The Double Bass Development in China

THE LITHUANIAN ACADEMY OF MUSIC AND THEATRE

FACULTY OF MUSIC

STRING DEPARTMENT

SHAONAN LI

THE DOUBLE BASS DEVELOPMENT IN CHINA

Study Program: Music Performance (Double Bass)

Master’s Thesis

Advisor: assoc. prof., dr. Audra Versekėnaitė

(signature)......

Vilnius, 2020 LIETUVOS MUZIKOS IR TEATRO AKADEMIJA

SĄŽININGUMO DEKLARACIJA DĖL TIRIAMOJO RAŠTO DARBO

2020 m. gegužės 21 d.

Patvirtinu, kad mano tiriamasis rašto darbas „The double bass development in China“ yra parengtas savarankiškai.

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Shaonan Li (Parašas) (Vardas, pavardė)

1 Abstract

Master thesis “The Double Bass development in China” presents the introduction and development of this musical instrument in China. In the first chapter, the double bass in China, I will describe the efforts of early Chinese double bassists such as Zheng Daren (b. 1927) and Shao Genbao (b. 1930) to help the advancement of the instrument in the country. I will also portray the background of musical education in China at that time (1949–1979), with a focus on Zhengkai Ye (no information available so far), who strove to improve Chinese double bass students’ performance skills. I will also introduce some traditional Chinese folk instruments with similar techniques of playing, such as the erhu, a very beautiful traditional string instrument. Both the double bass and the erhu need a wonderful vibrato and good control of the player’s right hand, and both can be used to play the same repertoire, such as 《二泉映月》 (Two Springs Reflect the Moon), composed by Yanjun Hua (1893–1950) in 1949, or 《梁祝》 (Butterfly Lovers), composed by Zhanhao He (b. 1933) in 1957. The second chapter, Chinese double bass contests, presents the various musical competitions that reflect the level of the Chinese double bass performance skills. I will focus on the most important contest in China, the Alto Cup, to analyze its contribution to the development of the double bass in the country.

2 Anotacija Magistro darbe " Kontraboso įsitvirtinimo XX a. Kinijos muzikoje istorija", pristatoma kontraboso atsiradimo ir įsitvirtinimo Kinijos muzikos kultūroje pradžia. Pirmajame skyriuje pateikiama informacija apie pirmųjų Kinijos kontrabosininkų, tokių kaip Zheng Daren (gim. 1927), Shao Genbao (gim. 1930) veiklą populiarinant Kinijoje kontrabosą. Taip pat darbe bus pristatomas kontraboso Kinijoje mokymo (1949-1979 m.) panorama. Kontraboso įsitvirtinimo Kinijos muzikos tradicijoje didelę įtaką turėjo Zhengkai Ye, kuris aktyviai formavo studentų kontrabosininkų atlikimo įgūdžius. Magistro darbe taip pat bus pristatomas tradicinius Kinijos liaudies instrumentuas, turintis panašumų su kontrabosu. Tai - erhu - labai gražaus skambesio styginis instrumentas, kurio grojimo principas bei grojimo technikos yra labai panašios grojant kontrabosu.

Pavyzdžiui, norint, kad tiek vienas, tiek kitas instrumentas skambėtų̨ puikiai, reikalinga gera atlikėjo dešines rankos koordinacija bei gražus vibrato. Kūriniai, sukurti ehru instrumentui, tinkami atlikti ir kontrabosu. Kinijoje populiarūs šie erhu ir kontraboso atliekami kūriniai kaip Yanjun Hua "Du pavasariai atspindi Mėnulį" (1949) ar Zhanhao He "Drugelių mylėtojai" (1957). Antrajame magistro darbo skyriuje yra pristatoma Kinijoje organizuojami kontrabosininkų konkursai. Aptarus esmines keturių konkursų ypatybes, analitinis žvilgsinis sukoncentruotas ties svarbiausiu šiuo metu kontrabosininkų konkursu - "Alto" taurė, kuris organizuojamas Pekine nuo 2005 m. Darbe yra analizuojama kokią įtaką šis konkursas padarė (ir tebedaro) grojimo kontrabosu įgūdžių Kinijoje tobulinimui.

3 CONTENT

INTRODUCTION ...... 5 1. THE DOUBLE BASS IN CHINA ...... 6 1.1. EARLY EVIDENCE OF THE DOUBLE BASS IN CHINA ...... 6 1.2. THE DOUBLE BASS IN MUSIC CONSERVATORIES AND FIRST PROFESSORS OF DOUBLE BASS ...... 9 1.3. METHODS OF TEACHING OF THE DOUBLE BASS ...... 10 2. THE ROLE OF COMPETITIONS IN DOUBLE BASS EDUCATION IN CHINA16 2.1. OVERVIEW OF THE DOUBLE BASS COMPETITIONS ...... 17 2.2. THE INFLUENCE OF “ALTO” CUP COMPETITION TO THE DEVELOPMENT OF DOUBLE BASS IN CHINA ...... 18 2.2.1. THE HISTORY OF THE “ALTO” CUP DOUBLE BASS COMPETITION ... 19 2.2.2. “ALTO” CUP DOUBLE BASS COMPETITION'S INFLUENCE TO THE CAREER OF THE WINNERS ...... 20 2.3. CRITICAL EVALUATION OF DOUBLE BASS COMPETITIONS IN CHINA 22 CONCLUSIONS ...... 26 BIBLIOGRAPHY ...... 28

