 Jiang Wenye The Unquenchable Fire of Creativity Composer Jiang Wenye by Yu Yuzhi
Professor Jiang Wenye is one of our country's composer and music educationist of the elder generation. Political turbulence shaped his twisted and difficult journey in life, his 50 years' musical sojourn contains both bright and shining accomplishments, as well as misguided mistakes. He toiled hard his entire life, the variety of his musical compositions, their immense numbers, is rare in our country's modern and contemporary music history. He is one of the earliest composers to employ western modern compositional techniques to create characteristically Chinese music, in the 1930s, he had already made a reputation for himself on the international music scene. 1 Early Childhood and Youth in Taiwan and Xiamen (1910-1923) Jiang Wenye's ancestors came from Fujian's Yongding district, and were originally Hakka people. His grandfather's generation immigrated to Taiwan. His father's name was Changsheng, also known as Yunjun, he was born of a scholarly family, and later took on business. Jiang Wenye was born June 11, 1910, in Sanzhi village in the Taipei district of the Taiwan province. He was originally named Wenbing. In 1916, together with his father and mother, he moved from Taiwan to the city of Xiamen in the Fujian province. Xiamen's significant harbor had flourishing trade with foreign countries. His father's contacts were vast, his third uncle was a founder of the "Greater Min1 Daily," people from all walks of life would frequent their home, the visitors included the literati, and also Western missionaries. Jiang Wenye loved singing and ancient poetry and prose from an early age, this behavior is inseparable from the environment and education he received at his home. He once spent five years at the Xuying Institute, a Japanese language school established in Xiamen specially for the brothers of Taiwan descent. He received a firm grounding in Japanese, preparing him to receive Japanese culture, arts and education in the days after. 2 Education, Fame in Tokyo, Japan (1923-1937) Jiang Wenye passed his childhood in a very comfortable and safe environment. But at age 13, his loving mother passed away, and greater changes took place in his life. His father let him sail across the seas to Japan to join his elder brother, Wenzhong, in his studies in Japan. Not long after, he enrolled in the Nagano Ueda Middle School, remaining there until his graduation. In this time, his Japanese language teacher, the romantic poet Shimazaki Tōson (1872-1943) exerted the greatest influence on him, imparting to him an even greater passion for literature, especially poetry. He henceforth wrote poetry frequently, his music compositions are often paired with poetry, and furthermore exude a romantic character, this may be connected to the education he received in his early youth. At that time, Jiang Wenye also had a deep love for music, participating in extracurricular singing activities in school, his voice was praised by his fellow students. He wanted to apply to study at a music conservatory, but his father insisted that he should study engineering. In order to not go against his father's wishes and still fulfill his own love, at age 18 he entered Tokyo's Musashi Institute of Technological Electrical Engineering Department, at the same time he studied voice at the Shangye Music Institute, he was a baritone. This was the beginning of his music career. On graduating from the Musashi Institue of Technological in 1932, against the combined wishes of his entire family, Jiang Wenye gave up engineering to do music full time, eking out a living by singing, copying scores and arranging music. That year and the next, the Tokyo New Times organized the first and second All Japan Music Competition. Jiang Wenye entered the finals of the voice section, his musical gifts began to be noticed by the Japanese music world. In 1934, he was hired by the famous Tengyuanjiangyi Opera Company and he sang in the Tokyo performances of the operas "Embroidering Woman" (his part was the musician Su Nade) and "Tosca" (unclear what his role was in this). At the same time, he was a singer for the Columbia Record Company. In this period, the most memorable event of his life was his return to Taiwan with the "Homeland Visit Music Team" organized by the "Taiwanese Association" in August of 1934. The performing team visited seven cities