Until the beginning of the 20th century, the traditional Chinese instrument
erhu had been played in various instrumental ensembles. Infl uenced by
Western musical theory and the practice of European violin playing, the erhu
began to be used as a solo concert instrument. This led to development of
performing techniques and required changes in the design of the instrument
and in its repertoire. For decades, Chinese composers and performers have
been shaping the repertoire for the solo erhu, striving to bring him closer
to the best examples of the world instrumental art. This paper examines the
role of the transcriptions of the violin repertoire masterpieces that, since the
end of the 20th century, have been widely spread in the development of the
modern concert practice of erhu. The active introduction of arrangements
for violin works, among which virtuoso pieces turned out to be popular, had
a huge impact on the improvement of performing skills, and made certain
changes in the social status of erhu musicians.
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