The Folklore Component of Zhu Jianer’s Compositional Style

The article is devoted to the peculiarities of folklore origin in some piano works by the Chinese composer and conductor Zhu Jianer (1922–2017). The first part of the article presents the main milestones of the composer’s creative biography. It also includes previously unpublished facts from the composer’s personal file kept in the archives of the Moscow State Tchaikovsky Conservatory, from which he graduated in 1960. These facts testify to his professional, creative and ideological maturation in the field of compositional art. The second part of the article analyses the principles of using folk music or folk musical instruments in Zhu Jianer’s piano works. Due to the fact that the musical notation, scientific and practical materials devoted to both Chinese folk music in general and Zhu Jianer’s work in Russia are rather limited, the composer’s use of both indirect quotation and direct introduction of Chinese folk melodies into his compositions is analysed when determining the folklore origin. The folklore component is considered on the example of Zhu Jianer’s most iconic works for piano. Zhu Jianer worked with materials close to the small peoples of China, who were officially recognised as national minorities in mainland China. The folklore of the Yunnan ethnic minority group occupies the most prominent place in this area of the composer’s work.