4 Introduction

The double bass is an important instrument in the Western symphony orchestra. Its establishment in China was difficult due to a lack of knowledge in the early days. However, due to the joint efforts of many outstanding Chinese musicians and double bassists, the double bass is flourishing in the country. Professional music academies were gradually established in China, which allowed for the development of a good education model. The Chinese double bass musical competitions have matured, thanks to many outstanding Chinese double bass players who take part. Relevance of thesis topic

- Research limitation: The limitation of this thesis is the lack of historical studies about the development of the double bass in China. There is very little information about the first Chinese teachers of double bass. Research aim is to present the history of the development of the double bass in China and to evaluate the role of competitions in the double bass education in China. Research tasks: 1. To summarize the history of the development of the double bass in China 2. To identify the most important competitions for double bass performers in China Research methods: historical, analytical, descriptive.

5 1. The Double Bass in China

1.1. Early Evidence of the Double Bass in China

As a Western musical instrument, the contrabass has a relatively short history in China. China has its own traditional music and musical instruments, China's traditional music system is very different from the Western music system, There is also a big difference in the pursuit of musical effects, In traditional Chinese music performances, there is no Chinese traditional orchestra as large as the Western Symphony Orchestra, In traditional Chinese music performance, a small band usually consists of 6-8 people. Because of the different musical culture differences, the development of Chinese symphony orchestra and double bass is late.

Double Bass has largest size and the lowest pitches in the string’s instruments. It is the pillar of the sound in the band, the basis of the basic rhythm1. In the symphony, the most common way to play the double bass is to play the same score with the cello. When he plays the same score with the cello, the double bass and cello actually play at octaves. This kind of bass sound is very effective. If there is no double bass, only the cello, the sound is not deep enough. If there is no cello, only the double bass, the sound is not clear and flexible. The combination of the two is the best. In the low range, the double bass leads the bass part. In the middle and high range, the cello leads the bass part. There are less common examples where the cello and the double bass play the same melody successively. Special contrast effects, such as Shostakovich's seventh symphony first movement. (https://www.baidu.com/sf_bk/item/低音提琴/352937?ms=1&rid=7623890369743215791)

1 The double bass is about 180~220 cm high.There is a pillar at the end,In shape, the double bass is similar to the cello.When playing the double bass, put the instrument on the ground.Stand up or play in a chair.The four strings of the double bass are E,A,D,G.To avoid adding too much line on the music,Its sound is one octave lower than the actual score.Sometimes add the 5th string,It is C.Or add a mechanical device to the neck of the instrument to lengthen the E string.Make it possible to play the C sound below 6

Picture No 1. (photo from http://m.sohu.com/a/198716137_822669 )

The earliest Western strings appeared in China during the reign of Emperor Kangxi 38th (June 21st, 1699), and the first double bass appeared in China can trace back to 1919 (Shanghai). The Shanghai Government Symphony orchestra (Predecessor of Shanghai symphony Orchestra) expanded and added the strings section (Hao fang,1953:898).

On November 27, 1927, Educator Cai Yuanpei and music educator Dr. Xiao Youmei (1884-1940) created the National Conservatory of Music (Predecessor of Shanghai Conservatory of Music) in 1927. Dr.Xiao Youmei is the founder and pioneer of professional music education in China, and he is a great music theorist and composer2.

In order to create a more professional music acsdemy, Xiao Youmei went to the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig to keep studying, during this period in 1912, he learned the system of Western Conservatory of music. Finally, he and Cai Yuanpei successful built the National Conservatory of Music in 1927. (Wang 2019:1). They created the string department and the woodwind department, and they hired the experts

2 Dr. Xiao Youmei at 1901, he begun studying in the Secondary school affiliated to Tokyo Normal University, after that he stuidied in Tokyo Imperial University and Tokyo Conservatory of Music.During the study time in Japan,He paid attention to research and thinking how to improve and develop the Chinese music 7 of the Shanghai Gongbuju Symphony orchestra (Predecessor of Shanghai symphony orchestra) to teach Xiao Youmei created the school orchestra, Double Bass and classical music gradually appeared in Shanghai.But at this time, most bass players are temporarily replaced by cellists,

Zheng Deren (b.1927) is the first Chinese Double Bass student before the establishment of People's Republic of China, when he was child, he studied lots of instrument, Such as violin, viola, piano. He passed the entrance exam in Shanghai National conservatory of Music (Now Shanghai conservatory of Music) in 1943, and he studied with Then Russian professor Shevzoff. (Chen 2011: 39). Zheng Daren joined in Shanghai Government Symphony Orchestra (Predecessor of Shanghai symphony Orchestra) and he retired in 1991. he had trained so many Chinese good double bassists, such as Lu Yuanxiong (b.1957), Zhang Baoyuan (b.1954).

