The Beijing Symphony Orchestra premiered its major orchestral project for the 2025-2026 season, the large-scale symphonic suite Beijing Impressions, at the Forbidden City Concert Hall on Wednesday.
Conducted by the orchestra's music director Yang Yang, this musical masterpiece, a collaboration between six distinguished composers from the United States, Thailand, Germany, Russia, Argentina and Nigeria, showcased a unique international perspective and a rich tapestry of musical languages. It presented a vivid portrayal of Beijing, merging Eastern and Western cultural wisdom in an epic soundscape that reached both the live audience and viewers online.
The concert's first movement, The Light of Charm was composed by US composer Chad Cannon, known for his Hollywood film scores and symphonic works. Using subtle color changes and innovative harmonic language, Cannon captured the unique flavors of Beijing's four seasons, blending the smoothness of American music with a deep understanding of Chinese culture.
The second movement, Eternal Radiance, by composer Narong Prangcharoen from Thailand, begins with the almost silent sounds of cello and viola, evoking the ethereal tones of the guqin, a traditional Chinese instrument. The music gradually awakens, rising like the dawn sun. The composer is deeply familiar with Chinese culture, having first visited Beijing in 2006, and it feels like he composed this movement with great ease and affection.
The third movement, Racing Lights, by German composer Sven Daigger, ignites the energy of modern Beijing with vibrant rhythms. The swift strings mimic the relentless flow of traffic on the city's streets, while the jumping notes embody Beijing's modern pulse.
The fourth movement, The Heart of the Tomorrow, was written by Russian composer Danil Sevostyanov, who had never been to China before but had drawn inspiration from his impressions of Beijing, along with a wealth of images, videos and documentaries provided by the orchestra. The movement draws from the famous Chinese song On the Golden Hill of Beijing, with Sevostyanov incorporating Russian folk songs as a tribute to the cultural connections between China and Russia.
Composer Ariel Pirotti from Argentina wrote the fifth movement, Shaded Path, which blends Beijing's historical depth with the melodic soul of the tango. The inclusion of the accordion as a solo instrument evokes the spirit of tango, adding an unexpected yet fitting touch to the orchestral piece.
The final movement, Illuminations, was created by Nigerian composer Onche Rajesh Ugbabe. The movement opens with percussion and strings, reflecting the sense of hope and power in the city.
