1. When did you first hear Beethoven's music, which one was it, and how did you feel then?

BAO Yuankai: The first symphony I heard was Beethoven's Sixth Symphony Pastorale, from a 78-RPM record on a gramophone. That year I just graduated from elementary school. Having listened to the record, I memorized almost all the musical motives which caught the attention of my father and his musician friends. With their encouragement, I was accepted to the Middle School affiliated to the Central Conservatory of Music and embarked on the journey of music.

Julian Yu: In 1973, I borrowed a record from the library when I was a student of the Central Conservatory of Music. It was a concert performed by the Central Philharmonic Orchestra (now China National Symphony Orchestra) to celebrate the tenth anniversary of the founding of the People's Republic of China. The program included Beethoven's Egmont Overture, and I was astounded. As a composer, the astonishment was not only a joy to feel a different musical expression, but also a spiritual resonance. My first exposure to Western music was around 1968; it was Tchaikovsky's Swan Lake adopted in the Russian film Lenin in October. The music gave me a new and different feeling. However, its impact on me was still much less than that of Beethoven's works.

CHEN Qigang: I was admitted to the Central Conservatory of Music in 1978. Around that time, Western symphony orchestras began coming to China to perform. There was no concert hall, and their performance was almost silent in the venue where there was no sound effect. However, any notes we heard seemed like a sound from heaven. Of course, the concert included Beethoven's works, the Seventh and Eighth symphonies which I was very impressed with. Such an impression included not only the works themselves but also many aspects: the sound the orchestra created and how the conductor conducts and interprets the music. That impact is multifaceted.

HUANG Ruo: My first time came into touch with Beethoven's music was when I was an elementary school student; the teacher who taught Introduction to the Music mentioned Beethoven's Fifth Symphony, which is known as “Fate Symphony”. At that time, I was very young, probably only in the second or third grade, too young to discern any techniques. However, the teacher characterized the first few powerful notes as the god of fate knocking on the door, which I felt was just like that.

ZHOU Tian: I was 5 years old when I first heard Beethoven’s Fifth. At that time, I felt like moving and dancing to the music.

2. Of Beethoven's nine symphonies, which one you like the most and which one the least?

BAO Yuankai: In 1959, the second year after the Middle School affiliated to the Central Conservatory of Music moved to Beijing, I was among the audience when Mr. Yan Liangkun conducted the Central Philharmonic Orchestra, with soloists Wei Qixian, Wei Mingquan, Liang Meizhen, and Cai Huanzhen, performing Beethoven’s Ninth at the then Capital Theater. It was a special tribute of the the orchestra to the tenth anniversary of the founding of PRC. Although not a mature performance of the Ninth, this concert gave me a lasting impression.

ZHAO Jiping: My favorite is Beethoven’s Symphony No. 5, a well-known work of his. I think this symphony carries his philosophy and spirits.

Bright Sheng: Symphony No. 7 has always been my favorite. When Bernstein asked me which Beethoven symphony I wanted to study first, I chose it.

Julian Yu: Bernstein once held a lecture, in which he made the orchestra play through all the drafts of Beethoven's Fifth to experience the changes from the drafts to the finalized score. In fact, the previous versions were also very good, but Beethoven’s numerous edits before reaching the final and the best version reveals that he didn’t want to be framed by the conventions, struggling for breakthroughs. The opening of Symphony of Fate completed the compelling expression with only eight short notes.
But I don't like how his Ninth Symphony "Ode to Joy" ends. This ending is actually musically unstoppable; just like to stop a wild galloping horse just for the sake of halt, it is very dissatisfying. If you look at his manuscripts, the endings of the Fifth and Sixth are very logical and complete, while that of the Ninth is more disappointing.

