Huang Ruoyu explores the profound concept of "D," a pursuit of artistic excellence that transcends technical mastery, blending tradition, transformation, and life's essence to redefine musical interpretation.
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A Conversation On the Art of “D
Introduction:
Every moment spent with Ruoyu feels like a profound discussion about art. He has a knack for expressing the deepest ideas in the simplest language. For instance, while having coffee, he might suddenly talk about how “D” is interpreted in various works. After meals, he often shares how a master artist subtly respects the spirit of an original work. To him, “D” is not just about technical mastery but also a pursuit of the ultimate state of art. He often says, “One cannot remain on the surface of music and ignore its true soul.” This statement left a deep impression on me. Huang refuses to be confined by the framework of so-called “perfect interpretation” and constantly explores how music can convey deeper emotions. His discussions always make me reexamine the meaning of music. For him, “D” represents not only an artistic height but also an attitude toward life: to continually push boundaries and never stop striving. With these thoughts in mind, I conducted this in-depth interview with Huang Ruoyu to explore his perspective on the world of “D.”
– Interviewed by Yuhang Huang
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Q: You often mention “D,” but for many people, it remains an abstract concept. How do you define “D,” and what does it mean in your musical world?
A: When discussing “D,” we must delve into the realms of Exquisite (絕) and transcendent (化), as “D” symbolizes a very high level of artistry. We know that these realms aim for an intangible form of art. Most observable art forms today are tangible to some extent, but in the pursuit of excellence, art transitions from tangible to intangible — it becomes unbound by superficial frameworks and achieves a state where form becomes formless.
Q: You mentioned that art transitions from tangible to intangible and becomes unbound. Doesn’t this contradict your emphasis on respecting the spirit of the original work? What exactly does “respecting the spirit of the original” mean, and how is it different from simply being faithful to the score?
A: In the late 19th and early 20th centuries, there was a golden age of Romantic pianists who achieved this transformation from tangible to intangible. These pianists were closely connected to composers like Liszt and Chopin — students such as Mikuli or Clara Schumann — or those deeply associated with Brahms. They were the performers most aligned with the spirit of the original works. Their playing styles may sound vastly different from today’s aesthetic standards, yet their interpretations shared a common lineage.
They didn’t just respect the original works superficially; they brought out their true spirit. Today, however, many musicians stop at surface-level fidelity to scores, forgetting what it means to truly respect an original work’s essence. This lack of depth is one reason classical music has lost some of its appeal — performances have become rigid and formulaic, lacking artistry and vitality.
Q: So in your view, “D” involves not just technical mastery but also a spiritual inheritance, correct?
A: Absolutely. At institutions like Curtis and Juilliard, we delved deeply into this concept. By our early twenties, most of my peers had already reached what I call the Distinguished (精) stage. We would repeatedly study historical recordings — the closest interpretations to capturing the spirit of original works — and lament that modern students rarely listen to these recordings anymore. This is unfortunate because these performances embody artistic essence. Without understanding this history, many musicians lack a foundation and drift further from the true spirit of original works.
Q: You often mention “D,” but for many people, it remains an abstract concept. How do you define “D,” and what does it mean in your musical world?
A: When discussing “D,” we must delve into the realms of Exquisite (絕) and transcendent (化), as “D” symbolizes a very high level of artistry. We know that these realms aim for an intangible form of art. Most observable art forms today are tangible to some extent, but in the pursuit of excellence, art transitions from tangible to intangible — it becomes unbound by superficial frameworks and achieves a state where form becomes formless.
Q: From what you’ve said, “D” seems not just about those masters’ styles but also about an attitude and pursuit. What does “D” specifically represent to you?
A: Exactly. “D” isn’t just those old recordings; it symbolizes people striving for artistic heights today. Musicians like Andrew or Chen Junhui represent this pursuit in our generation. It reflects our commitment to preserving traditional culture and restoring classical music’s integrity.Some might interpret “D” as standing for different, distinguished, deform, or even destroy. But I see it as half of “O,” symbolizing our incomplete journey toward artistic perfection — where “O” represents wholeness or completion. This incomplete symbol reminds us that artistic pursuit is endless; we’re always striving toward higher realms. Thus, “D” embodies a path filled with effort and growth — a representation of our generation’s understanding and transmission of musical tradition, love for art, and deep resonance with life.
Q: If “D” represents inheriting the spirit of original works, how should we approach it?
A: Pursuing “D” means staying loyal to and transmitting the spirit of original works — not just playing tangible notes but conveying their intangible artistic essence. To achieve this requires breaking free from worldly misconceptions and constraints while maintaining a love for both art and life.This style demands more than technical mastery; it calls for an attitude rooted in life itself — returning to life’s essence through art. One reason classical music isn’t widely appreciated today is that few performers achieve this level anymore. For example, Rachmaninoff’s performance style remains underappreciated despite his fame as a composer. His playing holds immense importance in music history.
Q: Why do you think “D” is so important? When did you first realize its significance?
