Taiwan’s first generation of composers
Western music was first introduced into Taiwan by missionaries in the period of Dutch rule (1624–1668). Near the end of Qing-Dynasty rule (1683–1895), after Taiwanese ports were opened to foreign trade, churches were built near the four major harbors of Tainan, Tamsui, Keelung, and Kaohsiung, allowing Western music to penetrate more deeply into local society. Under Japanese rule (1895–1945), the Japanese, influenced by the West, placed Western music at the core of school music classes. Some Taiwanese whose tastes had been cultivated to appreciate Western music chose to go to Japan for further study, becoming the most famous composers of the early period of classical music in Taiwan. Examples included Chiang Wen-yeh (1910–1983), Chen Su-ti (1911–1992), and Lu Chuan-sheng (1916–2008).
Chiang’s Formosan Dance won an honorable mention in the arts competition at the 1936 Olympic Games. Rueibin Chen and Chiang share very similar backgrounds: Both left home in their early teens to study music overseas, and both were strongly influenced by Russian musicians such as the composer and pianist Alexander Tcherepnin. When Chen was in his 20s, he received sheet music of Chiang’s work from a Japanese musician and began to learn the pieces, so that today he is very well versed in Chiang’s oeuvre. “His works are very precise; he must have been very good at mathematics. Influenced as he was by his Japanese education, the pieces have a Japanese flavor, but what they express is his attachment to Taiwan.”
The series of ten works entitled Taiwan Sketches that depicted the scenery of Taiwan are among Chen Su-ti's most famous compositions. The pieces represent sights that Chen saw on a train ride from Tainan back to Taipei. Zhuo Fujian, former chairman of the Department of Music at National Taiwan University of Arts, offers the following assessment: “The foundation of Chen Su-ti’s works is classical, but there is a Taiwanese flavor, and from his compositions you can see images of Taiwanese society from that time period.”
Lu Chuan-sheng, known as “the father of Taiwanese choral music,” returned to Taiwan in the early 1940s, after which he began to collect folk songs. It was the middle of World War II, and the Japanese government was strongly promoting patriotic theater, which Taiwanese with their own ethnic consciousness resisted with the local play Yanji (“Capon”). Lu adapted folk songs as music for the play, inspiring enthusiastic responses from audiences and the spread of such songs. This effort to combine Taiwanese folk songs with orchestral music enabled downhome culture to be expressed artistically, overturning the views that many people had previously felt against folk music.
In 1936 Chiang Wen-yeh’s composition Formosan Dance won an honorable mention in the arts competition at the Olympic Games.(by permission of Liu Meilian)