On the problem of the specificity of the interpretation of Mozart's music by pianist Fou Ts'ong

Nowadays, Asian pianists occupy an increasingly prominent place in the world of classical piano performance. Their interpretation of European music is drawing attention from researchers worldwide. This paper examines one of the brightest representatives—outstanding British pianist of Chinese descent, Fou Ts'ong (1934–2020). After winning the third prize at the 1955 International Chopin Competition and receiving the Polish Radio Prize for his mazurka performances, Fou Ts'ong became famous and began his performing career, which lasted for more than sixty years. His interpretation of Mozart's music particularly draws attention. Therefore, this article analyzes the distinctive features of Fou Ts'ong’s interpretation of Mozart's music, focusing on the Piano Concerto No. 22 in E-flat major (KV. 482). The research methods used in this study include comparative analysis, structural-functional analysis, and cultural-historical approaches. The author also employs literary-textual and musical-textual methods and relies on fundamental principles of historiographical methodology, specifically sociocultural, historical-chronological, and biographical approaches. Fou Ts'ong’s performance is compared with the interpretations of two distinguished European pianists, Alfred Brendel and András Schiff, who are considered authorities in the music of the composer. This article presents a comprehensive study for the first time on the influence of both Chinese and Western cultures in shaping Fu Cong's performing style when interpreting Mozart's works, which constitutes the scientific novelty of this study. The analysis shows that Fou Ts'ong's interpretation of Mozart represents a synthesis of Chinese and Western performing aesthetics. In his performance, two key layers can be traced: the European line—dramaturgy, elegance, operatic foundation, pedaling technique, and improvisational qualities; and the Chinese context—intonation according to the laws of the Chinese language, spontaneous harmony, and philosophical undertones (Taoism, Zhuangzi). The study reveals that Fou Ts'ong’s interpretation of Mozart integrates Chinese and Western performing traditions.