When West Meets East: The Fusion of Classical Guitar and Chinese Pipa in Liu Chang’s Seven Moments Capriccio for Guitar and Pipa

Abstract

In this critical essay and performance guide for Liu Chang’s Seven Moments Capriccio for Guitar and Pipa, I will explore the history of these two iconic plucked instruments in Chinese culture, important aspects of their playing techniques and timbres, and the unique charms and challenges of this classical guitar and pipa duo. I will include in the appendix an original performance edition of Seven Moments Capriccio with suggestions for fingerings, tempo and dynamic markings, as well as performance practice suggestions for Western performers, especially for those who may have less familiarity with Chinese classical music. To support the interpretation of this unique piece — which, according to my research, is the first original composition for classical guitar and pipa — this essay will trace the history of the classical guitar’s emergence in China and provide explanations for its exponential growth in popularity over the past thirty-five years. These factors include the influence of important teachers and performers, the unique approach of teaching in private studios, and the importance of festivals and competitions which are especially designed for children. Additionally, this essay will provide a history of the pipa and its important role in Chinese classical music, thus providing important context for understanding and executing Seven Moments Capriccio, a duet that fuses these two historically distinct instruments and styles. It is my hope that this essay and performance edition will not only provide guitarists with practical tools for interpreting Liu Chang’s Seven Moments Capriccio, but will also encourage composers to write for this instrumental pairing.