In order to solve the problem of double bass solo piece insufficient, Zheng Daren transplants some music from Chinese traditional instrument “Er hu”, such us the 《horserace》 because it is a very classic Chinese music. It helps student a lot for improve their Music feeling, and learn how to make good phrase, also improve their passion to the music. Erhu began in the Tang Dynasty and has a history of more than a thousand years. Erhu has the name of "Oriental Stringed Instrument", very similar to stringed instruments in many ways. Erhu consists of two strings, when the player plays the erhu, he needs to take a sitting position. Good Erhu player can use nice vibrate to achieve elegant and beautiful music. (Wang 2013; 3)

Erhu and double bass have very similar ways of holding bows, and has a similar right hand holding bow technique, Erhu and double bass can play most of the same repertoire. But erhu can’t play the overtones of double bass.

8 .

Picture No 2. (photo from https://jingyan.baidu.com/article/8ebacdf01b312749f65cd525.html?st=5&net_type=&bd_pag e_type=1&os=1&rst=)

1.2. The Double Bass in Music Conservatories and first Professors of Double Bass

After the Second World War 1945 The People’s Republic of China was build. The National Music Education department was focus on music education. The Conservatories of music in The People's Republic of China doesn’t have Double Bass major until 1950. The National Music Education department suggested some cello students change their Major to play double bass, Such as Gen Bao Shao (b. 1930) Gen Bao Shao was one of the first double bass master in China. Gen Bao Shao after one-year double bass study, He got big progress and became the member of Chinese youth arts orchestra (1949). Later he also worked in Central opera orchestra (built in 1952 October 31). He became the principle Double bass in Central opera orchestra since 1954.

In 1956 July, China had built a large national orchestra— Central orchestra, it was the one of best professional national orchestra in China at that time. The professional western orchestra determined the four parts: strings section, percussion, woodwind section and brass section. A good symphony orchestra needs three levels of good sound,There are standard high pitch (such as Violin section and Flute), middle sound (such as viola and oboe), and the quality bass sound (such as double bass and Cello) The music should follow certain aspects of

9 functional harmony.prominent melody must have the support from bass to make it perfect so that the sound will be thick.So the double bass is very important section in the orchestra.In order to achieve a pure and excellent orchestra,The leaders of the Symphony Orchestra are eager for outstanding double bass players.

Such as The Polish double bass master B. F. Sventitskys, (1910-1981) came to North of China in 1956, and he was the principle Double Bass player in Harbin Orchestra, and taught at the Harbin Soviet Higher Music Schoo he advocated to use less movement but speed up on the left hand, hold the strings tightly, In order to play the instrument flexible. After his guidance, there are many good students got big improvement, such as Yu Wang, Lin Qi, Suozhi Chang, Zhuhong Qian. (Liu,2002:343)

In the same time, In the Harbin of northeast China,Has a Polish double bass teacher, Sventitskys, he played in the Harbin Symphony Orchestra and taught at the Harbin Soviet Higher Music School. He advocated in teaching that the left hand movement should not be too big, but it should be very fast.The fingers of the left hand need to exercise very strong.Hold the strings firmly.Under his teaching,So many good double bass students graduate. Such as Suozhi Chang, Yu Wang, Xinmin Wang. (Liu, 2002:343).

1.3. Methods of Teaching of the Double Bass

From the late 1950s to the 1970s, China tries to create its own double bass teaching system. In the spring of 1951, soon after the founding of New China, Ye Zhengkai gave up Acting as Academic Director at the Hong Kong Conservatory of Music, Returning to the capital Beijing, he was immediately hired as principle double bassist of Central Academy of Drama orchestra (Predecessor of China National Opera House Orchestra) and taught in Central conservatory of music in 1982. He edited his own fingering for scale and overtone. He also created a double bass system for Chinese double bass student to learn and practice, but unfortunately there is no chance to publish. (Chen, 2011).

His Teaching Method is When the Double bass player holding the bow,The should open the palm of the right hand.Put the bow tail and frog in the palm of the hand.Make it to be vertical,Use the thumb press the bow.and use the index finger and middle finger to support it.

10 When the bow running, try to feel the bow is one of the part of arm and body, forming a 90° angle with the strings during the running of the bow, the arm is driven by the big arm, and the bow is naturally pulled by the arm and the wrist, so that the bow can come and go freely.

For the hand shape of left hand, keep the fingers that are not used during the performance on the strings, During the Vibrato, the wrist cannot be recessed, to avoid the arm weight cannot reach the chord finger, and the power becomes a burden. When using the index finger to do vibrato, the other fingers should be close to the index finger, so that the weight of the index finger is increased, stay relaxed and stable, thereby making the power more flexible and concentrated. Make subtle changes in the vibrato effect. When using the middle finger to do the vibrato, the index finger should be close to the middle finger, to achieve the coordination of the vibrato. (Xu 2019；10)

Professor Ye Zhengkai's performance and teaching method has enabled students to learn good basic skills and greatly improved the technical performance of double bass. After the lessons with Ye Zhengkai, there are so many good students graduate, such as Chen Ziping (b.1965), Hou Junxia (b.1961), Li Penggui (b.1957), Shao Shiqi (b.1950)

Picture No.3. Ye Zhengkai Teaching Method and Ye Zhengkai with his double bass (Photo from Improvement of double bass in China)

11 Among these excellent students, Ziping Chen He played a key role in the promotion of the Chinese double bass.He brought the Vienna double bass performance system back to China, Prior to this, the teaching method of double bass in China was more based on the Soviet method of double bass teaching. After studying with Mr. Zhengkai Ye, Ziping Chen has a stronger interest in this instrument, he is very admired for the excellent skills of European double bass performance. So, in 1987, he went to Vienna and studied with the double bass master Ludwig Streicher in University for Music and performing Arts Vienna in 1987.