including Taipei, Xinzhu, Taizhong and Tainan. His solo performance was very successful. The jade green waters of the padi fields, the snow-white cormorants, beautiful scenery, the pure and simple folk songs, not one failed to leave behind an indelible mark on him, these all had a far-reaching impact on his musical creations from this day onward. Even in this time of success, when Jiang Wenye had achieved considerable standing in his vocal art, he still persevered in analysing compositions. He studied composition at a branch of the Tokyo Music Institute, and even studied with the famous musician Kôsçak Yamada (1886-1965), but not for an extended period of time. Mainly, he learnt on his own, benefitting from the music atmosphere in Japan, absorbing influences from the few new-generation Japanese composers whom he was close to. They analysed western modern compositional techniques, their objective was to modernize folk music. Between 1934 and 1936, Jiang Wenye studied with the famous Russian composer, (Alexander) Tcherepnin (1899-1977) for a year and some. Together, they toured Beiping and Shanghai, coming into contact with China's traditional musical culture and Chinese society. Tcherepnin felt that Chinese students should first know their own folk music, then using twentieth century musical language, combining the two, create a new musical culture for China. These thoughts deeply influenced Jiang Wenye's compositional philosophy. From the beginnings of his compositional activities, his compositions were honored in the musical spheres of Japan. In the contiguous years from 1934 to 1937, he won prizes all four years at the Japan National Music Competitions. His works included: symphonic works "Dreams of the White Cormorant" (Op.2, Bailu de Huanxiang), "Symphonic Suite on the Forward Theme" (Op.5, Penyong Zhuti Jiaoxiangqu), choral work "Sounds of the Tide" (Op.11, Caoyin), symphonic work "Prelude to a Fugue" (unnumbered, Fuge Yuqu) and "Folk Tales Etude for Symphony" (unnumbered, Suyao Jiaoxiang Lianxiqu) etc. His extreme talent took the compositional world in Japan by storm. Not only was he well known in Japan, he also received international acclaim. In August of 1936, his symphonic piece "Taiwanese Dances" (Op.1, Taiwan Wuqu) erned a special prize at the eleventh Olympic International Music Competition held in Berlin. Two years later, his piano suite "Impromptus" (Op.8, Duanzhang Xiaopin) won a prize at the Fourth International Music Festival held in Venice. In addition, Tcherepnin had published his piano pieces "Impromptus", "Five Portraits" (Op.4, Wushou Sumiao) and vocal suite "Song of Rebirth" (Op.6, Shengfan zhi Ge, later renamed as "Song of the Taiwanese Shandi People", Taiwan Shandi Tongbao Ge) etc., distributing them in Tokyo, Shanghai, Viena, New York and Paris. Hence, Jiang Wenye became an internationally acclaimed young composer. From his early compositions, although Jiang Wenye lived in a foreign country, he valued the use of Taiwanese themes, showing his love for his homeland and people. His representative works include the symphonic piece which skyrocketted him to fame, "Taiwanese Dances" and vocal suite "Song of the Taiwan Shandi People" etc. The former was composed in 1934, it is a single movement symphonic poem imbued with impressionism, full of the flavor of eastern music and romanticism. The composer had witten a romantic Japanese poem on the first page of his main score:
I see the beautiful temple. I also see the shrine of the ancestors and the ancient stage, hidden in the mountains and trees. But, these have disappeared into nothingness, she has been transformed into a spirit, in touch with the midnight skies. God's love for the son of man contained in the essence of one life like the towering city of the sea, emerges from the quiet night. Ah! IOn the beach of the ebbing tides, I only see the remaining two or three foam bubble shadows... (Jinxu Journal) This poem and the music are one, the poetry illustrating the inner thoughts and images of the music, and reflecting the composer's extraordinary love for his homeland and longing for the ancient culture of his home country. The suite "Song of the Taiwanese Shandi People" was composed in 1936. The composer had, again, written detailed notes:
The suite includes four songs: 1. "Human Head Religious Festive Song" (Rentou Jijiu Yange); 2. "Love Song" (Lian Ge); 3. "In the Fields" (Zai Tianye); 4. "Lullaby" (Yaolanqu). The compositions emply western modern compositional techniques, expressing the folk culture and pure feelings of the peoples of the highlands. Some of the movements are brimming with primitive and barbaric sentiments, some are finely crafted and very romantic, the artistic nature of this entire work is very refreshing. In 1937, this piece was selected to be performed at the Paris World Exposition, and was broadcast by the Paris Radio Station. This was one of Jiang Wenye's own favorites in the 1940s. Jiang Wenye's early works, for example his piano suite "Five Portraits" and his sixteen "Impromptus", draw upon his experiences and feelings of living in Japan. They show his multifaceted techniques and refreshing style, some pieces contain influences from Japanese music, for example the fourth of his "Five Portraits" titled "In the Little Alley," etc. His short pieces for piano reflected more clearly Tcherepnin's influence, proclaiming the charm of eastern arts. During this period, Jiang Wenye's works were also attributed to "Bunya Koh". This is the pronounciation of his name in Japanese, transliterated using latin script, using the western convention of putting the family name last. In those days, Jiang Wenye was considered a "Japanese Composer", his artistic success was considered "Japan's honor". This was the result of the unusual historical circumstances of the fifty-year Japanese occupation between the end of the Qing Dynasty and 1945. In spite of this, Jiang Wenye never forgot that he was a Chinese Taiwanese. 3 Settling in Beiping (1938-1949) In March of 1938, Jiang Wenye made up his mind to forsake the superior lifestyle of Tokyo, leave his wife, Longzhe Xinzi, a member of the Japanese nobility, to take up the position of department head at the Beiping Teacher's Institute on the invitation of the Taiwanese musician Ke Zhenghe, returning to his native country's occupied territory of Beiping. His main reason for returning, he once told a friend, was: "I thirsted for the culture of China, this was why I went to Beijing. Beijing is the Paris of the east, she will incite my creativity, yet I can still publish all my works in Tokyo." (see Korean musicologist, Huang Deng's "Modern Music Giant Jiang Wenye's Biography and Compositions" page 49). His words closely reflected the truth, after settling in Beiping, apart from teaching, he threw his heart into learning about Chinese culture, researching traditional music and ancient songs and poetry, he even took up painting, sculpture and philosophy, intent on making the traditions and culture of his homeland the wellspring of his compositional foundations and inspirations. This was the peak compositional period of his life's works; his continuous flow of works were performed and published in Tokyo and Beiping. His works took a significant turn, from pursuing western musical styles to seeking the essence of traditional Chinese music, immersing himself in the search for the true folk character of China. Jiang Wenye's compositions from this period, just the symphonic works include "A Little Portrait of Beijing" (Op. 15, Aug 1939, Beijing Dianmiao), "Grandiose Work of the Confucius Temple" (Op.30, Dec 1939, Kongmiao Dacheng Yuezhang), "Symphony Op.1" (Op. 34, 1940, Diyi Jiaoxiangyue), "Ode to the Fairy Tale of the Century" (unnumbered, 1942, Wei Shiji Shenhua de Songge), "Stork Flutes Echoing in the Blue Skies" (unnumbered, 1943, Pikongzhong Mingsiang de Hedi), "Symphony No.2" (Op. 36, 1943, Dier Jiaoxiangyue), "Universal Light" (Op.42, 1943, Yiyu Tongguang), etc. Amongst these, the most influential was the "Grandiose Work of the Confucius Temple", it was performed by the Tokyo Symphony Orchestra, recorded and distibuted by the Victory Record Company. The reason for the writing of this piece was, in the fall of 1938 and the spring of 1939, the composer heard the religious music at the Guozilan Confucius Temple, and thought: "The spirit and secrets of ancient Chinese classical music are hidden in this fragmentary and nonmusical strains of the Confucian music". "Its musicality springs from the beginning of the world's first music, a land yet to be discovered." (see "Grandiose Work of the Confucius Temple", recorded in "Huabei Monthly" No. 6, 1943). Hence, Jiang Wenye made up his mind to transform it into a modern symphonic work, putting the old into the modern musical forms for the world's stage. As