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January 9, 2016

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Home » Feature » Art and Culture

Solo cellist spreads love for the classics

By Zhang Qian | January 9, 2016, Saturday | Print Edition

WITH his beloved cello in hand, Qin Liwei, 40, took the stage with his fellow Dragon Quartet members at the Shanghai Concert Hall last Friday. Along with violist Zheng Wenxiao and violinists Ning Feng and Wang Xiaomao, the foursome presented their unique interpretations of Schubert classics.

Qin, who was born in Shanghai, says he is always pleased to play in his hometown. Over the years, he believes local listeners have become more discerning and appreciative when it comes to Western classics, and he’s happy to help widen their musical horizons.

“I want to be an invisible bridge that connects the composers and audiences, to help audiences communicate with the composers through my live interpretation,” said Qin.

Born in a music family, Qin was immersed in music from a young age. He started playing the piano at the age of four. At seven, he switched to the instrument that would define his professional career.

“The cello has a more human sound and can be very touching when it comes to presenting certain emotional pieces,” said Qin. “I think that’s a major reason why I fell in love with it.”

Qin attended the primary school affiliated with the Shanghai Conservatory of Music, where he focused on the fundamentals of cello performance. He later moved on to study in Australia and Britain.

As a youngster in Australia, Qin says he was a shy student. His cello teacher at the time though encouraged him to use music as a means to express himself.

“She told me that it was important not to be afraid to experiment with making mistakes, as they would help me improve,” said the performer. “The freedom to have an open mind and rebel were the most important gifts I was given during those years.”

Later, starting at the age of 19, Qin continued his studies in the UK at the Royal Northern College of Music and the Guidhall School of Music and Drama. During this portion of his education, Qin was exposed to the vastness of European culture, an experience he believes was crucial to deepening his understanding and appreciation of classical musical.

“Classic music is like an exquisite dish. It is not for the hungry man eager to be fed, but for those who appreciate subtle flavors,” said Qin. “It is important that a musician craft his or her work, so as to create melodies that reach and touch the audiences.”

Qin shot to prominence as a cello soloist after a series of international contest wins.

In 1998, he was awarded a silver medal at Tchaikovsky International Competition. In 2001, he took first prize at the prestigious Naumburg Comeptition in New York.

While he regularly collaborates with the world’s top musicians, Qin also leaves time to perform with his peers in China. His goal is to deepen appreciation for Western classics among local listeners, many of whom were only exposed to foreign music relatively recently.

“As a musician of Chinese origin, I want to do my part to support the growth of the Chinese market for classic music,” said Qin.

So far, he’s confident in the future.

“I’ve witnessed quick growth in the domestic market over the past dozen years, especially in big cities like Beijing and Shanghai,” said Qin. “Surely it will take time for the market to mature. We musicians need patience to guide audiences in appreciating the music.”

As he sees it, part of his duty in this regard is to bring lesser-known pieces and new interpretations to the country.

“If we only play what audiences are familiar with, Beethoven will be the only classical master that Chinese people know,” he said.

As for his own goals, Qin says he hopes to become known as more than just a talented soloist. He’s also focused on chamber performances, as well as planning concerts and educating the next generation of cellists.

“Education helps support the logic of my interpretations; stage performance helps make my teaching more convincing; chamber music provides me with opportunities to communicate with and learn from other good musicians; and organizing concerts helps connect me with more talented musicians,” he explained.

Qin now teaches at the YST Conservatory in Singapore and is a guest professor at the Shanghai Conservatory of Music.

In his expansion into chamber music, Qin established a trio with pianist Song Siheng and violinist Huang Mengla in 2009. He helped found Dragon Quartet in 2012.

“It’s always a pleasure to collaborate with musicians whom I appreciate,” said Qin. “The communication and collisions that happen during rehearsals lead to the best interpretations. That process has always been the most attractive part of the music for me. It’s like having a party with friends.”

According to Qin, a major problem in music education in China is that so many students want to become soloists, rather than members of an orchestra or ensemble.

“It’s just like everybody wants to be the forward who scores the goals rather than passing it to others,” said Qin.

“Music is about communication. And participating in chamber music helps musicians play with not only their hands but also their ears. They have to listen to the others, and hold dialogues through the music,” said Qin.

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