Picture No. 4 (Photo from Ludwig Streicher https://en.wikipedia.org/wiki/Ludwig_Streicher)

Ludwig Streicher (1920-2003) was a double bassist from Vienna, Austria. Familiar to many as the former principal bass of the Vienna Philharmonic Orchestra and bass soloist, he is also known as an instructor and as the author of a contrabass textbook. (https://en.wikipedia.org/wiki/Ludwig_Streicher). After he graduated from Vienna in 1993, he became the principle bass in Taipei symphony orchestra and Evergreen Symphony Orchestra in 1997, .he became a professor at the Central Conservatory of Music in China. In 2004 (https://baike.baidu.com/item/%E9%99%88%E5%AD%90%E5%B9%B3/10768?fr=aladdin)

Picture No.5 Chen Ziping Master class recording for Dittersdorf concert (Photo from https://detail.youzan.com/show/goods?alias=2fz2ut0sydfim)

Chen Ziping brought back the authentic Vienna bow (Same classification as German Bow holding) holding technique, before he returns back China, most of Chinese double bass students prefer to use French bowl to play, there are some different between French bow and German Bow. Germany bow is come from German and Austria, for generals, the double bassist always think the French bow is easier to do the smoothly control, and the German bow is easy to show the power of double bass. Compare to the Germany Bow, the French bow has a smaller frog, and it looks like others string instrument’s bow holding (such as Cello, Viola, Violin), the French bow was popular since the 19th-century,

“The French bow was not widely popular until its adoption by 19th-century virtuoso Giovanni Bottesini. This style is more similar to the traditional bows of the smaller string family instruments. It is held as if the hand is resting by the side of the performer with the palm facing toward the bass. The thumb rests on the shaft of the bow, next to the frog while the other fingers drape on the other side of the bow. Various styles dictate the curve of the fingers and thumb, as do the style of piece; a more pronounced curve and lighter hold on the bow is used for virtuoso or more delicate pieces, while a flatter curve and sturdier grip on the bow sacrifices some power for easier control in strokes such as detaché, spiccato, and staccato.” (Wikipedia, Double Bass)

In the same period with Ziping Chen, there is an also Important double bassist in China,

13 he did a lot of popularization for Chinese double bass, he created double bass competition, such as “Alto” Cup double bass competition, He Invited a large number of overseas double bass experts to hold master classes. Hou Junxia was born in Qingdao in 1961.He is professor of China Conservatory of Music, director of Orchestral Department, executive director of Band Academy, head of China Youth Philharmonic Orchestra. Hou Junxia founded the first Chinese music orchestra, which is based on research, performance and creation of Chinese works. The Chinese Youth Philharmonic Orchestra has traveled all over the world and has been invited to participate in international famous music festivals. In 2005, the Beijing International Double Bass Music Festival was Established and is now ranked among the world's leading double bass music festivals.

Hou Junxia (b.1965) is an internationally renowned double bass player and educator. He is the only international judges in China to serve as the world's highest-level double bass competition. He has been invited to held concert and master class in more than ten countries including Europe, Asia And America. (https://baike.baidu.com/item/%E4%BE%AF%E4%BF%8A%E4%BE%A0/6826071?fr=alad din)

Picture No.6. Hou Junxia as a jury in 7th Sperger Double Bass Competition in Namedy,Deutschland (Photo from https://baike.baidu.com/item/%E4%BE%AF%E4%BF%8A%E4%BE%A0/6826071?fr=aladdin)

As China’s economic development is getting better and better, more and more students choose to go out of China and study in Europe and the United States. Daxun Zhang (b.1981) is 14 one of the very special and excellent players. Daxun Zhang is a world-famous double bass player. Has established himself as an unparalleled artist,Earning the highest praise from both critics and audiences alike. He is the Winners of numerous awards, he won the International Society of Bassists Solo Competition in 2001,And the first double bass player to win the international youth concert artist audition. In 2007, he won the Avery Fisher Career Grant. This confirms he is outstanding musician and soloist as a double bassist.

He integrated Chinese folk music into double bass performances. Making Chinese music-style double bass works popular in European and American countries. DaXun Zhang comes from a family of bassists in Harbin, China. He has been playing the instrument since the age of nine and studied at the Central Conservatory of Music in Beijing beginning at the age of eleven. With the growing interest and knowledge of the double bass.He continued his studies in the US at The Interlachen Arts Academy and received his Artist Diploma at the Indiana University School of Music.After hard study and practice.He has served on the faculty of Northwestern University and is the Associate Professor of Double Bass at the University of Texas at Austin.