a result, he carefully collected and researched all documents on Confucianism, using these as the historical basis for his work, completing in December of 1939 this characteristically Chinese modern work "Grandiose Work of the Confucius Temple". The music uniquely preserves the austerity and elegance of ancient Chinese classical music while employing the colors of folk orchestras. This was an important early attempt at adding folk elements into symphonic compositions. In this period, his most numerous compositions were those for voice. The composer himself estimates the number at more than 400, today there remains over 200 pieces, mostly solo works, and some choral pieces. The text are mainly drawn from ancient songs, "Handbook of Poems" (Si Jing), Yuefu, Tang poetry, Song prose, Yuan songs up to Ming/Qing poetry and prose. The melodies get their sustenance from folk songs, ancient pieces and poetry recitations. He strove to present the poetry's spirit and atmosphere in music; this was not only reflected in the melody and rhythms of the music, but also in the piano accompaniment, forming a purely knit artistic character thick with folk flavors. Jiang Wenye also, in 1945, presented two solo recitals, the theme being his arrangements of "Famous Historical Chinese Poetry and Folksongs", containing over 30 representative works. Amongst them, "Beginnings of the Water Melody" (Shuidiao Getou), "Affairs of Jiang Village" (Jiangchun Jishi), "Clear and Peaceful Melody" (Qingping Diao) and "Murmurs of the Guqin" (Guqin Yin) were particularly well received. His choral works using ancient poetry and prose "Joy of the Fisherman" (Yuweng Le), "Swooping Swans over Flat Sands" (Pingsa Luoyan) and "The Flower Drums with Phoenix and Sun" (Fengyang Huagu) etc, use materials from ancient pieces and folksongs, making significant headway in the incorporation of folk elements in choral music. These choral works were composed for the Beiping Radio Station, the premieres were conducted by the composer himself and the music published by the Beiping Xinmin Music Bookstore. Another of his new compositional avenues he began in this period was that of dance theatre. He composed the fairy tale dance theatre "Song of the Earth" (Op. 33, Dadi zi Ge, originally named "Song of East Asia", Dongya zi Ge) and the ancient historical dance theatre "The Annals of Concubine Xiang" (Op. 34, Xiangfei Zhuan). At that time, very few Chinese composers wrote music for dance theatre. In this period, Jiang Wenye wrote four piano works, also breaking with tradition in this domain. His two piano pieces, narrative poem "Moonlit Night in Xunyang" (Op.39 No.1, Xun2yang Yueye) and Sonata No. 3 "Scenery of Jiangnan" (Op.39 No.2, Jiangnan Fengguang), are based on and transcribed from the pipa piece "Moonlit Night in Xunyang". The musical language, harmonic style and assembly of parts were vastly different from his early fantasie-like piano pieces. These pieces aimed to preserve the elegance and simplicity of the original pipa melody while showing the capabilities of the piano. These piano pieces are filled with traditional Chinese musical sounds and combine the musical cultures of east and west. It is truly rare that Jiang Wenye exhibits such daring in his investigations in the occupied territories in the 1940s. From 1940 to 1944, Jiang Wenye solely authored and published the"Study of Ancient Chinese Classical Music -- Analysis of Confucius Music" (in Japanese, published by Tokyo's Sanshengtang), collections of poetry "Stamp of Beijing" (Beijing Ming) and "In Praise of the Datong Buddha of Stone" (Datong Shifo Song, in Japanese, published by Tokyo's Qingwutang) as well as the articles "Obervations on the Art of Composition" (Zhuoqu de Meishue Guancha), "Grandiose Work on the Confucius Temple" (Kongmiao Dacheng Yuezhang), "Popular Music, Yanyue of the Tang Dynasty and Japanese Yayue" (Suyue, Tangchao Yanye yu Riben Yayue) etc. These clearly showed Jiang Wenye's sincere enthusiasm for Chnese traditional music and culture as well as his hardworking spirit and talents. Apart from the above artistic compositions, in the early days of his return to Beiping, in accordance to the request of the Beiping enemy [sic] organization "New Citizen's Society" ("Xinmin Hui"), he wrote the music to the "Song of the New Citizen's Society" (Xinmin Hui zi Ge), "New Citizen's Society Anthem" (Xinmin Hui Huiqi Ge, text by Jun