by Li Xirui, Yang Shilong
PHILADELPHIA, United States, Jan. 31 (Xinhua) -- Inside Marian Anderson Hall at the Kimmel Center for the Performing Arts in Philadelphia, Eastern musical instruments blended with Western melodies.
Outside the concert hall, a photo exhibition traced five decades of a unique cultural bond between The Philadelphia Orchestra and China.
"BOOKENDED WITH CHINA"
The city's iconic orchestra marked the upcoming Chinese Year of the Horse with a special Lunar New Year concert, presented in collaboration with China's Central Conservatory of Music on Wednesday.
Since its historic visit to China in 1973, the first by an American orchestra after the founding of the People's Republic of China, the Philadelphia Orchestra has returned regularly, building enduring partnerships with Chinese music institutions and inviting Chinese orchestras to perform in the United States.
For veteran violinist Davyd Booth, travel has shaped not only the orchestra's history but also his own life journey. Booth, a member of the troupe's first trip in 1973, has traveled to China roughly 15 times.
"China has become a defining chapter of my life and career," Booth told Xinhua. "My life and career have been bookended with China, the country, the people, the music, the relationships. There's no other country where we've developed such a close relationship."
Beyond the long-standing friendship, Booth noted that the orchestra has remained deeply committed to music education and exchange, from visits to schools and conservatories across China to incorporating Chinese musical elements into its own artistic language.
"China has a wonderful musical tradition and very different sounds," he said. "The orchestra has adopted some of those instruments and textures into our regular repertoire. That's how close and integrated this relationship has become. It's not one-sided in any way."
PIPA AND ERHU
For the Lunar New Year program, the Philadelphia Orchestra joined musicians from the Central Conservatory of Music, including Yu Hongmei and Zhang Hongyan, in the spring-themed concert.
The program featured works such as Li Huanzhi's Spring Festival Overture, Chan Ka Nin's Welcoming Spring, selections from Tan Dun's Crouching Tiger Concerto for erhu and chamber orchestra, and Zhou Long's King Chu Doffs His Armor for pipa and orchestra.
"Asian music explores spaces between notes that we don't really have in Western piano music," said Sheldon Goberman, 84, a Philadelphian who attended the concert with his wife. "Our tradition is largely diatonic, so hearing the contrast with quartal elements was fascinating. It felt like a true melding of two musical traditions."
"Music is a universal language, it brings everyone together," added Caroline Goberman, 81. "This was my first time hearing Chinese instruments, and I was fascinated by both the sounds and the complex, contrasting rhythms."
Carol Beringer said the performance left a lasting impression. "The dedication and endurance of the performers are truly mesmerizing," she said. "The sounds of pipa and erhu really caught my ear."
Outside the hall, red lanterns lined the venue's exterior, framing a photo exhibition titled On the Road in China: China and the Philadelphia Orchestra. The display offered a visual journey through decades of exchanges, capturing performances, travel, and moments of shared experience between musicians and communities.
For Eddie McKeown, a 27-year-old Philadelphian attending the Lunar New Year concert again, the atmosphere was as meaningful as the music.
"I could see the red decorations from the street, and I even wore a little red myself," he said. "It really adds to the festive spirit. This celebration reflects the city's musical legacy and shows how music helps build connections around the world."
CONTINUOUS DIALOGUE
"There's something universal about cultural exchange," said Ryan Fleur, president and CEO of The Philadelphia Orchestra. "No matter what's happening in the world, that moment of genuine learning, teaching and receiving remains incredibly consistent."
Fleur said building bridges and mutual understanding has long been central to the orchestra's mission, pointing to ongoing efforts to reach audiences beyond major cities, including inland and rural regions across China.
"We've had many long-term partners, some dating back to 1973, and we've kept the dialogue going," he said.
The Central Conservatory of Music Chinese Orchestra, with a history of more than 60 years, remains one of the most representative traditional orchestras in contemporary China and a long-standing partner of the Philadelphia Orchestra.
This year's Lunar New Year concert was sponsored by the China National Tourist Office in New York and held alongside a "Ni Hao! China" tourism promotion, highlighting how cultural exchange extends beyond the concert stage.
"Over the years, the orchestra has visited many cities, worked closely with Chinese musicians, and performed for audiences across China," said Ma Yunfei, director of the China National Tourist Office in New York and co-host of the event. "These exchanges have always been about more than music. They're about openness and learning from one another. Travel is one of the most natural and meaningful forms of exchange."
Ma said American visitors are increasingly seeking deeper, more personal experiences in China, stories and encounters that go beyond everyday life. He encouraged music lovers to travel and experience the country's evolving accessibility and contemporary vitality.
"Through music, images and conversation, we hope to offer a glimpse of today's China, not as an abstract idea, but as a real place made up of cities, landscapes and everyday life," he said.
Booth echoed that sentiment, reflecting on how music and travel have drawn cultures closer together.
"The world has gotten smaller and closer," Booth said. "Yet the tangible experience of making music together has grown even larger through sharing sounds, influences and new ways of hearing each other." ■