Xuefei Yang’s American Tour of Many Worlds
Photo Credit: Neil Muir
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This week, trailblazing classical guitarist Xeufei Yang embarks on her first 15-city coast-to-coast U.S. tour.
But it won’t be a typical classical performance. The U.K.-based artist plans to take us on a cultural and musical odyssey.
“I have prepared a diverse program,” Yang told Ode in an interview before the tour. “I wanted to have something for everybody – for guitar lovers, but also for music lovers.”
The new program features works by composers across the globe – Albéniz, Satie, Sakamoto, Piazzolla, Jobim, Strayhorn, and Yang’s own “Xinjiang Fantasy”.
Yang is especially fit to bridge the gap between the curious listener and classical music. She was the first guitarist accepted into a Chinese conservatoire at the sunset of the country’s Cultural Revolution, which banned Western music and instruments.
Since then, Yang has performed in more than 50 countries at prestigious venues such as Carnegie Hall and the BBC Proms. She’s collaborated with Ian Bostridge, Roberto Alagna, Sir James Galway and major orchestras worldwide. She’s one of today’s top 100 classical musicians (according to Classic FM) and BBC Music Magazine named her among the top six guitarists of the century.
Earlier this year, Yang released “Chapeau Satie”, a centenary homage to the French composer that reimagines his works through original guitar arrangements. On tour, Yang will include some selections from the album, including “Gnossienne No. 3” and "La diva de l'Empire".
Before the tour, Yang spoke with Ode about her past, present and future in music. This interview was condensed and edited for clarity.
Q: What does this tour mean to you, and what’s the theme?
A: The world is very divided. As an artist, I like to use music to bring people from different cultural backgrounds closer. I think that art could do that magic.
This program includes music from East, West, North and South: Chinese music, Japanese music, Sakamoto; Satie, and Spanish music, of course, is a must; South American music, like Ponce, Piazolla, and Brazilian Bossa Nova. And of course, American music. I love American jazz, so this tour I'm going to play a set of American jazz transcriptions.
I start with something people are familiar with. I'm going to start the concert with “Asturias”, which is actually a prelude of a suite Albéniz wrote. It's a perfect opening – it's Spanish and very guitaristic. Then I will take the audience through the Montmartre in Paris and then the East, and then through South America and to the sound from Andal Lucia. And then we’ll have jazz and Bosa Nova, this American influence and music.
I find it quite amazing that when you meet people from your country or other countries, we are all different. If we sit and talk about politics, we are going to start arguing. But if we talk about food or music or culture, we get interested in each other’s lives and become closer, there’s more bonding. And instrumental music doesn't have a language barrier – it’s perfect to communicate.
Q: What goes into a tour like this that the average person doesn't know or see?
A: People see the glamorous side of artists. They think we enjoy the praise, the claps on stage and maybe they see us putting on a happy face, socializing and having a drink. That's the bright side. Traveling is quite tiring, especially international travel.
Q: Do you have any pre-performance rituals?
A: I go through the program in the morning, have a good lunch and have a nap. But of course, sometimes I can't sleep, and then I lie there and meditate.
Q: You've talked about the intimacy you have with your instrument, that it’s like an extension of yourself, of your body. When you're performing, are you in more of an emotional headspace or a technical headspace?
A: It depends on the piece. Of course, the ideal would be that I forget about the technical part and just get so into the music. But you cannot be 100% in that emotional world. That can be dangerous, because if you are so emotional, like wanting to cry, you could suddenly forget about what you are doing. It's hard to describe. You need to keep a certain level of coolness. It's a balance. Sometimes I do get goosebumps, or my nose gets sour, at quite an emotional moment.
Q: Do you feel like you connect more with Erik Satie on a musical level, or do you also connect with him in a personal sense?
A: Satie is known for being eccentric. He appeared as a cold and eccentric person, never got married, was weird with his friends. But I read about his love letters. I believe he had his tender and emotional side. And playing his music, even more so I'm convinced that he must have that side. It shows through the music.
Same as most people, I first encountered his famous Gymnopédies and Gnossiennes. They are very hauntingly beautiful and evocative. But as I prepared for this album, I found out, actually, he has another side of music.
Let's say the Gymnopédies and Gnossiennes represent his art side. Then, because he lived and worked in Montmarte in Paris – in his time it was the center for experimental music and arts, a harbor for cabaret – he wrote lots of cabaret songs. He wrote popular works, but he wrote avant-garde works.
In “Chappeau Satie”, I represent both sides. I can see this man has some contradictions in his character and in his musical style. But I think that makes him fascinating.