Miaobin), and "Greater East Asian People's Forward March" (Da Dongya Minzhu Jinxingqu, text by Yang Shouran) etc. These songs helped to further the reactionary goals of the enemy, grievously damaging the nation's fabric; he was the regret this for the rest of his life. From then on, because of the caring influences of his colleages at the Teacher's Institute as well as his students, and especially his marriage to Wu Yunzhen at the end of 1939, due to her help, Jiang Wenye came to recognize the imperialistic nature of the Japanese occupation of Taiwan and tried to stay away from the political activities of the "Xinmin Hui". He felt great remorse at having written the few reactionary songs, he never numbered the pieces, nor listed them in his catalogue of compositions. Because he did not again work for the occupying forces, finally, a few months before the end of the war, he was asked to leave his job at the Teacher's Institute by his supervisor who was a Japanese sympathizer. After losing his job, he sold his piano, and his whole family lived in poverty and joined the food lines. The final victory against the Japanese came on August 15, 1945 and Taiwan was returned to China. Jiang Wenye was greatly moved, his spirit revived. He turned down invitations by friends to flee to Japan, opting to remain in Beiping, preparing to continue on his path of research and compositional ideals: "To use modern scientific methods to revive and preserve China's different kinds of music, and to create a new music based on China's ancient music and spirit, in order to benefit the world's music scene". (from the program notes of the "Jiang Wenye Solo Recital" of June 21-22, 1945.) But the turbulence continued, because he had written reactionary songs for the enemy, he was arrested by the Beiping police and jailed for ten months. While in the prisons, he taught himself the ancient Chinese art of healing by massage, practicing as he learnt. He was very successful in treating the other inmates, hence grasping this field of healing. At the same time, in his free time he continued to write music for ancient Chinese poetry and prose, for example his handwritten scores dating to that period, "Picking Red Flowers" (Zhai Hongying, text by Song.Jiyouqitangshi), and the "Book of the Cormorant's Adventures" (Yan Zhuan Shu) etc. Jiang Wenye's unstoppable spirit and perseverance is the force behind his will to compose. In 1946, not long after he was released from jail, on the recommendation of a friend, he was employed by the Beiping Fanjitang Bible School to compose hymns for the Chinese Catholics. He was not a believer, but in order to understand catholic music, he would attend mass every Sunday. A year later, he published "Collection of Holy Praise Songs" Volumes 1 and 2 (Shengyong Gequji), "Collection of Children's Hymns" (Ertong Shengyong Quji) No. 1 and "Missa No. 1" (Diyi Misaqu), a total of four volumes of religious music. He experimented a lot on the sinofication of hymns. Not a few of his hymns used materials from ancient pieces, for example in "Mary's Lament" (Shengmu Aishangqu) he uses the theme from "Three Farewells at Yangguan" (Yangguan Sandie) etc. These hymns were warmly received by the catholics of Beiping, of these compositions, some are still sung by catholics in Beijing, Taiwan and Hong Kong etc. 4 Middle and Late Years in Beijing (1949-1983) At the beginning of 1949, peace came to Beiping and it was liberated. Jiang Wenye turned down an invitation to found a school in Hong Kong, continuing to stay in Beiping's Special Art School's Music Department. Together with the Art School's students and teachers, he joined the Central Conservatory in 1950, teaching composition and arrangement in the Composition Department. Filled with political fervor, he participated in various activities organized by the Taiwan Democratic Self-Government League (Taiwan Mingzhu Zizhi Tongmeng) and the school. For example, in July of 1952, led by the dean Ma Sicong, together with the students, they went to North Anhui (Wanbei3) to do construction work for more than a month, experiencing the manual labor of building the Foziling Reservoir. Through this process, he learnt about the party's policies towards the arts, his thinking progressed and he ernestly studied the political errors in the past. In the beginning of the 1950s, his life was stable, his spirits optimistic, his teaching and composition were both