A: The significance of “D” lies in our generation’s recreation and transmission of traditional values. I developed an interest in composition even before learning piano; by age eight, I could improvise accompaniments for unfamiliar pieces — a natural artistic intuition. However, talent alone isn’t enough. As I grew older and studied at Sichuan Conservatory of Music, I realized I hadn’t fully grasped what Transcendent (化) meant. Many people remain stuck at being merely “good” — focusing on getting into prestigious schools or securing stable jobs without breaking through artistically. This utilitarian mindset limits true artistic achievement.
Q: What made you aware of these limitations?
A: Hearing Lang Lang’s performance as a child made me realize there were greater heights beyond my imagination — a spark that marked my entry into Distinguished (精). Later, studying at Curtis Music Institute provided a pure environment free from worldly distractions — no competitions or exams — allowing us to focus solely on music’s essence.
Q: How did your time at Curtis help elevate your artistry?
A: My time there fundamentally reshaped my understanding of art’s purpose. Teachers often left things unsaid intentionally so we could learn through peer collaboration — a key aspect of my artistic growth. During those years, even playing something merely “well” was considered mediocre; only artistry at its highest level mattered.This period brought pure joy because I stepped away from societal competition to focus entirely on music itself.
Q: Did Curtis mark your transition from Distinguished (精) to Exquisite (絕)?
A: Yes, you could say that. At Curtis, I encountered diverse perspectives that broadened my worldview significantly. Later at Juilliard’s Artist Diploma program — a highly selective course admitting only two or three students per year — I studied under Sergei Babayan, whose Russian piano playing techniques (Heinrich Gustavovich Neuhaus) revolutionized my playing both physically and mentally.Babayan’s teaching transformed my approach entirely — from reducing stage anxiety to expanding repertoire — and even influenced my current teaching methods by systematizing techniques into replicable principles applicable across all pieces.
Q: Modern students often focus on technical skills early on rather than philosophical aspects like you did later in graduate school. How can they surpass Distinguished (精) into Exquisite (絕) or even Transcendent (化)?
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Huang Ruoyu explores the profound concept of "D," a pursuit of artistic excellence that transcends technical mastery, blending tradition, transformation, and life's essence to redefine musical interpretation.
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Artistic growth mirrors personal evolution. Explore the five transformative stages of creativity, from imitation to transcendence, uncovering how technical mastery intertwines with self-discovery and spiritual cultivation.
Read More親愛的藝術家、青年鋼琴家、學員及家長朋友們：
DFESTIVAL自創辦以來，始終以非營利、專業、教育導向為宗旨，致力於為青年音樂人才提供一個專業、開放、可負擔的高水平交流平台。我們所做的一切，源自於對音樂事業的熱愛、對教育本質的信仰，以及對下一代藝術家的責任。
自2024年起，DFESTIVAL組委會與廈門大學嘉庚學院就2025年夏季DFESTIVAL青年鋼琴家藝術節展開合作洽談。在歷時數月的接洽中，專案相關教學場地已完成多輪溝通及配置調整，並在學院相關人員的協助下進入實質籌備階段。我們依照對方明確回饋推進各項組織工作，包括課程設置、師資規劃與食宿安排。
然而，就在計畫即將全面進入執行階段之際，學院相關方面卻突然以「校內審核未通過」為由，單方面宣布終止合作，拒絕提供原已協商完成的教學與演出場地。更令人遺憾的是，在委員會就相關情況尋求溝通時，對方卻以「未授權」等模糊理由對我方施壓。
對此，我們在此嚴正聲明如下：
本專案籌備期間的所有溝通、確認與執行內容，均有據可查，資料完備，事實清晰。
我方始終遵循專業及謹慎原則進行專案推進，不存在越界行為，更無任何違反事實的情況；
相關措詞與處理方式，已對我方項目正常進行造成實質幹擾，我們對此保留進一步追責的權利；
我們必須指出，在整個過程中，學院的多位教師展現出極高的專業素養與教育情懷。他們不僅是傑出的藝術家，更是值得尊敬的教育家，始終本著「教育以人為本」的理念，傾力支持計畫推進，努力為青年藝術人才爭取成長空間。我們對他們的理解與支持深表感激與敬意。
這項突發行為，不僅嚴重損害了DFESTIVAL品牌的公信力，也直接影響了多位已確認參與計畫的國際知名藝術家的聲譽，更對本應健康發展的中外藝術交流造成了不必要的破壞。同時，由此造成的場地預訂、住宿安排、交通調度、宣傳設計等方面的大量經濟損失，也給專案帶來了沉重壓力。在此次突發事件發生後，委員會第一時間啟動緊急應變計畫，迅速進行備用場地的評估與協調工作，確保教學與演出計畫能夠在新的條件下平穩、有序推進。
我們也要由衷感謝所有支持DFESTIVAL的藝術家與青年鋼琴家學員。正因為有你們的信任與同行，我們才有力量走到今天，並堅定地繼續前進。
若因場地變更導致您無法參加本屆音樂節，歡迎第一時間聯絡組委會客服，我們將及時為您辦理全額退款。
我們鄭重承諾：音樂節如期舉行，不延期、不縮水、不妥協。
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DFestival組委會
2025年6月1日
