1 . As vast fields surrounding Beijing and Shanghai transformed into towering skyscrapers, and old bicycles gave way to motor vehicles, the essence of music communication remained unchanged over these shifts.

“I’ll never forget that I’ve never seen so many bicycles in my life,” Philadelphia Orchestra violinist Davyd Booth said, recalling his first tour in China 50 years ago. “Everyone rode a bicycle. There were literally hundreds, thousands.”   

This month, 14 musicians from the Philadelphia Orchestra, including Booth, are returning to China, with performances scheduled in Beijing, Tianjin, Suzhou and Shanghai. The tour marks the 50th anniversary(周年纪念日) of their first visit in the 1970s, celebrating the unique friendship between China and the United States. Over the years, the orchestra(管弦乐团) has strengthened connections across China, with concerts and residencies that facilitate meaningful people-to-people interactions.

Booth said the 1973 tour was his first international trip with the orchestra. He considered himself lucky to have been part of the tour. He had just auditioned(试演) and got accepted into the orchestra that year. His official start date was scheduled after the orchestra’s return from China, but Booth received a call from the personnel manager informing him that someone had fallen ill. He then took the place and went to China.

“I was incredibly thrilled! Then, after I hung up, I realized I didn’t even have a passport,” Booth said. However, he got his passport and visa in just three days, thanks to the strong support from both countries. With his violin in tow, Booth joined the team on the 15-hour flight to China.

In addition to some regular compositions, the Philadelphia Orchestra also played the Yellow River Concerto, one of the most popular piano concertos in China even today. The Philadelphia Orchestra cooperated on this ensemble (合奏) with a Chinese pianist, marking the earliest ties between the US and China in music.

After the concert, the team was hanging around on the streets, Booth said. It was a fun experience even though people did not know how to talk to locals because of language barriers, he said. “You can communicate a lot by smiling, and it worked out very, very well,” he added.

4 . “It’s incredible. I never thought my dream would come true so soon,” Chinese ballet dancer Chun Wai Chan recalled the scene when he got the news in May that he was promoted to the principal dancer with New York City Ballet (NYCB), the company’s first Chinese and fourth Asian principal dancer in 74 years.

Born in Huizhou City, South China’s Guangdong Province in 1992, Chan has become attached to dance since childhood. However, his parents preferred him to be a doctor or a lawyer in the future. The uncompromising boy then wrote a seven-page letter to his parents describing his determination to study dance.

Thanks to the sincere letter, Chan finally gained the support of his family, and at the age of 12, he was admitted to Guangzhou Arts School, marking the start of his dream-seeking journey. Chan’s first turning point in life came at the age of 18, when he was a finalist in the 2010 Prix de Lausanne, which earned him a full scholarship to study with Houston Ballet’s second company, Houston Ballet II. Two years later, Chan joined Houston Ballet and became a principal in 2017. There, he gained a reputation as a confident and sensitive performer. In 2020, he appeared as a contestant on the Chinese television show Dance Smash on Hunan Satellite TV, which gained him a large following.

Chan returned to New York last year, and was finally promoted to the principal dancer with the NYCB in May this year. He attributes his success to his passion, hard work, concentration, perseverance and the pursuit of excellence.

In China, Chan’s success has become a source of pride. News of his promotion to principal dancer was widely circulated, and he has been featured repeatedly in the Chinese media, under headlines like “The Ballet Knight” and “After Dance Smash, he conquered New York.”

After performances, audience members sometimes tell Chan that they have never seen Asian dancers in leading roles. He has been moved to hear young dancers of color say his example has given them hope for their own careers. “I used to think I danced just for myself,” he said. “Now I’m dancing for my family, for the audience, for the whole dance community.”

5 . Born in an unknown village in Huarong county, Hunan province, Yi had few opportunities to play instruments when he was young.

At the age of 6, when most performers have already begun studying the piano at music academies, Yi learned the traditional stringed instrument the erhu from a group of people lodging at his home. It was not until much later that he first saw a piano when he visited his cousin’s house in Huarong.