successful and fulfilling. He often engaged in discussions with literature professors Wen Huaisa and Lin Geng on topics such as "The Relationship between Shici (poetry and prose) and Music", "What is the Culture of Ancient China?" etc. During his vacations, he would use his skills in healing massage to treat both family and good friends, gaining for himself quite a reputation. Famous people from the arts world such as Xu Beihong, Guo Moruo and Lao She would come to him for healing. In this period, Jiang Wenye's creative thinking and technique further matured, the content of his works displayed his love for his country and countrymen, and reflected the changes in this new life. He continued to pursue the popularization and purification of musical language, the clarification of structure, the combination of folk traditions and western compositional techniques, and the blending of all these with the spirit of the times and feelings of the people. His representative works include: the choral music set to Guo Moruo's long poem "The Ebony Phoenix Plate" (Fenghuang Niepan) titled "The Livelihood Song" (Geng Sheng Qu, Op.28 of 12), a rustic piano suite "Poem of Seasons for the Home Village" (Xiangtu Jieling Si, Op.53), a symphonic poem in honor of the great ancient poet Qu Yuan The Deep Currents of the Miluo River (Miluo Chengliu, Op.62), a piece for string orchestra "Symphonietta" (Xiao Jiaoxiangqu, Op.51), piano trio "In Taiwan's Highlands" (Zai Taiwan Gaoshan Didai, Op.18, revised version), string quintet "Happy Childhood Days" (Xingfu de Tongnian, Op.54), violin sonata "Ode to Spring" (Song Chun, Op.59) and "Collection of Romantic Poems by Lin Geng" (Lin Geng Shuqingsi Quji, Op.60) etc etc. In the "Anti-Rightist" movement of 1957, Jiang Wenye was wrongly accused as a "Rightist Element", he was relieved of his professorial duties and his salary decreased amongst other things. Henceforth, he was deprived of all rights to teach, perform or publish. But despite his difficult circumstances, he persevered in composing. The important works he completed include a piece for strings "Folk Tales and Village Dances" (Liyao yu Chunwu, Op.64), "Symphony No. 3" (Disan Jiaoxiangqu, Op.61) and "Symphony No.4" (Disi Jiaoxiangqu, unnumbered) etc. "Symphony No.3" was composed in 1957, it is a large-scale piece reflecting the life struggles of the Taiwanese people. "Symphony No.4" written in 1962 commemorates the 300th anniversary of Zheng Chenggong's expulsion of the Dutch Imperialists, and China's reclamation of Taiwan. This clearly reflects the composer's inestimable spirit of nationalism and patriotism. During this period, Jiang Wenye would secretly organize his arrangements of one hundred Taiwanese folksongs, arrangements for piano or a small band, breathing new artistic life to these simple and ancient folksongs. He did not use his real name on these compositions., attributing them to "Mao Yizhi" and further specifying that the folksongs had been gathered by "Wenguang". Wenguang is Jiang Wenye's third (and younger) brother, he studied composition at the Shanghai Conservatory and had passed away in 1936 due to illness. According to Jiang's wife, Wu Yunzhen, these valuable Taiwanese folksongs were collected by Wenye and Wenguang and preserved from their 1934 return to Taiwan with the performing group. Jiang Wenye once said: "To be able to preserve a small portion of folksongs for six million Taiwanese, I feel very content to be making a contribution to the world and doing my part for my Taiwanese brothers." During the ten-year turmoil of the "Cultural Revolution", Jiang Wenye suffered severe blows to his body and spirit. What pained him the most was that his valuable scores, records, letters and two boxes of handwritten scores were all carted away. In the beginning of the 1970s, while working on the farms with the other conservatory professors and students, due to the emotional battering and overwork, he vomitted blood, his body clearly weakening and aging. In 1976, the "Gang of Four" were exposed, marking the end of the "Cultural Revolution", Jiang Wenye was exceedingly excited, he felt that his homeland and people would now gain new life. With a joyful spirit, he once again began to compose, continuing to organize and arrange Taiwanese folksongs, at the same time working day and night, designing his new piece for woodwinds "Voices of Ali Mountain" (Alishan de Gesheng), pouring