As a soloist, he has excellent cooperation with Minnesota Orchestra, St. Lukes Orchestra, Tokyo Symphony Orchestra and Pacific Symphony Orchestra.He traveled the world and brought different solo concerts from Western classical music to Chinese folk music. He often appeared at the Lincoln Centre Chamber Music Association and various chamber music festivals. He has extensive cooperation with YoYo MA. and the Silk Road Orchestra. (“www.daxunzhang.com”)

Picture No.7 Daxun Zhang (Photo from http://www.daxunzhang.com/) 15 2. The Role of Competitions in Double Bass Education in China

“If in educational settings the performance of a work is useful, in part, because it represents students’ learning or musical growth, the act of performing for a competition adds another process: students and teachers weigh the value of their representations of learning against others who also bring their performances to competition, also seeking to compare their representations. A competition establishes the value of a student’s performance in relation to other performers.” （Joseph 2020；150-170）

Participating in competitions is a very important way for double bass players to improve their playing ability. Many double bassists gain opportunities through competitions, such as Belgian double bassist Wies de Biege (b. 1987), the winner of the 2016 ARD International Music Competition in Munich. Winning the competition was the beginning of his glorious career. He was favored by the world's top orchestras; he became the principal double bassist of the Bavarian Radio Symphony Orchestra (https://www.rahnkulturfonds.ch/en/Artist/wies-de-boeve/). Latvian double bassist Gunars Upatnieks (b. 1983), the winner of the 2008 Sperger Double Bass Competition in Ludwigslust, Mecklenburg, joined the Berlin Philharmonic Orchestra, one of the best orchestras in the world. (https://www.berliner-philharmoniker.de/en/orchestra/musician/gunars-upatnieks/)

Chinese double bassist Zeyu Wang (b. 1997) won the 2016 Alto Cup, which gave him great confidence. It encouraged him to practice diligently, and he was successfully admitted to the University of Music and Performing Arts, Vienna in 2019.

Participating in competitions can improve players’ skills, including their ability to perform on stage, and increases their enthusiasm for practising the double bass. The ability to play on stage is an important criterion for testing whether a student can perform well. Many students play well when practising the double bass alone in the practise room, but when they perform on stage, they often get nervous, which influences their performance. Regularly performing on stage can help players overcome nervousness; competitions provide a good opportunity for this.

Competitions also help increase enthusiasm for practising the double bass. Practising

16 the instrument is a very boring thing. It gives players a goal to work towards. It is also an excellent way to test a player’s skill level. This makes them aware of areas they need to improve and teaches them how to be recognised by juries and audiences.

2.1. Overview of the Double Bass Competitions

There are four official double bass competitions in China, which began in the 21st century.

1) International Cadanza International Double Bass Competition organized by China Cadanza Piano Company and Central Conservatory of Music in Beijing;

2) Double bass competition organized by the Tang Rhyme company, held in Singapore;

3) The “Alto” Cup，organized by Central conservatory of Music, held in Beijing;

4) “Maggini” Double Bass Competition, organized by famous Chinese double bassist Xu Li, held in Zhongshan.

In 2012, the first Cadenza International Double Bass Competition was held at the Central Conservatory of Music in Beijing. This competition was held by the Central Conservatory of Music and the China Cadenza Piano Company. The artistic director of the double bass in this competition is Professor Song Yi (b. 1968), of the Central Conservatory of Music. This is a very high-profile competition, with students from the most well-known music schools in China competing. This competition enables exchange and learning among students. Almost every competition has 40 participants from different schools participating, learning and making progress together.

The Tang Rhyme Double Bass Competition is organised by the Tang Rhyme Company and is held once a year. It has been successfully held five times in China. Since 2014 in Singapore. The difference between this and other double bass competitions in China is Tang Rhyme also offers double bass master classes, seminars and concerts. For example, on July 23, 2019, in the fifth Tang Rhyme Double Bass Competition, Mrs. Lian Tong from the Sichuan Conservatory of Music explained how to better cooperate with the pianist during a performance. 17 The title of this seminar was “The important of well playing with the piano accompaniment”. In a music performance, piano accompaniment plays a key role; it can make the performance more diverse and more beautiful. Piano accompaniment can help to promote the climax and enrich the expressiveness of a performance. Good piano accompaniment can help the player correct mistakes; therefore, coordination with the piano is very important (Wang 2015; 1).

On July 24, 2019, Mr. Mudong Wang (b. 1972), a double bass player from the China Philharmonic Orchestra, was invited to give the orchestra an excerpt master class. Learn to perform the double bass orchestra excerpts is an important subject of double bass, double bass is not an instrument often played solo, students must learn to play orchestra excerpts well in order to find a good job in orchestra (Chen 2016; 2). From the competition, master class and seminar, students will not only benefit from the performance experience but will learn a lot of theoretical knowledge. Every year, students from various music schools in China participate in this double bass competition and festival. In 2019, a total of 200 players participated. There is only one round and participants can choose their own favourite piece.

In order to improve and promote the performance of Chinese double bass players, the famous Chinese conductor Zushan Bian (b. 1937) and Chinese double bassist Xu Li (b. 1976) organised the Maggini Double Bass Competition. The first competition was successfully held in Foshan in 2018. Bian Zushan is a famous Chinese conductor, with 57 years of experience. As a conductor, he understands the importance of the double bass in the orchestra. The competition invited internationally renowned musicians, including James VanDemark (b. 1953), the double bass professor at the Eastman School of Music.

