12 years old, Yin Chengzong was admitted to the High School Attached to Shanghai Conservatory of Music with the first place. Two months later, he was selected as an expert class by Xie Luofu, a Soviet expert. He is the youngest student in the class. 1956 attended the opening ceremony of the first national music week held in Beijing, and Yin Chengzong appeared in the concert as a piano solo and the only teenager. 1956 was selected by Soviet expert Tatuliang to study in the Central Conservatory of Music (then in Tianjin, moved to Beijing from 1958). A year later, Tatooine was transferred back to the Soviet Union, and Yin Chengzong returned to the Shanghai Conservatory of Music, where he met his third Soviet piano teacher, alzas Manova. Crafcenco, an expert on Soviet issues who teaches at the Central Conservatory of Music, came to Shanghai to give lectures. After listening to Yin's performance, he took him back to the Central Conservatory of Music. 1958 Yin Chengzong, 16 years old, went abroad for the first time to participate in the Romanian George Enescu competition. He was unprepared for the initial exam and rushed into battle, so he left Sun Shan and returned to Beijing to continue studying with Crafcenco at the Central Conservatory of Music. 1959, Yin Chengzong, 17 years old, participated in the piano competition of the 7th World Youth and Students Music Festival in Vienna, and all ten judges got full marks and won the first prize. After that, Yin Chengzong was appointed by the state to study at the Leningrad Conservatory of Music in the Soviet Union, preparing to participate in the second Tchaikovsky International Piano Competition 1962. In the meantime, I often listen to concerts, operas, ballet performances and art exhibitions, which expands and enriches my artistic accomplishment. Participants in the 2nd Tchaikovsky International Piano Competition, such as Ogden in Britain and Naji in Askin, Soviet Union, are all professional performers over 25 years old and have won many prizes in international competitions. Yin Chengzong is facing great challenges.
In the competition, Yin Chengzong was amazed by his skills, and the audience responded most enthusiastically. The judges spoke highly of him: "Yin Chengzong has a profound understanding of music and impeccable skills" and "Yin conquered Moscow people with his talent".
With the deterioration of Sino-Soviet relations and the interference of political factors, Yin Chengzong came second (the first place was the German Jew who later became a world-famous piano master).
After winning the prize, Yin Chengzong toured the Soviet Union for fifty or sixty performances. After studying in the Soviet Union for three years, Yin Chengzong completed his piano undergraduate course ahead of schedule with excellent results in all subjects, and continued to study composition and conductor.
1963 Yin Chengzong should be recruited to return to China. Chairman Mao arranged a small literary evening on1963 65438+February 3 1 to learn about the literary and art circles at that time. Yin Chengzong played his debut "Yangko", and Chairman Mao encouraged Yin Chengzong to do more ethnic things. 1September, 964, during the "four clean-ups" movement, Yin Chengzong was arranged to work and exercise in Tongxian County, Beijing, and deeply contacted the bottom farmers. 1965 graduated from the Central Conservatory of Music, and worked as the principal piano player in the China Central Orchestra. Because the piano plays western music, the fate of the piano has fallen into a trough in China under the trend of criticizing "sealing, funding and repairing". Yin Chengzong saw that Peking Opera performers and ballerinas in Peking Opera and modern dance dramas at that time were all active on the stage, so he stopped waiting passively and made up his mind to prove with practice that the piano can serve the workers, peasants and soldiers by "making foreign things serve China". 1967 in may, in order to commemorate the 25th anniversary of the publication of "a speech at the Yan' an forum on literature and art in Mao Zedong", there was an upsurge in organizing Mao Zedong Thought literature and art propaganda teams to perform for the masses. He and several friends spontaneously took a bold action, moving a upright piano to Tiananmen Square to perform, starting with songs familiar to the masses, and then letting the audience play at will. At the beginning, most of the songs were popular quotations in the country at that time. An audience asked to listen to Beijing Opera, which he knew nothing about at that time. However, because the Central Orchestra once played the symphony Shajiabang, he was familiar with the tune of the play and played a little from memory. After returning home, I rushed to write a passage in the play in which Grandma Sha denounced the enemy. The next day, I found a singer who returned to Tiananmen Square to perform for the masses, and the response was very enthusiastic. After performing in Tiananmen Square for three days, he went to other streets in Beijing, such as Jianguomen, and was loved by the audience. Later, I received a large number of letters from the masses expressing praise and encouragement.
Inspired by the performance experience in Tiananmen Square and the audience singing Peking Opera, Yin Chengzong had the impulse to create "Accompanied by a Red Lantern Hanging High on the Piano". So he went to China Peking Opera Theatre to learn from his teacher, and made a very detailed study of Peking Opera and piano, two arts belonging to different cultures in the East and the West. 1967 National Day, Yin Chengzong and Liu Changyu performed piano accompaniment "The Red Lantern" in Beijing National Culture Palace, which caused a sensation and was fully affirmed by the central leadership.