HUANG Ruo: My favorites are the Sixth and Seventh. The Sixth is also known as the Pastoral. As a classical music composer, Beethoven was ahead of his time in composing "Program music", using music to describe a scene. When I watched the Disney animated film Fantasia as a kid, I remembered that the Pastoral was vividly visualized with a few horses galloping. I prefer the slow movement in Beethoven’s Symphony No. 7; it is the second movement “Funeral March”. He used an extremely simple dominant motive throughout the movement.
Before the 9/11 attacks, the Berlin Philharmonic conducted by Abbado was set to perform Mahler's Symphony No. 7 at the Carnegie Hall in New York. Because of the incident, the program was replaced with Beethoven’s No. 7. It was also the first time I went to a concert conducted by Abbado. At the movement of “Funeral March”, the emotional impact was beyond words, and I deeply felt the power of music.
I am less impressed with Beethoven’s symphonies No. 1 and No. 2. Beethoven hadn't completely stepped out of the shadow of the giant Haydn. They are more rigid and regular; it was not until the Third that he truly established his own style.

ZHOU Tian: It is hard to name one. I like the Sixth, the Ninth and the Fifth. I didn't quite understand the Symphony No. 4 until two years ago, after attending a concert of the Pittsburgh Symphony Orchestra conducted by Manfred Honeck, that I realized this really was a masterpiece and deserved more listening and study.

3. What do you think of Beethoven’s major innovations in composition?

HUANG Ruo: Beethoven was a leading composer of his time. He inherited and expanded such a traditional technique of thematic development and brought it to the next level. I often jokingly remark that you can find the source of "Minimalism" in the first movement of Beethoven's "Symphony of Fate". He developed a key motif into a symphonic temple. Regarding the orchestration, it is quite intriguing that he separated the double bass and cello in his Third Symphony "Eroica" and arranged them on two different staffs to highlight the force of the double bass.

Julian Yu: Beethoven's expanded harmonic region and lower sound register are groundbreaking techniques, which are clearly reflected in Symphony No. 6 "Pastoral". Mozart’s approach is elegant, while Beethoven's is bold. Beethoven's piano sonata is a miniature of his orchestral work. His 32 sonatas are actually 32 symphonies, and each sonata has several movements.

HUANG Ruo: In addition, he also employed chorus as part of the symphony; the combination of the two is also very revolutionary, a technique Mahler imitated in his writing.

4. What is Beethoven's influence on your music composition or ideas?

Julian Yu: The impact was when I first heard his No. 5: music can be created this way. Beethoven's music was not randomly written; among a mixed pile of the scores written by Bach, Mozart, and Beethoven, you can easily tell who wrote what. He has his own distinctive style.

ZHAO Jiping: Beethoven's compositional method belongs to the Viennese School. His harmonic language and instrumentation are very iconic. I like his core spirit very much. We can write something about the Chinese nation, but we must also have the spirit, characteristics and personality. We are too short of these things. Sometimes I would write something that does not really articulate my true feelings.

ZHOU Tian: For the first time, he made me realize that a musical masterpiece is timeless. It is not limited by time and space, and it transcends the barriers of different cultures and nationalities. Music is our most powerful language, and Beethoven is one of the best spokespersons for this language.

HUANG Ruo: Music is not just the notes on paper but also an expression of the composer's views on society and human life. This is what I have been pondering: as a composer, what should I express with music, how to use musical instruments and human voice to achieve such an expression, and what makes music appealing. Beethoven’s music had a great influence on me in this regard.

Bright Sheng: The dramatic, strong, and indomitable spirit of Beethoven's works is not only an inspiration to every musician but also a source of motivation/encouragement to every citizen of the world.

5. What piece would you start with when introducing Beethoven's work to friends or family?

CHEN Qigang: There are too many good works by Beethoven. For me, I would recommend beginning with his Seventh or his piano music, such as piano sonata "Appassionata", which will be more likely to resonate with listeners in general.

Julian Yu: For music lovers, I recommend Beethoven's piano sonatas; among his symphonies, I recommend the Fifth. I watched the movie,The Fall of Berlin, which uses Beethoven’s Fifth as background music. It can be a way to experience Beethoven’s music through other art forms.