2.2. The influence of “Alto” Cup competition

to the development of double bass in China

Among them, the Alto Cup is the most authoritative competition and has the longest history. This text should be in the subchapter about history. Here you should start how important and why the most important is the “Alto” competition and. Each competition has a famous double bass player on the jury: Professor Massimo Giorgi (b. 1954) from Italy and Professor

18 Daxun Zhang (b. 1981) from the United States, jury members of the 3rd Alto Cup Double Bass Competition in 2009; Professor Silvio Dalla Torre (b. 1964) from Germany, jury member of the 5th Alto Cup Double Bass Competition in 2011, Professor Bo Yuan (b. 1965) from France, jury member of the 6th Alto Cup Double Bass Competition in 2012; Professor Jeff Bradetich (b. 1957) from the United States, jury member of the 7th Alto Cup Double Bass Competition in 2013; Professor Petru Iuga (b. 1974) from Romania, jury member of the 8th Alto Cup Double Bass Competition in 2016; Professor James VanDemark (b. 1953) from the United States, jury member of the 8th Alto Cup Double Bass Competition in 20163.

The Alto Cup Double Bass Competition is held by the Central Conservatory of Music, China’s highest music academy with the longest history, the most standardised schedule and the most expert teams.

2.2.1. The History of the “Alto” Cup Double Bass Competition

The Alto Cup Double Bass Competition has been successfully held eight times to date and is held every two years. The first competition was in Beijing in 2005. The first and second competitions were for students of the Central Conservatory of Music. It became an international competition in 2009. More than 40 students participate in each competition. It has a junior group for students under the age of 18, and an adult group for 19 to 35-year olds.

The organiser of the Alto Cup is Professor Ziping Chen (b. 1965), from the Central Conservatory of Music. He is an accomplished double bassist who leads Chinese double bass to the world. Double bass Professor Chen Ziping graduated from the Vienna University of Music and Theatre in 1987. He has played in many famous orchestras, including the Taiwan Evergreen Symphony Orchestra and the Taipei Symphony Orchestra (no exactly time information). Professor Chen Ziping attaches great importance to the double bass competition; he believes that participating is a good exercise for students (Chen, 2011; 109).

3 There were no international jury members in the 1st, 2nd or 4th competitions.

19 Chen Ziping has served as a jury member of international double bass competitions many times, including judging the Czech Republic’s 12th International Double Bass Competition, Hungary's 20th International Double Bass Festival, Taiwan’s Province Music Competition and participated in the 2000 British Music Festival. In order to better help Chinese double bass students, participate in competitions and improve themselves, he founded the Alto Cup Double Bass Competition in 2005. Each Alto Cup competition has approximately 50 players from all over China participating, improving their skills and career opportunities. In the 8th Alto Cup Double Bass Competition in 2016, there were more than ten Taiwanese double bass players.

2.2.2. “Alto” Cup Double Bass Competition's

influence to the career of the winners

The Alto Cup Double Bass Competition has been successfully held eight times. Winners represent the highest level of each competition. They are also important talents for Chinese double bass in the future. Three of the most outstanding winners are highlighted below.

Gengpei Li (b.1995) The winner of the 4th “Alto” Cup Double Bass competition. Gengpei Li was born in 1995 in the People’s Republic of China and grew up in Shantou, a town in the Guangdong province. The double bass has fascinated him since he was ten years old. In the autumn of 2007 he started his musical studies in pre-college at Beijing’s Central Conservatory of Music where later he completed the four-year Bachelor course with Professor Chen ziping,, graduating in the summer of 2017. Currently he is studying for his master’s degree with Professor Petru Iuga at the State Music College in Mannheim. Gengpei has won multiple prizes at the Midrange Cup, The 4th “Alto” Cup double bass competition in 2010. In addition, he distinguished himself at the 2012 International Bass Festival in Singapore. He has appeared as a soloist and chamber musician in concert halls in many Chinese cities, as well as in performances given by the Cologne College of Music and Dance. He has been a member of the Paul Hindemith Orchestral Academy since May 2019.

Zeyu Wang (b.1997), the Winner of the 8th “Alto” Cup Double Bass competition in 20 2016, Zeyu Wang, male, Chinese, He was born in May 1997. In 2013, at the age of 16, Zeyu began his double bass studies with Professor Chen Ziping. In 2015, He started his bachelor studies in the Central Conservatory of Music, Beijing, China. Where he studied with Professor Ziping Chen (the director of Double Bass Teaching and Research Section). In 2016, He won first prize in “Double Bass Competition at LE DOMAINE LA FERTÉ-IMBAULT 2016”, France. He was appointed associate principal bass of China Youth Symphony Orchestra. In October 2016, He won the first prize in the highest double bass competition in China: “The 8th “Alto” Cup Double Bass Competition, Central Conservatory of Music, Beijing, China” (the second prize is empty. In June 2017, at the age of 20, He became the only mainland Chinese candidate of the ten semi-finalists of the “International Society of Bassists” (he was the youngest one in the solo group) Ithaca, USA, 2017. From 2020, He studies in the Universität für Musik und Darstellende Kunst Wien with Professor Alois Posch

