Chinese author’s song as a synthesis of german and chinese culture

the example of Huang Tzu’s vocal cycle 'Three Desires for a Rose'

Resumen

The article establishes functional connections between distant artistic phenomena, namely classical Chinese poetry and German Kunstlied, whose synthesis defines the genre-specificity of 20th-century Chinese art songs and the vocal cycle “Three Desires of a Rose” by Huang Zi. Huang Zi’s poetic texts exhibit links with traditional classical Chinese poetry, dominated by the concept of eternal return. This principle is reflected in the vocal cycle “Three Desires of a Rose” through the interplay of themes, images, and symbols originating from the “Seven Golden Ages” of Chinese poetry. The synthesis of classical Chinese poetry and German Kunstlied in Huang Zi’s vocal cycle poses an intriguing challenge for modern musicology. This synthesis establishes unique connections between artistic cultures separated by time and space, enriched by elements of the German Kunstlied tradition, which emphasize the significance of individual expression. Notably, shared characteristics between Chinese poetic tradition and German Kunstlied, evident in Huang Zi’s vocal cycle, include the principle of “landscape in emotions,” the exploration of themes like return, homesickness, loneliness, desire, and the evocative portrayal of spring, water, flowers, and questioning. These elements collectively reveal the inner world of the Heroine. The cycle’s three songs each depict a different aspect of the Heroine’s emotional journey. The first song portrays the spring landscape mourning the Heroine’s homesickness, while the second depicts a woman grieving for her husband and her fading beauty. The third song features the Maiden Rose appealing to the wind and rain, the enamored “passionate passerby,” to preserve her beauty. The vocal score is characterized by a unique atmosphere and intonations reminiscent of European Romantic music. In conclusion, Huang Zi’s vocal cycle “Three Desires of a Rose” stands as a unique composition that unites elements from both Chinese and German musical traditions, thus holding significant relevance in the context of 20th-century musical heritage.