The lights dimmed, and a hushed murmur of anticipation spread through the packed crowd at Beijing's Blue Note on Jan 8. This was no ordinary concert; it was a musical reinvention.
At the heart of it all stood Liu Zichen, also known as Harry, one of the most promising new faces in the traditional Chinese music world.
With his intense gaze fixed and his fingers poised above the strings of the zhongruan, he appeared to absorb the room's energy before releasing it in a single, sweeping gesture. The opening note hung in the air, rich, resonant, and full of promise, much like the instrument itself.
The zhongruan, with its two-thousand-year history, has long been a symbol of China's musical heritage. Known for its "round, deep tone, clear and bright, with a wide range and immense expressive power," it has played a pivotal role in both solo performances and ensemble works. Its roots trace back to the Qin (221-206 BC) and Han (206 BC-AD 220) dynasties, and it flourished during the Tang (618-907) and Song (960-1279) dynasties.
In the hands of 25-year-old Liu, the ancient instrument has evolved into something entirely new.
Alongside his friends — drummer Yang Yukai, bassist, Peng Yuce, and pianist Huang Dongdong, all students of the Berklee College of Music — Liu pushes the boundaries of what the instrument can do. As a quartet, they fuse centuries-old melodies with the fast-paced, modern grooves of jazz. The audience feels the rhythmic twists and turns of ancient sounds merging seamlessly with contemporary jazz, creating something uniquely dynamic.