After that, Yin Chengzong continued to complete the aria of Li Yuhe and Li Nainai, which was completed at 1968. The piano accompaniment "Hanging Up the Red Lantern" is listed among the "eight model operas" and has become a model of "combining literature and art with workers, peasants and soldiers, and literature and art serve the workers, peasants and soldiers". As a bold attempt of a brand-new music form, the most successful part of the piano accompaniment "Hanging Up the Red Lantern" lies in the integration of the excellent advantages of Chinese and western music cultures, which has opened an unprecedented road for the nationalization of piano music.
After the piano accompaniment "The Red Lantern" was successful, Yin Chengzong began to consider creating piano concerto music with major themes, so that the piano could stand out as the protagonist and integrate into the times and public life. At that time, a big-character poster said that when the central leaders met the students of the Central Conservatory of Music, they said that the piano should play Beijing opera, the Yellow River chorus and sing the motherland. This inspired him. He consulted some students in the Conservatory of Music, and finally the theme fell on the Yellow River Chorus in Xian Xinghai. A creative team for piano concerto "Yellow River" was established, consisting of Yin Chengzong, Chu and Sheng, with Yin Chengzong's student Xu as the secretary. Led by the representative of the Central Orchestra, a group of five people went to experience life along the Yellow River. Later, Liu Zhuang and Shi Shucheng joined the creative team (mainly playing B corner on the piano). After nearly a year's efforts, the work of 1969 was basically completed before the end of the year. In order to push the music to a climax with the melody of the fourth paragraph "Dongfanghong", Yin Chengzong closed the door for a week and deliberated repeatedly, blending the melody of "Dongfanghong" into one, forming a passionate and shocking climax.
1970 February, China the Political Bureau of the Central Committee inspected the Yellow River in the Great Hall of the People. After the performance, Premier Zhou Enlai shouted excitedly, "Xinghai is resurrected!" . 1 970 may1day, the piano concerto "Yellow River" was officially performed in Beijing National Culture Palace. 197 1 year, Yin Chengzong visited Romania, Albania, Yugoslavia, Britain, France and Italy with the Central Ballet (the performance of Britain, France and Italy was later cancelled for some reason), and the Yellow River was added before each performance of ballet "White-haired Girl" and "Red women soldiers".
1972 after Nixon's visit to China, China's literary and art circles ushered in a relatively open period. The London Symphony Orchestra, the Vienna Philharmonic Orchestra and Philadelphia Orchestra visited one after another, and Yin Chengzong performed the Yellow River with these orchestras. In 1973, Yin Chengzong's performance with the Vienna Philharmonic Orchestra led by claudio abbado and his cooperation with Philadelphia Orchestra led by eugene ormandy left a deep impression. NYJ reporters wrote many favorable comments on Yin Chengzong in American reports. Later, I invited him to perform in Japan. The Japanese hoped that his repertoire was half Chinese and half Western, while the Chinese only allowed China to play, but there were not enough China works to play at that time. Yin Chengzong felt it necessary to create a number of China's piano solo works, so as to support the whole concert.
Yin Chengzong was allowed to form a creative group with Chu, Liu Zhuang, Du Mingxin and others to create piano solos. He and some members of the creative team, together with the piano, moved into a quiet but poorly equipped house near Beihai Park, which was being renovated at that time. There is no running water, gas and toilet in the room, so they have to carry water, make a fire and use the outdoor public toilet. Yin Chengzong and his companions spent a fruitful year here. The creative group selected some ancient songs that best represent the essence of traditional music in China, such as House of Flying Daggers and Moonlit Night on a Spring River, and interviewed many pipa players and China music veterans Yang and Cao Anhe, etc., and collected a lot of materials and listened to a lot of recordings. After a year's research and creation, he created piano solo works such as House of Flying Daggers, Moonlight on a Spring River, Autumn Moon on a Three-Six Lake, Three Alleys of Plum Blossoms, and Birds in the Phoenix. After that, I went to northern Shaanxi to collect folk songs and wrote a folk song suite in northern Shaanxi. Yin Chengzong also rewrote the piano solo with two passages from the piano accompaniment "Raise the Red Lantern", and the piano suite was rewritten with the music of Du Ming Credit Ballet "Red women soldiers". Two years of hard work and more than an hour's work. "House of Flying Daggers" written by playing pipa fingering may not be acceptable at that time and failed to pass the examination and approval of the Ministry of Culture. House of flying daggers has been buried for ten years, and 1983 premiered. 1975, Yin Chengzong was invited to perform in Japan. In addition to playing the Yellow River and the above-mentioned ancient songs as required by Japan, the video was also broadcast in Japan through NHK TV.
