Interview with Tong Wei-Dong, Part 1

Over the summer, when I was teaching at the Meadowmount Music Program in New York, I had the opportunity to interview one of the top violin teachers in China. Professor Tong Wei-Dong is associate professor and Chief Executive of the Violin and Viola Teaching and Research Office at Beijing Central Conservatory’s (BCC) attached middle school. He is also a member of the conservatory’s faculty string quartet.

Professor Tong graduated from the Central Conservatory in 1990. He has studied with Shanxiu Wang, Weimin Hu, Keqiang Sui, Lin Yao Ji, and Jörg Wolfgang Jahn. At the Second National Youth Violin Competition in 1984, Professor Tong was the prizewinner.

In 1996, despite his already having establishing a teaching career, the China Education Commission sent Professor Tong to Europe to continue his studies under the German DAAD – Deutscher Akademischer Austausch Dienst (German Academic Exchange Service) – Foundation Scholarship. Upon receiving his Master’s degree of Music in 1998, Tong returned to China.

Professor Tong has performed internationally, to great acclaim, and many of his students have won awards in violin competitions at home and abroad.

String Visions: First of all, thank you for being here at the Meadowmount School, sharing your knowledge with our students, and also for your willingness to do this interview with String Visions.

Professor Tong: You are welcome.

String Visions: Can you tell us something about your own teacher in China, the legendary violin teacher, Professor Lin Yao Ji.

Professor Tong: My teacher, Professor Lin Yao Ji , and most other Chinese string players, were tremendously influenced by the Russian school of violin playing from the 1950s. Professor Lin studied in Moscow with Yuri Yankelevich.*

String Visions: I read in an article about Professor Lin, that very early on, upon realizing that  he would never be a Jascha Heifetz, decided instead to devote his life to identifying, teaching, and nuturing Chinese violin talents who had a chance at a professional career.

Professor Tong: Yes, Professor Lin went to Russia together with a few other Chinese violinists and pianist Liu Shih-Kun, who won second prize in the Tchaikovsky competition in 1958, the same year Van Cliburn took first prize. Mr. Liu went on to become a famous soloist. As you stated earlier, professor Lin decided to focus on and specialize in violin pedagogy with Yuri Yankelevich.

String Visions: It seems to me that in the last 15 years, there has been extensive development and growth in Chinese musicianship. The level of playing technique was always high, but now the musical artistry and expressive elements are at an extremely high level as well.

Professor Tong: Yes, I see two reasons for that. First of all, China is now influenced not only by Russia, but also by the Western world, including the United States and Western Europe. We are also seeing frequent performances in China, by musicians from these two parts of the world.  Additionally, many teachers and performers from China have studied and lived abroad for a long time. While Chinese students have never had problems with technique, they are now also being encouraged and inspired to be emotionally involved in their music, and to really share the joy of making music.

String Visions: What other elements do you think could be behind this evolution?

Professor Tong: Most Chinese players in the past always had a very high level of self-discipline but not a lot of subtle colors in their playing. However now, because there are more commonalities between Chinese culture and Western culture, the playing is much more colorful. In the past, under the Cultural Revolution, the playing seemed like there was only one color.

String Visions: Do you have some stories, memories, or special things that you remember about your Chinese teachers–certain things you were taught?

Professor Tong: First of all, the most impressive thing in my memory is how dedicated my Chinese teachers were. They cared about and loved each and every one of their students, and they were always willing to sacrifice everything in order to help them. So, in many instances, they were not just teachers, but they also played the role of a parent.

String Visions: Like a mentorship role?

Professor Tong:  Yes, most definitely. They would spend as much time as they possibly could, especially when preparing for performances, concerts and competitions. Secondly, Chinese teachers and performers are also very willing to learn. It is part of our Chinese culture that we like to make friends and we are willing to learn things from other cultures. My teacher, Professor Lin, is still the most celebrated violin pedagogue in China. And he spent absolutely his whole lifetime teaching.

String Visions: He passed away in 2009–much too early, at the age of 72.

Professor Tong: Yes.  More than 2000 people attended his funeral, and we all realized then that Professor Lin had students, not only at at the Central Conservatory, but also countless younger students from all over China.

String Visions: I understand that you also studied in Europe?

Professor Tong: Yes, I did. In 1996, I was sent by the Chinese Education Commission to study for two years under the German DAAD Foundation Scholarship. At that time, I was already teaching at the Central Conservatory, but it had been one of my lifetime dreams to study abroad.

String Visions: Can you tell us a little about that?

Professor Tong: In Germany I studied with Jörg Wolfgang Jahn at the Hochschule für Music in Karlsruhe. Professor Jahn was, in addition to being a wonderful teacher, also extremely helpful. When I arrived in Karlsruhe, he picked me up at the station and also helped me with finding an apartment.

String Visions: Was it difficult for you to study again, after already having been a teacher yourself?

Professor Tong: No. In Germany I learned a lot, especially musically. I remember playing the D Major Concerto by Mozart. I had to change fingerings, bowings, and the style of playing. Playing Mozart is very difficult and everything has to be very precise. As recently as the 1990s, perhaps earlier–it used to be very difficult for Chinese students to play Bach and Mozart. In international competitions, Bach is always required in the first round, so that was always quite challenging for Chinese students. Understanding and being able to play baroque music is a fundamental skill that has to be mastered. All later music stands on the shoulders of the baroque period. In my opinion, Bach and baroque music are almost like the source of Western classical music.

String Visions: Yes I agree with that–it is very essential!

Professor Tong: Without that understanding, it’s impossible for us to really understand Western music.

This interview will be concluded in part 2

*For more about Professor Lin, please see an article from The Strad reproduced on Facebook by his daughter Lin Wei – http://www.facebook.com/topic.php?uid=56546579596&topic=11015

*You can also view his bio on the website of the Lin Yao Ji Music Foundation of China – http://www.linyaoji.com/Foundation/Biography.html