Ancient buildings alive with sound of music

Festival combines architecture and live performances to produce magic, Chen Nan reports.

In the interplay between music and architecture, there exists a profound connection that transcends both art forms. When live performances take place within the walls of historical buildings, the synergy between sound and structure transforms the experience into something magical.

When the 2024 Beijing Ancient Architecture Music Festival opened on Sept 25 at Zhaigong (Palace of Abstinence) in Beijing's Ditan Park (Temple of Earth), the audience experienced dialogue between music and architecture, where every note reverberates through time, and every architectural feature enhances the journey of sound.

"These spaces, with their rich histories, act as more than just backdrops — they become integral components of the performance, adding layers of depth, emotion, and resonance," says Yao Ying, co-initiator of the festival.

"This event, centered on 'reviving cultural relics through music', not only honors China's traditional music culture, but also breathes new life into ancient architecture," Yao adds.

In its third edition, the festival, supported by Beijing Municipal Cultural Heritage Bureau, runs until Oct 28, featuring 10 live performances at eight iconic historical buildings in Beijing, including the Drum and Bell Towers, the White Pagoda at the Miaoying Temple, Dajue Temple, and Zhenjue Temple, now called Beijing Stone Carving Art Museum.

Over 30 groups of musicians and artists are performing during the festival, including pianists Bao Huiqiao, Sheng Yuan, Kunqu Opera actress Shen Yili and the renowned Amber String Quartet.

Many audience members who attended these concerts had been touched by the works presented by modern musicians in these ancient architecture spaces. Among them was an audience member named Silver, who commented in the festival's official WeChat account, after watching the concert by Bao at the Zhenjue Temple on Sept 30, saying that "the octogenarian pianist Bao, with her passion and grace, created a unique contemporary symphonic piece together with the age-old Zhenjue Temple. The piano keys vibrated with the autumn breeze after the rain, accompanied by the rustling of ancient ginkgo trees. The cawing of passing crows seemed to join in the melodic ensemble".

Music, as an art form, is inherently fluid, ephemeral, and ever-changing, while architecture is solid, permanent, and rooted in history. Yet, the two are deeply interconnected, according to architect and artist Zhu Qipeng.

"These historical buildings, with their unique acoustics, are themselves designed with an understanding of sound. Vaulted ceilings, intricate stonework, and vast open chambers were intended to carry sound in ways that would elevate it, allowing music to linger, echo, and envelop listeners," Zhu says. "When contemporary musicians perform in these spaces today, they tap into that original purpose, awakening the building's acoustic potential."

Zhu also notes that these historical landmarks in the capital were used by the royal families for worship ceremonies dedicated to both gods and ancestors with music featuring as an integral part of those ceremonies.

"These rituals were seen as essential for maintaining harmony between heaven, earth and humankind. Music was not only a form of artistic expression, but also a sacred tool for communicating with the divine and honoring the ancestors," he says.

On the afternoon of Sept 26, the majestic Ditan Park, with its deep historical significance and unique architectural style, became the first venue to sound the festival's opening note. Percussionist Wang Jianan, accompanied by traditional Chinese music, woke up the park with a powerful performance on the drum, marking the official start of the festival. As the cool autumn air embraced the ancient building, a harmonious symphony between history and modernity resonated.

"We performed against the backdrop of the ancient buildings and surrounded by old trees," Wang says. "It's a quite different experience for us performers, compared to the modern venues, such as concert halls and theaters, where we usually perform. It was magical. I believe that the audience will feel the same way."

The percussionist mentions that the drums he used during the performance fit the outdoor space, allowing the sound to be reverberant and lasting.

Wang, who is a Beijing native, went to school near the Drum and Bell Towers. Both were built during the Yuan Dynasty (1271-1368) and served as the capital's center of timekeeping through the Ming (1368-1644) and Qing (1644-1911) dynasties.

"I love visiting these old buildings, which connect me with the history and inspire me," Wang says.

This blending of old and new can be especially poignant when the music reflects themes of heritage, memory, or cultural identity, according to the percussionist.

"Performing traditional Chinese music at these landmarks helps us (musicians and audiences) connect with the ritual music of the past that was once played there and with the people who once lived, worked and celebrated in those spaces," Wang says. "In this sense, it is an act of preservation, not only of the music itself but of the historical significance of the space."

He also adds that this kind of cultural events draw people to these old spaces, encouraging exploration and appreciation of the cultural importance of these ancient architecture landmarks.

On Monday, the Amber Quartet will give a concert at the Guozijian imperial college in Beijing, which was the highest educational institution and administrative organ of education set up by the imperial court during the three dynasties of Yuan, Ming and Qing.

The program will include the first movement of the String Quartet in G minor, Op 10, by Debussy; the String Quartet in G Minor, Op 74, No 3, Rider, by Haydn; and Song of Burying Flowers from The Dream of the Red Chamber Suite by Chinese composer Wang Liping and Totem by Chinese composer Zhang Zhao.

"Across the world, cultural institutions and festivals are recognizing the value of merging the old with the new," says the string quartet's founder and cellist Yang Yichen, who is a teacher of the Central Conservatory of Music. "Arts are playing a crucial role in the preservation and reinterpretation of historical spaces."

Yang adds that the quartet musicians chose to perform the aforementioned music pieces from China and the West at the Guozijian imperial college, "hoping to build up a dialogue between the past and the present, between China and the West".

"We are looking forward to performing at the ancient architecture, which will create a shared experience where music and architecture combine to evoke emotion, memory, and meaning," he says.

Contact the writer at chennan@chinadaily.com.cn