye to the future. Lo Maisho, in his quest for innovation in creativity, provides rich material and a source for further study of the phenomenon. His work expands musical horizons and opens up new opportunities for musicians and composers. And in this sense, Luo Maisho contributed to the development of the genre of piano etude in professional Chinese piano music.

^[1] Among his most famous collections are "The School of Fluency" Op. 299; "The School of Finger Mastery" Op. 740, "The School of Fugue for Piano" Op.400.

^[2] Details about the differences in drawing techniques are indicated in the work of Li Ming ^[12].