Zhixiong Liu (b.1996)) The Winner of the 6th “Alto” Cup Double Bass competition in 2011, Zhixiong Liu was born October 23, 1996 in Hangzhou, China. At the age of 7 he began to learn the piano with his father. In 2008, he began to play double bass. Why? At 2009, he was admitted to Shanghai Conservatory Double Bass professional, where he studied with Prof. Luo Bing. September 2011, he won first prize of China “Alto” Cup Double Bass competition. January 2012, he was admitted to HEMU, Lausanne, became the youngest student at that period. June 2013, he won first prize of age 15-18 Division 2013 ISB International Double Bass Competition. January 2014, he won third prize of Rahn Music Awards competition. September 2014, he won Best interpretation prize of J. M. Sperger double bass competition. October 2016, he was invited as orchestra musician by Balkan Chamber Orchestra and performed at the Victoria hall and United Nation, Geneva. November 2016, he has participated as solo bassist of the Philharmonie der Animato Stiftung and played concert tour at five international cities. June 2017, he successfully passed his Master soloist graduation concert with Lausanne chamber orchestra and got the diploma. June 2017, he was admitted to Lausanne Sinfonietta as a trainee. July 2017, he was invited to perform solo concert on I MUSICI DI PARMA Salso Summer music festival in Salsomaggiore, Italy. Zhixiong Liu has participated many international Master classes, studied with Prof. Jeff Bradetich, Dorin Marc, Bozo Paradzik, Enrico Fagone, Christine Hoock, Alberto Bocini, Catalin Rotaru, Matthew Mcdonald, Duncan Mctier, Miloslav Gajdos,

21 Thierry Barbe, Chen ziping,Daxun Zhang.

A year ago, he completed his second master’s degree as an orchestra musician at the HEMU in Lausanne with Professor Michel Veillon and has been an orchestra intern with the Tonhalle Orchestra Zurich since September 2018.

Through the experience of Three successful winners, winning the “Alto” Cup Double Bass competition is the beginning of their successful career. After winning the award, they greatly improved their confidence in playing the double bass, continue to study at a prestigious music academy in Europe. Among them, Liu Zhixiong was directly recognized by the jury Yuan Bo, qualified to study at the Swiss Conservatory of Music in Lausanne. The success of the Alto Cup Double Bass Competition has selected many outstanding Chinese double bass players, it did big promotion for the development of Chinese double bass.

The majority of the winners of the Chinese Music Cup Double Bass Competition come from the Central Conservatory of Music in Beijing and the Shanghai Conservatory of Music. This shows that these two music schools, located in the most economically developed areas in China, have very high double bass education levels. They have trained the best student players in China. Most of the winners have been taught by Professor Chen Ziping of the Central Conservatory of Music.

2.3. Critical Evaluation of Double Bass Competitions in China

Compared to international double bass competitions around the world, there are still many areas for learning and improvement in Chinese double bass competitions. There are fewer rounds of Chinese double bass competitions compared to famous international competitions. There are four famous double bass international competitions in the world: the International Johannes Matthias Sperger Competition in Mecklenburg, Germany; the International Serge Koussevitzky Double Bass Competition in Saint Petersburg, Russia; the Bottesini International Double Bass Competition in Italy; and the International Society of Bassists' Biennial Double Bass Competition in Indiana, United States. These competitions have at least three to four rounds, and a larger and richer repertoire. The International Johannes Matthias Sperger Double

22 Bass Competition has a total of four rounds. In the first round, the double bass player should play two contrasting movements from one of the following concertos of the Classical period. The requirements of the program are:

- Karl Ditters von Dittersdorf Concerto for Double Bass and Orchestra No. 2 in E major G. Henle Verlag Urtext Edition HN 759

- Franz Anton Hoffmeister Concerto for Double Bass and Orchestra No. 1 in D major G. Henle Verlag Urtext Edition HN 721

- Johann Baptist Vanhal Concerto for Double Bass and Orchestra in D major G. Henle Verlag Urtext Edition HN 979

- A single-movement Romantic virtuoso piece of choice - Only original works for double bass and piano permitted - Test the basic skills of double bass players with a classical concerto - Test the complex skills of double bass players from a Virtuoso program of the Romantic period In the second round, the double bass player should play two contrasting movements from one of the following sonatas for double bass and viola: - Sonata for Double Bass and Viola in D Major (Meier CI/6). Friedrich Hofmeister Musikverlag. Urtext Edition FH 2791 OR

- Sonata for Double Bass and Viola in D Major (Meier CI/7). Friedrich Hofmeister Musikverlag Urtext Edition FH 3195 And a first movement from one of following concertos (piano reduction): - Giovanni Bottesini Double Bass Concerto No. 1 in f sharp minor - Giovanni Bottesini Double Bass Concerto No. 2 in B minor - Jean Françaix Concerto for Double Bass and Orchestra - Serge Koussevitzky Concerto for Double Bass and Orchestra, op. 3 - Nino Rota Divertimento Concertante for Double Bass and Orchestra - Eduard Tubin Concerto for Double Bass and Orchestra - Toshio Hosokawa commissioned work for solo double bass The piece will be made available to candidates 6 weeks before the start of the competition. 23 Different periods and different repertoires test the comprehensive performance skills of double bass players.