into it his decade of yearning for his homeland. After completing the first draft of his five movements, " Sprouting Grass" (Chu Cao), "Mountain Song" (Shan Ge), "Plentiful Harvest" (Feng Shou), "Moonlit Night (Sun and Moon Waters)" (Yue Ye (Riyue Tan)), "Banquet" (Jiu Yan), at the dawn of May 4, 1978, he suffered a stroke. During his stay in the hospital, because he was given the wrong medication, his condition worsened and he was permanently bedridden. He suffered greatly and never completed his "Voices of Ali Mountain". His one comfort during his illness was that the erroneous accusation against him of "Rightist Element" was rectified and his professorship and salary was reinstated; his elder daughter, Jiang Xiaoyun, and his younger daughter, Jiang Xiaoai, were reassigned to the Music Conservatory's library, to facilitate their helping to care for their ailing father; the entire family moved from a tiny apartment to the institute's new three-bedroom apartment, living conditions improved tremendously, Caring musicians, Taiwanese affiliates and institute leaders would accasionally visit. Friends from Taiwan and overseas would come to their home to visit, some coming because his reputation had spread far and wide. He was most thankful for the return of parts of his collection of music compositions lost during the "Cultural Revolution". Through the People's Music Publishing House and various music journals, his piece for woodwinds "Taiwanese Dances" violin sonata "Ode to Spring", piano trio "In Taiwan's Haighlands" and various vocal and piano works were published. After more than half a year of planning, on December 23rd, 1981, the China Radio Station's special feature "Professor Jiang Wenye and his Musical Works" was broadcast for the first time in China. Jiang Wenye was not able to speak, but as he listened in stillness from his bed, a thread of a smile appeared on his face, expressing to his wife and children his consolation. That same year, in Taiwan and Hong Kong, there appeared several important journal articles on Jiang Wenye, stirring up strong reactions and the focus of overseas musicians. Unfortunately, Jiang Wenye's illness took a turn for the worse, the doctors were ineffective; he passed away on October 24, 1983, at the age of 73. On November 1st of that year, the Central Conservatory and the Chinese Musician's Society, Taiwanese People's Unification Organization and other units organized a major commemorative meeting in honor of Jiang Wenye, confirming his influence and place in the history of Chinese Modern and Contemporary music. On November 17th of the same year, Professor Zhang Yiren conducted the City Symphony Orchestra of Taipei, Taiwan, in a performance of Jiang Wenye's orchestral piece "Taiwanese Dances" during the "Arts Festival". In 1984, a concert of Jiang Wenye's compositions took place in Beijing; that same year the Hong Kong Record Company, Ltd., recorded his instrumental pieces "Taiwanese Dances" and "Grand Work on Confucius Temple" etc., this same company organized in 1985 the "Jiang Wenye Symposium". That same year, the Hong Kong Pegasus Singing Troupe organized two performances of "Jiang Wenye Commemorative Concert". The following year, this same organization performed four concerts in Taiwan. In September of 1990, the Asian Research Center of the Hong Kong University together with the Hong Kong Folk Music Society organized a "Jiang Wenye Conference" and an "Exhibition of Original Scores by Jiang Wenye", at the same time holding a "Jiang Wenye Commemorative Concert", participants include musicians from both sides of the strait5, Hong Kong and the United States, as well as Mrs. Jiang (Wu Yunzhen) and their eldest daughter, Jiang Xiaoyun. Jiang Wenye's lifeblood -- his music compositions -- were slowly being rediscovered by the world. We believe that studying and compiling Jiang Wenye's compositional experience and performing his representative works will benefit our country and promote our culture. His works will continue to bridge the strait and connect the musicians on both sides, uniting and bringing peace to our nation.
Acknowledgements
References Huang Deng, "Modern Music Master Jiang Wenye's Life and Works," Taiwan Publishing Press Wu Zhenyi, "Analysis of Jiang Wenye's Life and Works" articles by Su Xia, Wang Zhenya, Jin Xuwen, Xu Shijia, Liang Maochun.
Footnotes
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