After 100 years, his music is still speaking to us, in a quiet, brilliant way. I definitely feel connected to his music. Especially the Gnossiennes, he wrote them in such an untraditional way. He didn't have any tempo marks, no bar lines, just descriptions, they look very obscure. I think the descriptions help you to imagine the music and evoke your emotions. And because there's no marks, it’s really up to you how you interpret it. There's lots of freedom in that.
In a way, this kind of aesthetic echoes my cultural background, because the Chinese arts also emphasize on freedom, evocation, rather than being precise. It feels really natural for me to focus on the imagination, being evocative and being free and just thinking about the spirit.
Because guitar is such an intimate instrument, the pieces that I chose to play are mainly short and simple. That gives me space to use the characters of the strings of the guitar, the nuance, to make a difference. The sound of the guitar is warmer, more intimate and tender compared to piano.
Q: When you were recording the album and thinking about Satie’s legacy, did it make you think about your own legacy?
A: Yes. I'm hoping that this could be part of my legacy. I'm hoping when I'm very old, people will remember me, that I have done lots of different things. I have done transcriptions, like Satie, commissioned new works and I have Chinese music. I'm hoping that people will remember me as a versatile musician, that I have contributed to the repertoire of guitar, the development of the instrument and tried to bring a bigger audience to our instrument.
Q: You started so young. A lot of people romanticize a musician's work and their journey. They don't see the blood, sweat, and tears. What's something about your journey as a classical guitarist that most people don't know?
A: On the surface, people call me a pioneer. Being the first guitarist in China to enter music school and being the first Chinese guitarist to launch an international career – this all sounds very fancy. I am lucky to be the first person, so people remember me. But at the same time, it's very difficult.
I have taken a path, especially in China, that nobody has taken. Looking back, I kind of understand why my parents were against me taking the musical path. They really didn't want me to pursue a guitar career. At that time, I was frustrated, I thought I had unsupportive parents. I couldn't understand – they couldn't see any future of being a guitarist, because there were no Chinese guitarists back then. There was no such idol. We didn't have the internet. We didn't have many resources.
I wanted to pursue guitar in the conservatoire, but no conservatoire had the guitar. I had to enter music school as an unofficial student. I have conquered a lot of difficulties. I wanted to study abroad, but my teacher didn't want me to go, and I needed a scholarship.
You don’t always put this in your biography. I think a lot of times we see the bright side. But I believe that, not just a musical career, in any career, to achieve success, you must have talent and passion. Really, passion is the thing that will make you conquer the difficulties. I have seen a lot of talented people give up.
Q: If you could visit your younger self, maybe when you're just picking up the guitar or maybe when you were at one of those hard points, what would you say to yourself?
A: I would say to myself, “Don't think too much. Enjoy it.”
I grew up in a different period in China. I was told about a lot of things, I think too much. This is probably part of my character. I think I would tell the younger me, “Enjoy it and do it. And don't be bothered too much.”
Q: You've talked about how important it is for the younger generation to go to live concerts, to experience classical music. Do you have any thoughts or ideas as to how we can reach the younger generation?
A: Classical music – we are playing older music. These are all people that are already dead. The music they've left is part of time passed. So they become elite, they become the treasures of human beings.
It's far away from young people, they feel a barrier to the music because it's not talking about our life now. Maybe it's harder for the younger generation to understand.
Our job is to figure out how to bridge that gap. We need to make the music relevant. As musicians, we have a responsibility to promote it. For example, in concert, I introduce what the music is about, why I like the music and what the audience can expect. I think that makes a big difference.
Sometimes I go to a gallery and see art work. I have no clue, especially the contemporary work. But when someone tells me what the artist is trying to tell through that work, I can understand.
I think the government could do more. In the U.K., in the past, most schools had a musical course and orchestras. And nowadays, these things are reduced. Imagine that when you are in school, you are exposed to music and play in the orchestra. You're part of the culture, you grow up with classical music.
Q: Who or what is inspiring you lately?
A: My playing is emotional. I'm an emotional person. I feel like I have more to offer in my music now because I have more life experiences.
As an artist, understanding different cultures is very important. I have been to many different countries, more than 50. I'm curious about their culture, interpreting their music.
All of these life experiences show up in my music. If you listen to my latest recording, that's me. If you listen to my older recordings, that would be the younger me. It's a different time of life. So I really think life is my biggest inspiration.