“My family was too poor to buy a piano for me, so I often used to visit my cousin, even though it took about an hour to travel the 20 kilometers to his home over rocky roads just for the opportunity to sit at the keyboard,” Yi said.

Yi first arrived in Shenzhen 19 years ago and worked in factories, on construction sites and in kitchens. He had not played a piano for nearly 30 years.

The public pianos in Huaqiangbei offered him a fresh start. On a hot summer’s day, while   taking a break from work at a nearby construction site, Yi and his son passed one of the instruments. Encouraged by his son, Yi decided to give it a try.

He rubbed his hands nervously on his clothes, but the moment he placed his fingers on the keys, he felt more comfortable and his confidence returned. Although his masterly performance at the piano keyboard quickly made him an online sensation in China and overseas, Yi is not the only one to benefit from the pianos in Huaqiangbei.

Inspired by the British artist Luke Jerram, who has placed more than 2,000 street pianos in over 70 cities worldwide since 2008 with the words “Play Me, I’m Yours” printed on their sides, the public piano project in Huaqiangbei was launched by the local government in 2018.

Zhang Chen, deputy director of the Huaqiangbei subdistrict office, said: “Huaqiangbei is located in the commercial district in the center of Shenzhen. We have been trying to provide diverse facilities to bring high-quality public cultural services to the area. We are surprised that the public piano project has attracted so many people to play the instruments, and others to watch them perform.”

6 .

7 . Everyone has their favourite Bond songs with the 007 movies offering so many different musical outings over the years from classic rock and pop to soul and even dance. Let us know in the comments.

Golden Eye sees a cat-like Turner wandering about throughout its sound stage, flashing her claws where necessary. Its sweeping arrangement and sentimental brass (感伤的铜管乐) contribute to a powerful vocal performance. The strings are mixed with horns that sound like a passing train. This is effortless singing from Turner and her amazing control is a joy to hear.

This rock/pop little number has always felt rather clear to the listeners. It is a bit Bond-aping (邦德式模仿) rather than creating something new all by itself, which is what it should ideally be aiming for. Crow gives it her all with her soft voice.

Right from the brilliantly exciting intro, the whole track just sounds so strong, as if it was chiseled (镌刻) out of the very finest stone. A lot of this is down to Chris Cornell’s powerful and deeply rich voice. One of the greatest singers of his generation, he absolutely nails this track.

The title theme that most people can’t actually remember. By all accounts, Sam Smith’s Writing’s On The Wall was written very quickly, and frankly, it shows. Far from being a terrible song, it just lacks basically everything that a Bond theme needs. Sure, it certainly feels empty.

9 . Having spent more than a decade on the dance floor, ROME — Niccolo Filippi, a 23-year-old Italian dance performer, recently decided to explore Chinese culture and its traditional dance forms and believes that this experience will not only boost his career, but also broaden his horizons beyond the world of dance.

His interest in diversifying his skills grew after he stumbled upon a short video of traditional Chinese-styled dance on YouTube. “I saw it as an art that combines tradition and modernity, which was mostly the reason why I liked it,” says Filippi.

Ever since, he has been closely following Chinese dance performers and watching numerous videos to learn more about the traditional style that he admires. “I prefer the traditional style because of its light movements. It also reflects my personality with elegance,” he adds.

Filippi’s chance came when he was invited to perform for a Chinese New Year celebration in the central Italian city of Florence. He has since fully committed himself to the art form, learning several pieces and putting his newfound passion into practice.

“The biggest difference that I found (compared to other disciplines) is the change of mood and emotional expressions among dances,” says Filippi, adding that he needed to shift from the dynamic moves of hip-hop to the graceful and fluid movements of Chinese dance. Despite various obstacles, Filippi’s efforts have not gone unnoticed. Two of his friends shared videos of his performances on social media, and the response was overwhelming. One video garnered 500,000 views, while the other received 200,000 views.

Filippi believes that learning about different cultures is priceless, and he sees it as a means of personal growth. “I like to think of a person as a book,” he says. “Embracing different traditions and cultures, such as Chinese culture and many others, is like adding new chapters to my book, making it more diverse and wonderful.”