From 1975 to 1976, Yin Chengzong led the China Art Troupe (a performance team with talents in instrumental music, vocal music and dance) to visit and perform in some countries in South America and Africa.
During his tenure as head of the Central Orchestra, he spent most of his time composing, visiting and performing for all visiting heads of state. He participated in five piano-related films: piano concerto Yellow River, piano accompaniment The Red Lantern, performance by China Art Troupe, March of British journalist Green, Red China (including the second piano concerto by Liszt and Central Orchestra) and recorded the second session.
Yin Chengzong joined the China * * * Production Party on 1973, and was promoted to deputy secretary of the Party Committee of the Central Orchestra, and was later appointed as a member of the 4th the National People's Congress Standing Committee (NPCSC). He was included in the list of the Gang of Four and was nominated as the vice chairman of the National People's Congress. 1976, 10 months later, they were regarded as "representatives of the Gang of Four of the Central Orchestra" and were detained in the orchestra for ten months (isolation review). During the ten months when he couldn't practice the piano, he did two things: one was the handrail. After ten months, his hand has not shrunk, but enlarged, and he can play ten degrees (originally only nine degrees). The second is to recite Bach's average piano music in your mind and play the previous music. At that time, everyone took it for granted that "Jiang Qing was Yin Chengzong's party introducer", and Jiang Qing, as the leader of the Gang of Four, was completely overthrown, so it was logical for the organization to reconsider Yin Chengzong's party membership. Li clarified this: "As early as before the Cultural Revolution, Yin Chengzong's application for joining the Party was discussed and passed at the party branch meeting, and I was the introducer. It was only at that time that the party Committee did not approve it. I have proved that he has complete procedures for joining the party, and I don't think he should be banned from performing. After things became clear, Yin Chengzong was allowed to regain his freedom. When he learned that there was a piano of Hebei Bangzi Troupe near his home, he went there to practice piano through his classmate Wu Lingfen. Yin Chengzong, who didn't perform for three or four years, invited his classmates and friends to listen every Sunday in order to restore his performance feeling, and slowly recovered his stage feeling. A letter reflecting that Yin Chengzong could not attend the performance was handed to Huang Zhen, Minister of Culture: "His problem has been found out now, and he asked to attend the rehearsal performance, but the relevant leaders somehow refused to let him perform and insisted that a young pianist should be a teacher in the Conservatory of Music. This practice is not appropriate in policy. For a world-famous pianist, not letting him perform on stage is tantamount to ruining his artistic life, and its influence and consequences are not good. I think this practice should be changed and Yin Chengzong should participate in rehearsals and performances. " Huang Zhen fully agreed with this letter, immediately instructed the orchestra to arrange Yin Chengzong's performance, and met Yin Chengzong.
On the evening of July 1980, Yin Chengzong held a piano concerto concert in the auditorium of the Central Conservatory of Music. Conducted by American conductor David Gilbaud, the symphony orchestra of the Central Orchestra played Rachmaninov's Piano Concerto No.2 and Liszt's Piano Concerto No.2, and the audience stood up for ten minutes with warm applause and cheers. This is the first time that Yin Chengzong returned to the stage after the Cultural Revolution.
1982 65438+ 10. In October, Yin Chengzong, under the direction of David Gilbaud again, played Rachmaninov's Piano Concerto No.3 in the auditorium of the National Culture Palace, which was the first performance of this masterpiece in China. The performance was a great success.
Professor Eugene Liszt, a famous American pianist, judge of Tchaikovsky and Chopin International Competition, said after listening to Yin Chengzong's solo concert: "I listened to Yin Chengzong's performance in Moscow from 65438 to 0962, and his skills and performances were wonderful. After listening to it 20 years later, I feel that he is more mature and convincing. Most importantly, he put the skills into the music from beginning to end, which completely fascinated me. After listening to the piano performance for decades, I can hear the cocoon in my ears, but Yin Chengzong's performance made me feel refreshed. He deserves to be a young piano master. " Yin Chengzong, who has experienced the storm, has the idea of going abroad to start a new struggle. After many twists and turns, the approval procedure was finally approved. 1in March, 983, he took his five-year-old daughter to a completely strange America and started a new hard work. 1On September 28th, 983, Yin Chengzong gave his first solo concert at Carnegie Hall. The New York Times commented: "For those of us who often use isolation to describe the history of China, Yin Chengzong surprised us. The 42-year-old pianist from China made his debut at Carnegie Hall in new york on Wednesday, demonstrating not only his excellent control of musical instruments, but also his correct understanding of music. Among all the music, Yin Chengzong showed a keen and natural understanding of classical music, especially Mozart he played. He can feel the contrast between relaxation and tension in music, and properly emphasize the appropriate fragments. Yin Chengzong showed superhuman strength and speed in the music of Beethoven and Liszt, which proved that he can keep pace with other first-class pianists. " .