Presented by Concerts in America
Aug. 13, 7:30 p.m. | Houston, TX | Bayou Theater, University of Houston
Aug. 15, 7:30 p.m. | Boston, MA | Arlington Street Church
Aug. 16, 7:30 p.m. | New York, NY | New York Society for Ethical Culture
Aug. 19, 7:30 p.m. | Philadelphia, PA | Old Pine Street Presbyterian Church
Aug. 20, 7:30 p.m. | Baltimore, MD | Earl and Darielle Linehan Concert Hall
Aug. 21, 7:30 p.m. | Bethesda, MD | Westmoreland Congregational United Church of Christ
Aug. 22, 7:00 p.m. | Norfolk, VA | The Salvation Army Kroc Center Hampton Roads
Aug. 23, 7:30 p.m. | Charlotte, NC | Central Piedmont Parr Center
Aug. 25, 7:30 p.m. | Atlanta, GA | Central Presbyterian Church
Aug. 27, 7:30 p.m. | Memphis, TN | Scheidt Family Performing Arts Center
Aug. 29, 7:30 p.m. | Seattle, WA | Town Hall Seattle
Aug. 30, 7:30 p.m. | Portland, OR | First Congregational United Church of Christ
Sept. 1, 7:30 p.m. | San Francisco, CA | St. Mark's Lutheran Church
Sept. 3, 7:30 p.m. | Long Beach, CA | First Congregational Church of Long Beach
Sept. 6, 7:30 p.m. | Dallas, TX | Unity of Dallas
Isaac Albéniz — “Asturias”
Erik Satie — “Gnossienne No. 3”
Erik Satie — “La diva de l’Empire” (The Diva of the Empire)
Ryuichi Sakamoto — “Merry Christmas, Mr. Lawrence”
Xuefei Yang — “Xinjiang Fantasy”
Manuel Ponce — “Estrellita” (Little Star)
Manuel Ponce — “Scherzino Mexicano”
Astor Piazzolla — “La muerte del ángel” (Death of the Angel)
Luiz Bonfá — “Manhã de Carnaval” (Carnival Morning)
Antônio Carlos Jobim — “A felicidade” (Happiness)
Jerome Kern — “Smoke Gets in Your Eyes”
Billy Strayhorn — “Take the 'A’ Train”
Francisco Tárrega — “Recuerdos de la Alhambra” (Memories of the Alhambra)
Paco Peña — “El Nuevo Día’ Colombianas” (A New Day)
But it won’t be a typical classical performance. The U.K.-based artist plans to take us on a cultural and musical odyssey.
“I have prepared a diverse program,” Yang told Ode in an interview before the tour. “I wanted to have something for everybody – for guitar lovers, but also for music lovers.”
The new program features works by composers across the globe – Albéniz, Satie, Sakamoto, Piazzolla, Jobim, Strayhorn, and Yang’s own “Xinjiang Fantasy”.
Yang is especially fit to bridge the gap between the curious listener and classical music. She was the first guitarist accepted into a Chinese conservatoire at the sunset of the country’s Cultural Revolution, which banned Western music and instruments.
Since then, Yang has performed in more than 50 countries at prestigious venues such as Carnegie Hall and the BBC Proms. She’s collaborated with Ian Bostridge, Roberto Alagna, Sir James Galway and major orchestras worldwide. She’s one of today’s top 100 classical musicians (according to Classic FM) and BBC Music Magazine named her among the top six guitarists of the century.
Earlier this year, Yang released “Chapeau Satie”, a centenary homage to the French composer that reimagines his works through original guitar arrangements. On tour, Yang will include some selections from the album, including “Gnossienne No. 3” and "La diva de l'Empire".
Before the tour, Yang spoke with Ode about her past, present and future in music. This interview was condensed and edited for clarity.
Q: What does this tour mean to you, and what’s the theme?
A: The world is very divided. As an artist, I like to use music to bring people from different cultural backgrounds closer. I think that art could do that magic.
This program includes music from East, West, North and South: Chinese music, Japanese music, Sakamoto; Satie, and Spanish music, of course, is a must; South American music, like Ponce, Piazolla, and Brazilian Bossa Nova. And of course, American music. I love American jazz, so this tour I'm going to play a set of American jazz transcriptions.
I start with something people are familiar with. I'm going to start the concert with “Asturias”, which is actually a prelude of a suite Albéniz wrote. It's a perfect opening – it's Spanish and very guitaristic. Then I will take the audience through the Montmartre in Paris and then the East, and then through South America and to the sound from Andal Lucia. And then we’ll have jazz and Bosa Nova, this American influence and music.
