By: Joanna Susan
JOANNA: Dr. Sun, thank you for joining us today. You have had an impressive career, including winning the Golden prize in the Saint-Saëns International Music Competition with a performance of Saint-Saëns’ Piano Concerto No. 2. Can you tell us about your approach to French piano music and what draws you to this repertoire?
Dr. Xueji Sun: Thank you for having me. My journey with French piano music has been shaped by a combination of experiences, from performing Debussy’s Images, Books I and II, to my deep involvement in the French art song repertoire. The way the French language influences the music has always fascinated me. I have had the privilege of collaborating with singers on French art songs, and through these experiences, I noticed how the fluidity and natural rhythm of the French language impact musical phrasing and interpretation. This realization led me to explore French piano works more deeply.
When I approach pieces like Debussy’s Images, I focus on the imagination that is so central to these works. For me, it is not just about playing the notes; it is about creating a vivid soundscape that reflects the meaning behind the title of each piece. For example, when playing Debussy, I meditate on the titles and the imagery they evoke. This helps me connect emotionally with the music and convey a sense of the visual through sound.
JOANNA: That is very interesting. Can you elaborate on how the French language has influenced your interpretation of French piano music?
Dr. Sun: Absolutely. The French language has a unique smoothness and fluidity, which I find mirrors the qualities of French music. This is quite different from the more structured and direct nature of German music, which reflects the characteristics of the German language. We can easily see those features in the music of Haydn, Mozart, and Beethoven, but French music is so different. When playing French repertoire, I strive to create a sound that feels light and airy, almost as if my hands are floating above the keys. I call this a “feather touch,” where my fingers gently brush the keys rather than striking them forcefully.
I also use what I refer to as a “slow touch” technique to buffer the attack of the hammer. This technique helps me produce a warmer tone color, which I believe is essential for interpreting the subtleties of French music. The idea is to have a sense of air or space between my hand and the key, allowing the sound to bloom naturally rather than being forced.
JOANNA: Your idea of the “feather touch” and “slow touch” is quite compelling. Could you share more about how you apply these techniques in specific pieces?
Dr. Sun: Certainly. In Debussy’s Images, for example, I focus on how to bring out the different textures and colors within the music. For a piece like “Reflets dans l’eau” from Book I, which translates to “Reflections in the Water,” I imagine the ripples and the play of light on water. I think about how to convey this effect through touch — using a gentle, flowing motion to create a shimmering sound that mirrors the movement of water.
Similarly, when I played Saint-Saëns’ Piano Concerto No. 2 with the Salt Lake Symphony, I was very mindful of the different qualities of sound I wanted to bring out. The first movement has a dramatic, almost improvisatory quality, and I used the “feather touch” technique to create a sense of lightness and unpredictability in the phrasing. In the more lyrical sections, I employed the “slow touch” to achieve a rounded, singing tone that would complement the orchestral textures.
JOANNA: It sounds like your approach is very much about connecting with the underlying imagery and emotional content of the music. How did your experiences as a young scholar influence your interpretation of French music?
Dr. Sun: My academic background has certainly played a significant role in shaping my approach. My studies have focused on cross-cultural music analysis and how different philosophical viewpoints and cultural traditions influence musical expression. French music, in particular, draws on a rich tradition of literature, painting, and poetry, all of which inform the way I interpret the repertoire.
For instance, Debussy was deeply influenced by the Symbolist poets, and understanding this literary context allows me to better appreciate the subtleties of his music. I also think about how the Impressionist painters — with their focus on capturing the fleeting effects of light and color — relate to Debussy’s sound world. This multidisciplinary perspective allows me to bring a deeper level of meaning to my performances.
JOANNA: It’s wonderful to hear how your diverse experiences contribute to your unique interpretive style. Lastly, could you share your thoughts on how you see your future with French music?
Dr. Sun: I see my relationship with French music as a lifelong journey. There is always more to explore, whether it is uncovering the nuances of a familiar piece or discovering new repertoire. I am particularly interested in continuing my collaboration with other musicians, especially singers, to further explore the intersections between French piano music and art songs. I also look forward to presenting French music in various concert settings, bringing its unique qualities to new audiences, and sharing my insights into the repertoire.
French music offers a vast canvas for imaginative interpretation, and I am excited to continue this exploration and deepen my understanding of its unique sound world.
JOANNA: Thank you, Dr. Sun, for sharing your insights. It’s been a pleasure talking with you, and we look forward to hearing more of your performances in the future.
Dr. Sun: Thank you. It’s been a pleasure to share my passion for French music with you.
Published by: Nelly Chavez
