Abstract. Chinese composers have been creating works for chamber instrumental ensemble with piano since the early 1930s. To date, their output has already constituted a stratum within national music, its depth and richness being hardly realised not only in the West, but even in the PRC. Despite the existence of a number of studies discussing some individual works, no analysis has considered the entire course of the genre’s development so far. Following the accepted periodisation and analysing dominant stylistic trends, the paper continues a historical survey of chamber instrumental ensemble with piano in works by Chinese composers, embracing the period from the moment when the policy of “Reform
and Openness” was declared till the present day.
Keywords: Chinese music of the turn of the late 20th and early 21st centuries, piano chamber ensemble, programmatic music, Ding Shande, Huang Anlun, Tan Dun, Ye Xiaogang