HUANG Ruo: I will recommend watching Disney's animated film Fantasia. Besides Beethoven's music, the film also includes The Rite of Spring and Bach's Fugue, among others. Movies are a good way to introduce music to the younger generation.
Many people know of Beethoven and his works, but it is a different matter to really understand and appreciate his music. I always ask my students at the Mannes College of Music in New York to know the function and the meaning of music first; in addition, I also show my students Beethoven's techniques, such as how to develop from and to dominate with the minimal.

6. How do you view Beethoven as a person?

Bright Sheng: A passionate, bold yet delicate artist with a sense of justice.

ZHOU Tian: To me, he held high regards for music but was very "harsh" to himself. He showed his talents in the early years and was absolutely a genius artist. However, he set his vision beyond himself, fame and fortune, and he increasingly demanded more of himself in the pursuit of perfection, even if it meant leading an impoverished life. This is quite unusual but actually a characteristic of many outstanding composers.

HUANG Ruo: I was fortunate to have read Beethoven's manuscript. My first impression was that he was a "messy" composer: his sketches of drafts were full of edits, and supposedly that there was no eraser at that time, he just crossed out and re-wrote what was on the paper. But he was actually very critical and detail-oriented; he would keep changing a melody until it was perfect. Listening to Beethoven's music, you will find that each note is used accurately, which is similar to Bach’s music, no more and no less, to express exactly what he wants to express. In addition, mezzo-piano and mezzo-forte are less used in his music; the articulation is either strong or weak, which also corresponds to his personality. I guess he is a man who dares to love and hate, rejoice and bemoan, but is also very serious and upright.

7. Beethoven didn’t live a care-free life. With his poor living condition, ear problems, and multiple failed loves, why is his work always full of positive energy?

Bright Sheng: This is because there was a big gap between his ideal world and reality. He also would not give up his pursuit because the pursuit of ideals is existential to him.

HUANG Ruo: A very simple question, why did he write music? Beethoven is an honest composer, and through his music, we can understand his thoughts and emotions. Music may be a driving force for his survival. As a composer, my happiest moment is not when the work is being performed, but when I can write. Composing is my haven. I guess that Beethoven, in musical composition, could find peace and emotional outlet, temporarily lifting him from the pain in life. Therefore, in his such grand pieces as "Ode to Joy" and "Fate", the transition from melancholy minor to bright major doesn’t feel contrived but a natural expression of his ideas.

Julian Yu: Beethoven, unlike Mendelssohn, had much to worry about in life. I've seen a movie about him -- of course, it must be somehow dramatized -- Beethoven was sitting on the street and several kids threw rocks at him. Beethoven's name should be translated as "Sorrow and anger" in Chinese...just a joke. His anger and frustration definitely have an impact on his music. We cannot ascertain that more suffering makes better works. However, some composers did create better works when living a harsher life. Some people enjoy solitude or a nomadic lifestyle. I have experienced two or three episodes of overflowing inspiration when composing, and I imagined that Beethoven might have had such moments when a mystic force was helping him. This is a higher consciousness that every composer desires, so as to create a final piece full of rational and brilliant expressions that could even drive the composers themselves to tears.

ZHOU Tian: Beethoven never intended to portray his own sorrow and joy. Great artists don't limit their work to merely an expression of their lives, and "narrative" works are usually not considered as masterpieces. Many artists have the talent and courage to separate their lives from their works.

8. Do you think Beethoven had a good life?

HUANG Ruo: It's hard to imagine what Beethoven's life would have been without composing. The sense of happiness derived from artistic creation cannot be measured in material terms. I think happiness is when a person can find a way to express himself/herself.

BAO Yuankai: In the past ten years, I have experienced impaired hearing, which is undoubtedly a disaster for professional musicians. However, the reason why this impairment is not psychologically devastating is that I found support among my fellow composers who have the same problem, such as Chinese composers WANG Xilin and HUANG Anlun, and European composers Smetana, Faure, and the great Beethoven.

