“Adagietto” by Gustav Mahler in the Performance Practice of Chinese Conductors: Interpretative Aspects

Abstract

This article explores the distinctive features of the performance interpretation of Gustav Mahler’s symphonies within the context of contemporary Chinese conducting practice. It identifies the main trends in how Chinese orchestras are engaging with Mahler’s symphonic repertoire, as well as their interpretive strategies. The conducting style of Long Yu is analyzed in comparison with the interpretative tradition of Leonard Bernstein, allowing for a deeper understanding of the differences between Eastern and Western approaches to Mahler’s orchestral dramaturgy. Comparative analysis of tempo-rhythmic development, dynamic balance, and orchestral texture in various conductors’ performances highlights the influence of cultural traditions on interpretative practice. The growing interest in Mahler’s symphonies in China is shown to contribute not only to the expansion of national orchestral repertoires but also to the emergence of new performance standards that integrate European traditions with local stylistic characteristics. The findings make it possible to broaden the musicological panorama of the modern reception of Mahler’s symphonies and contribute to further research into the processes of cultural adaptation of European academic music to the East Asian artistic space.