Cellist Qin Liwei. (Photo source: Global Times)

By Xing Daiqi

BEIJING, Nov. 16 (Xinhuanet) — Cellist Qin Liwei, one of the youngest place-getters in the Tchaikovsky International Competition, has just released a new recording Beethoven: The Cello Sonatas to critical acclaim. In an exclusive interview, he sat down with the Global Times to talk about his journey and praise received from world-renowned cellist, Yo-Yo Ma.

“Of course, I feel privileged often being compared with Ma. In fact I played for him when I was 10, when I studied at the primary school attached to Shanghai Conservatory of Music,” Qin recalled.

“I got the chance to play Saint-Saens’ ‘Swan’ for him. After the performance, Ma said, ‘You played better than me,’” Qin said, smiling.

However, their musical journey has been quite different Qin added, with Ma a US citizen who was born in Paris.

“I was born in China,” said Qin, who holds Australian citizenship. “I feel obliged to do something for my country.”

“That’s one reason why I launched this recording, Beethoven’s sonatas,” he continued. “It’s probably not the usual encore piece, but it’s fantastic music, something Chinese audiences ought to know. I hope I can challenge and push the boundaries for the Chinese music lover.”

Beethoven vs. Bach

According to Qin, if Bach’s Six Suites for Unaccompanied Cello is the bible of a cellist’s repertoire, then Beethoven’s sonatas served as the guiding principle for his career.

“The biggest challenge is that Beethoven’s music is very difficult to handle because musically it expands to such a wide range of expressions, from the more optimistic earlier works of “Op.5″ to the later “Op.1″ or “2″ when he was already half deaf.

“The expression or musical structure is so different that when you are recording a CD like that, you need to almost relive what he has experienced, in the condensed version of 2.5 hours as opposed to his 25 years,” Qin explained. “It’s a journey, an adventure both for the listeners and myself.”

“These repertoires require same kind of devotion and energy from every artist, but what’s slightly different is my background,” the 34-year cellist said. Qin was born in Shanghai in 1976 and moved to Australia when he was 13. He spent 12 years in England and is now based in London.

“I think a lot of that experience is reflected in my playing, that includes first of all, you need to have great techniques which I got from studying in China from a very early age, to a freedom in expression that comes from Australia, which is a new country welcoming new ideas and very open about things and to have the knowledge and understanding of European culture that comes from living in Europe for 12 years. So combining the three is who I am and is what this record is about.”

Classical differences

As one of the most in-demand cellists across the globe, Qin travels frequently between Europe, Australia and China.

“Chinese audiences are very passionate, but they are also difficult to please. On the other hand, the European audiences are very knowledgeable. In China, the classical music market is very much artist-oriented; whereas in Europe, it’s repertoire-oriented,” Qin explained.

“If Lang Lang plays on a brand new keyboard by Casio, which has got nothing to do with the piano, it will still sell out because he is a huge star here. In Europe, you don’t have to be a huge star to attract an audience, as long as you are doing an interesting repertoire.”

In Qin’s opinion, classical music in China still needs to grow in sophistication. “If it’s only artist-based, you are not going to get the variety. You are only going to have three or four artists doing the same thing all the time…For people to really appreciate and experience all kinds of music, you need to have all kinds of artists.”

Turning to teaching

Apart from his busy performing schedule, the last few years have seen Qin take up teaching positions at Royal Northern College of Music in England, Central Conservatory of Music of China and Yong Siew Toh Conservatory of Music in Singapore.

“At a certain point, it occurred to me that the Royal Northern College of Music won’t change for me even if I teach there for another 30 years, but I think in Asia, classical music is still at a very early stage,” Qin explained.

“We can see the stunning economic growth…but culturally we also need to develop because the dignity of a country comes from its culture.

“So that’s what I want to change. By teaching in conservatories like these, hopefully I will inspire some of the young students to look at music in the right way, not as career building or money making,” he added.