CHEN Qigang: From my point of view, those who are completely unfortunate and depressed will not have such a style in their works. From a secular perspective, Beethoven did experience ups and downs in life and, as a composer myself, I totally can understand what these cost him. When your desires and career aspirations are limited by family situations, living conditions, or health issues, sometimes, you just feel helpless or hopeless. Beethoven's musical achievements, as well as the subsequent recognition and fame he gained during his lifetime, are already something to be happy about for any artist, though not necessarily appreciated by many people.

Bright Sheng: He is a spiritual aristocrat; he knew where he succeeded and failed. This is his blessing and his misery. Like all great artists, this is an eternal conflict. Without conflicts, artists won’t be able to produce masterpieces.

9. In your opinion, how important is Beethoven in the history of Western music?

HUANG Ruo: Beethoven is one of the most influential composers in the history of western music. By carrying on and carrying forward the tradition, he also created several groundbreaking works. His influence is apparent on many composers of succeeding generations, including Brahms, Schoenberg, Schumann, Wagner, and so on.

CHEN Qigang: Beethoven represents an era -- the middle and late Romantic period when classical music had not yet reached its apex. During that time, the musical landscape was rolling on with full force. With a large number of emerging composers, erected concert halls, and enthusiastic concertgoers, classical music has a huge impact on the world. There is no composer after the Romantic period can represent an era alone.

ZHOU Tian: Perhaps because of the unparalleled passion and tension in Beethoven's music, people often focus on his rich emotional expressions and overlook his rational and delicate compositional techniques reflected in his notes. Classical music, especially orchestral works, requires careful arrangements and logical thinking, as well as a wealth of experience. Beethoven was a trained soloist and familiar with all aspects of the orchestra when young. In layman's terms, he was a composer "cultured" in the orchestra. Therefore, his innovation and evolution are not simply breakthroughs from the conventions but mature decisions derived from the music itself. Of all composers, Beethoven is actually among the least fancy ones, but he revolutionized classical music.

Bright Sheng: Many people have a composer they don’t like. For example, someone doesn't like Brahms; someone doesn't like Schumann or Liszt, etc., but I have never heard of someone who doesn't like Beethoven.

10. Does Beethoven's music still have influence on today's musical composition?

BAO Yuankai: Some people say that Beethoven's music is playing all the time, at concerts, classrooms or homes, all over the world. Through the distribution of recording, broadcasting via radio and television, Beethoven’s music is further spread by computers, mobile phones, and Internet media. I think this "all the time" is a faithful statement without any exaggeration.

HUANG Ruo: His influence is still present. His influence is continuous and continued, not just limited to a certain era. For example, his thematic development is a method still in use today. Besides techniques, his works also have intangible effects, the spiritual influence, on today's music.

CHEN Qigang: From the perspective of Chinese music, Beethoven's influence actually means the influence of Western classical music; that is shockingly influential. From the early 1900s to the end of the 1940s, Chinese intellectuals brought home Western knowledge, which played a major role in enlightening and developing Chinese culture. Its impact is inevitable and extremely important. However, when it happens in an unprepared country without any self-awareness, the consequence may be positive or catastrophic. While studying music composition, we should also study the philosophy of music with a critical mind. In the late 1970s, when Western modern music surged in China, we were not critical and knowledgeable enough to examine what had happened but fully embraced it without taking precautions. We should be vigilant in considering how a culture is related to its own origin as well as to its counterpart’s origin. When discussing Beethoven, we should always remember his role in history. He is so influential because what he wanted to do was consistent with the development of his time. Now we emphasize Chinese style. What is Chinese style? The Yellow River Cantata features Chinese style so that I will follow suit; Butterfly Lovers (Liang Zhu) boasts Chinese style, and I will “outdo” Butterfly Lovers. I don't think it's necessary to create something better than Butterfly Lovers, but everyone needs to make music according to their own ideas, which is what creation really means. In this way, we may see a little hope in the midst of chaos. The most important lesson Beethoven gave us was that he was ahead of his era and he didn't do so on purpose. He just did what he wanted to do and safeguarded his own characters. What we lack are characters and courage.