I find it quite amazing that when you meet people from your country or other countries, we are all different. If we sit and talk about politics, we are going to start arguing. But if we talk about food or music or culture, we get interested in each other’s lives and become closer, there’s more bonding. And instrumental music doesn't have a language barrier – it’s perfect to communicate.
Q: What goes into a tour like this that the average person doesn't know or see?
A: People see the glamorous side of artists. They think we enjoy the praise, the claps on stage and maybe they see us putting on a happy face, socializing and having a drink. That's the bright side. Traveling is quite tiring, especially international travel.
Q: Do you have any pre-performance rituals?
A: I go through the program in the morning, have a good lunch and have a nap. But of course, sometimes I can't sleep, and then I lie there and meditate.
Q: You've talked about the intimacy you have with your instrument, that it’s like an extension of yourself, of your body. When you're performing, are you in more of an emotional headspace or a technical headspace?
A: It depends on the piece. Of course, the ideal would be that I forget about the technical part and just get so into the music. But you cannot be 100% in that emotional world. That can be dangerous, because if you are so emotional, like wanting to cry, you could suddenly forget about what you are doing. It's hard to describe. You need to keep a certain level of coolness. It's a balance. Sometimes I do get goosebumps, or my nose gets sour, at quite an emotional moment.
Q: Do you feel like you connect more with Erik Satie on a musical level, or do you also connect with him in a personal sense?
A: Satie is known for being eccentric. He appeared as a cold and eccentric person, never got married, was weird with his friends. But I read about his love letters. I believe he had his tender and emotional side. And playing his music, even more so I'm convinced that he must have that side. It shows through the music.
Same as most people, I first encountered his famous Gymnopédies and Gnossiennes. They are very hauntingly beautiful and evocative. But as I prepared for this album, I found out, actually, he has another side of music.
Let's say the Gymnopédies and Gnossiennes represent his art side. Then, because he lived and worked in Montmarte in Paris – in his time it was the center for experimental music and arts, a harbor for cabaret – he wrote lots of cabaret songs. He wrote popular works, but he wrote avant-garde works.
In “Chappeau Satie”, I represent both sides. I can see this man has some contradictions in his character and in his musical style. But I think that makes him fascinating.
After 100 years, his music is still speaking to us, in a quiet, brilliant way. I definitely feel connected to his music. Especially the Gnossiennes, he wrote them in such an untraditional way. He didn't have any tempo marks, no bar lines, just descriptions, they look very obscure. I think the descriptions help you to imagine the music and evoke your emotions. And because there's no marks, it’s really up to you how you interpret it. There's lots of freedom in that.
In a way, this kind of aesthetic echoes my cultural background, because the Chinese arts also emphasize on freedom, evocation, rather than being precise. It feels really natural for me to focus on the imagination, being evocative and being free and just thinking about the spirit.
Because guitar is such an intimate instrument, the pieces that I chose to play are mainly short and simple. That gives me space to use the characters of the strings of the guitar, the nuance, to make a difference. The sound of the guitar is warmer, more intimate and tender compared to piano.
Q: When you were recording the album and thinking about Satie’s legacy, did it make you think about your own legacy?
A: Yes. I'm hoping that this could be part of my legacy. I'm hoping when I'm very old, people will remember me, that I have done lots of different things. I have done transcriptions, like Satie, commissioned new works and I have Chinese music. I'm hoping that people will remember me as a versatile musician, that I have contributed to the repertoire of guitar, the development of the instrument and tried to bring a bigger audience to our instrument.
Q: You started so young. A lot of people romanticize a musician's work and their journey. They don't see the blood, sweat, and tears. What's something about your journey as a classical guitarist that most people don't know?
A: On the surface, people call me a pioneer. Being the first guitarist in China to enter music school and being the first Chinese guitarist to launch an international career – this all sounds very fancy. I am lucky to be the first person, so people remember me. But at the same time, it's very difficult.
I have taken a path, especially in China, that nobody has taken. Looking back, I kind of understand why my parents were against me taking the musical path. They really didn't want me to pursue a guitar career. At that time, I was frustrated, I thought I had unsupportive parents. I couldn't understand – they couldn't see any future of being a guitarist, because there were no Chinese guitarists back then. There was no such idol. We didn't have the internet. We didn't have many resources.
I wanted to pursue guitar in the conservatoire, but no conservatoire had the guitar. I had to enter music school as an unofficial student. I have conquered a lot of difficulties. I wanted to study abroad, but my teacher didn't want me to go, and I needed a scholarship.