In the third-round semi-final the double bass player should play: a) One of following pieces for solo double bass:

- Elliot Carter Figment III für Solo Kontrabass - Jean Françaix Thème varié pour Contrebasse Solo (theme and three variations) - Teppo Hauta-aho Cadenza - Hans Werner Henze Serenade (arr. for double bass) - Heinz Holliger Preludio e Fuga - Giselher Klebe Sechs Stücke für Kontrabass Solo op. 68 (four movements) - Stefano Scodanibbio Sei Studi (three movements) - Pēteris Vasks Bass Trip - Julien-François Zbinden Hommage à J. S. Bach, op. 44 - Candidate´s own composition for solo double bass (sheet music to be handed in at the start of the competition) b) Johann Sebastian Bach:

- From Suite No. 3 for Violoncello Solo, BWV 1009 (transcription) - Second movement: Allemande Allegro OR - Third movement: Courante Allegro c) One of following works: - Reinhold Glière Four Pieces for Double Bass and Piano, Op. 32 and Op. 9 - Paul Hindemith Sonata for Double Bass and Piano - František Hertl Sonata for Double Bass and Piano - Tetsuo Kawakami Sonata for Double Bass and Piano - Adolf Mišek Double Bass Sonata No. 2 in e minor, Op. 6 (Friedrich Hofmeister Musikverlag) - Frank Proto Sonata 1963 for Double Bass and Piano - Franz Schubert Sonata for Arpeggione and piano in a minor, D 821 (transcription) This is similar to the second round, but the work is more complicated and there are 24 many transcriptions works by Cello Repertoire.

In the fourth-round final with orchestra, the double bass player should play:

- Johannes Matthias Sperger Concerto for Double Bass and Orchestra - Concerto No. 2 in D-Major OR - Concerto No. 17 in A-Major

In the final round, the double bass players should play the same work as the orchestra, to show the charm of the double bass as a solo instrument. It can be seen that the International Johannes Matthias Sperger Double Bass Competition in Germany is a very mature competition, as it covers all musical styles and techniques. In China’s most professional competition, the Alto Cup, there are only two rounds. In the 8th Alto Cup Double Bass Competition, in the first round the double bass player was required to play one of the movements of Johann Sebastian Bach Cello Suite BWV 1007. In the second round, they were required to play one of the two contrasting movements from one of the following concertos:

- Karl Ditters von Dittersdorf Concerto for Double Bass and Orchestra No. 2 in E Major - Serge Koussevitzky Concerto for Double Bass and Orchestra, op. 3 - Giovanni Bottesini Double Bass Concerto No. 2 in B minor - Johann Baptist Vanhal Concerto for Double Bass and Orchestra in D major It can be seen that, compared to the International Johannes Matthias Sperger Double Bass Competition in Germany, the Alto Cup lacks rich content. This makes the quality insufficient. And lack of composers commissioned work for the alto cup double bass competition, playing commissioned works is an important part of the competition. Commissioned works are usually announced six weeks before the competition, leaving only six weeks for the contestants to prepare. This tests the learning ability and technical level of a player. In addition, there is no orchestra to accompany the double bass player in the final round; collaborating with the orchestra is an important part of the solo ability of a performer. China's double bass competition needs to add this content to make the competition more professional. 25

Conclusions

The double bass is a standard member of the orchestra string section. It is an indispensable instrument in Western symphony orchestras and traditional Chinese symphony orchestras. Chinese double bass players must be very good. The double bass is the most important bass instrument in the symphony orchestra; if the orchestra wants to achieve a perfect sound, the double bass player must have an excellent technique.

As a Western traditional instrument, it was a huge difficult time to achieve the exact technique and articulation in the early of China. In order to develop and improve Chinese classical music and double bass performance skills, generations of Chinese double bassists have made a huge effort and worked hard. Xiao Youmei (1884–1940) attended the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ Leipzig in 1916. During this period, he learned the Western conservatory of music system. He and Cai Yuanpei built the National Conservatory of Music in 1927. Zheng Daren (b. 1927) transferred music from the traditional Chinese instrument ‘er hu’ in order to help students learn how to make phrases in double bass performances. Ziping Chen (b. 1965) played a key role in the promotion of the Chinese double bass. He brought the Vienna double bass performance system to China; for the first time, China's double bass teaching used the formal European system. Through the efforts of these people, the development of China's double bass players has greatly improved.

The Vienna double bass teaching method is a very successful method; it has the most standardised basic skills training. After Chen Ziping brought this teaching method to China, he trained many outstanding Chinese students.

The quality of China’s double bass competitions influences the development of Chinese double bass players. Excellent double bass competitions can select better students and encourage them to continue their efforts. Participating in the competition is an important way for double bass players to improve their skills and ability. Many double bassists gain opportunities through competitions, such as Zhixiong Liu and Zeyu Wang. They achieved great results by participating in Chinese competitions, such as the Alto Cup Double Bass Competition,

26 the most famous competition in China.

Chinese double bass competitions are gradually becoming more formal, but there are still many shortcomings compared to world-famous double bass competitions; for example, the content and the rank of the competition. The competition must cover all styles and include a varied repertoire. This can better test the level of a double bass player, and motivate players to practice and prepare more, so as to improve their performance level and the overall development of Chinese double bass performance.

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