During 1985, Yin Chengzong told reporters in an interview with American television after the recital in Washington: I want to do three things in the United States. First, I want to perform all over the United States, in good concert halls, and realize my dream of performing and recording all over the world since I was a child. Second, if possible, introduce China's piano art to audiences in the United States and the world. Thirdly, when I am old, I will teach my accumulated experience to young pianists. Yin Chengzong, after going to the United States, successfully transformed into a professional performer, covering more than 40 States in the United States and Russia, Britain, Germany, Finland, Canada, South Korea, Singapore and other countries. , and performed in Taiwan Province Province and Hongkong for many times, and held hundreds of concerts in many famous concert halls, including five concerts in Carnegie Hall, three concerts in Lincoln Center, Wilmore Concert Hall in London, Moscow Conservatory of Music Concert Hall, St. Petersburg Philharmonic Concert Hall, etc. Yin Chengzong finally made it to the international music scene. Washington post commented: "Yin Chengzong's Mozart is conservative and rigorous in speed, showing an authentic classical style, while his Schubert shows noble temperament. Now some successful pianists avoid choosing Liszt's repertoire, but Yin Chengzong's performance of sonata in B minor proves that he is an expert of Liszt. " The Chicago Tribune commented: "In this era of pursuing precision, it is a pleasure to listen to Yin Chengzong's performance. His adventurous spirit is revealed in Liszt's Sonata in B minor, which is complicated and difficult to understand. This sonata, which is called the highest achievement in Liszt's piano works, challenges the performer how to combine many sound groups and ever-changing motives into an organized sentence. Yin Chengzong showed off a lot of his handling of this song, making his performance one of the most powerful interpretations today. " The San Francisco Chronicle commented: "Yin Chengzong is an artist of the poet and philosopher type. His performance showed no tendency to show off for the sake of showing off. He showed the depth of music smoothly with just right control and amazing skills. When music is needed, his skills are vividly displayed. From this point of view, Yin Chengzong's style is very similar to Alau's, perhaps more delicate and sensitive. His performance has a rare sedate and noble temperament. " The New York Times commented: "Yin Chengzong pays special attention to smooth Legacy and singing timbre. It is really rare to hear a pianist express the timbre of the piano so touching and emotional-this is to fully show the beauty of the piano sound itself with a sensitive aesthetic feeling. " The Boston Globe commented: "Yin Chengzong's playing style is honest, direct and authoritative. In scriabin's Passionate Sonata No.5, it is intense, exciting and full of rich colors. This piece of music has a strange combination, including crazy speed and quiet dreams, so it sometimes seems indulgent or irrational. Yin Chengzong's performance is both hot and wide, maintaining a unique rationality. " 1In the autumn of 990, Yin Chengzong participated in the birthday performance of Pyotr Il'yich Tchaikovsky 150 at the invitation of the Pyotr Il'yich Tchaikovsky Star Association of the Soviet Union.
Yin Chengzong has been trying to introduce China's works to the United States and the world. 1996 performed house of flying daggers and moonlit night on the riverside at Carnegie Hall in new york, 1997 performed piano concerto Yellow River at Lincoln Center. The audience responded enthusiastically, and the media spoke highly of House of Flying Daggers as "China's No.1 Rhapsody", calling Yin Chengzong an outstanding musician and "the most exciting pianist" who "brought the East to the West" in China, while The Yellow River became a classic for the whole world.
Cultivating students is Yin Chengzong's third wish. Many excellent young pianists have studied piano with him, and many have won grand prizes in international competitions. For example, his students won the first prize in the 1996 piano competition in Leeds, England, the first prize in the 1995 piano competition in Rick, Bogle, and the first and second prizes in the Tchaikovsky Youth Piano Competition. Yin Chengzong is also a permanent performer and professor at the Cleveland Conservatory of Music. He once taught young Lang Lang in vain.
After living in the United States for ten years, 1993, Yin Chengzong received an invitation from the motherland to perform the piano concerto "Yellow River" for the 35th anniversary of CCTV. When he heard the announcement of the host, he couldn't help shedding tears of excitement. Since then, he has returned to China to perform two or three times a year. 1997 Hong Kong returned to the motherland. He was invited to play "Yellow River" in Tiananmen Square and broadcast it to the whole world in the program "Celebrating the Return" on July 1.
With the unremitting efforts of Yin Chengzong, the 4th Pyotr Il'yich Tchaikovsky International Youth Music Competition was held in Xiamen, China in June, 2002, and he was the chairman of the general jury.