You don’t always put this in your biography. I think a lot of times we see the bright side. But I believe that, not just a musical career, in any career, to achieve success, you must have talent and passion. Really, passion is the thing that will make you conquer the difficulties. I have seen a lot of talented people give up.
Q: If you could visit your younger self, maybe when you're just picking up the guitar or maybe when you were at one of those hard points, what would you say to yourself?
A: I would say to myself, “Don't think too much. Enjoy it.”
I grew up in a different period in China. I was told about a lot of things, I think too much. This is probably part of my character. I think I would tell the younger me, “Enjoy it and do it. And don't be bothered too much.”
Q: You've talked about how important it is for the younger generation to go to live concerts, to experience classical music. Do you have any thoughts or ideas as to how we can reach the younger generation?
A: Classical music – we are playing older music. These are all people that are already dead. The music they've left is part of time passed. So they become elite, they become the treasures of human beings.
It's far away from young people, they feel a barrier to the music because it's not talking about our life now. Maybe it's harder for the younger generation to understand.
Our job is to figure out how to bridge that gap. We need to make the music relevant. As musicians, we have a responsibility to promote it. For example, in concert, I introduce what the music is about, why I like the music and what the audience can expect. I think that makes a big difference.
Sometimes I go to a gallery and see art work. I have no clue, especially the contemporary work. But when someone tells me what the artist is trying to tell through that work, I can understand.
I think the government could do more. In the U.K., in the past, most schools had a musical course and orchestras. And nowadays, these things are reduced. Imagine that when you are in school, you are exposed to music and play in the orchestra. You're part of the culture, you grow up with classical music.
Q: Who or what is inspiring you lately?
A: My playing is emotional. I'm an emotional person. I feel like I have more to offer in my music now because I have more life experiences.
As an artist, understanding different cultures is very important. I have been to many different countries, more than 50. I'm curious about their culture, interpreting their music.
All of these life experiences show up in my music. If you listen to my latest recording, that's me. If you listen to my older recordings, that would be the younger me. It's a different time of life. So I really think life is my biggest inspiration.
Tour Dates and Venues
Presented by Concerts in America
Aug. 13, 7:30 p.m. | Houston, TX | Bayou Theater, University of Houston
Aug. 15, 7:30 p.m. | Boston, MA | Arlington Street Church
Aug. 16, 7:30 p.m. | New York, NY | New York Society for Ethical Culture
Aug. 19, 7:30 p.m. | Philadelphia, PA | Old Pine Street Presbyterian Church
Aug. 20, 7:30 p.m. | Baltimore, MD | Earl and Darielle Linehan Concert Hall
Aug. 21, 7:30 p.m. | Bethesda, MD | Westmoreland Congregational United Church of Christ
Aug. 22, 7:00 p.m. | Norfolk, VA | The Salvation Army Kroc Center Hampton Roads
Aug. 23, 7:30 p.m. | Charlotte, NC | Central Piedmont Parr Center
Aug. 25, 7:30 p.m. | Atlanta, GA | Central Presbyterian Church
Aug. 27, 7:30 p.m. | Memphis, TN | Scheidt Family Performing Arts Center
Aug. 29, 7:30 p.m. | Seattle, WA | Town Hall Seattle
Aug. 30, 7:30 p.m. | Portland, OR | First Congregational United Church of Christ
Sept. 1, 7:30 p.m. | San Francisco, CA | St. Mark's Lutheran Church
Sept. 3, 7:30 p.m. | Long Beach, CA | First Congregational Church of Long Beach
Sept. 6, 7:30 p.m. | Dallas, TX | Unity of Dallas
Program
Isaac Albéniz — “Asturias”
Erik Satie — “Gnossienne No. 3”
Erik Satie — “La diva de l’Empire” (The Diva of the Empire)
Ryuichi Sakamoto — “Merry Christmas, Mr. Lawrence”
Xuefei Yang — “Xinjiang Fantasy”
Manuel Ponce — “Estrellita” (Little Star)
Manuel Ponce — “Scherzino Mexicano”
Astor Piazzolla — “La muerte del ángel” (Death of the Angel)
Luiz Bonfá — “Manhã de Carnaval” (Carnival Morning)
Antônio Carlos Jobim — “A felicidade” (Happiness)
Jerome Kern — “Smoke Gets in Your Eyes”
Billy Strayhorn — “Take the 'A’ Train”
Francisco Tárrega — “Recuerdos de la Alhambra” (Memories of the Alhambra)
Paco Peña — “El Nuevo Día’ Colombianas” (A New Day)
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