Wu Yuxia was admitted to Beijing from Shanghai in 1977. She studied under Liu Dehai, Li Guanghua, Chen Zemin, Li Guangzu, Wu Guoliang, Wei Zuguang, Yang Chengye and Zhao Zhongda in Beijing Dance Academy and Central Conservatory of Music. Study works from different genres. Under the artistic nourishment of each senior, after years of hard training and learning from others' strong points, she has finally grown into an excellent pipa player with outstanding skills and unique style, and has formed her own unique artistic style.

In 1980, he won the second prize of the First National Pipa Competition. In recent years, he has successfully held solo recitals at home and abroad for many times and visited dozens of countries and regions, especially in the Musikverein in Vienna, Carnegie Hall in the United States and other performances. Recorded dozens of CDs and VCDs such as "Love to Changbai Mountain", "Wu Yuxia's Pipa and Qin Yun", "Ode to Qianqiu" and "Dunhuang Ancient Music"; recorded music, composed and premiered for movies and TV series such as "The Last Emperor" and "Fengyue" His works include Spring and Autumn, Thoughts on Ancient Roads, Ode to Qianqiu, Rhythm, Wind Playing Willows, etc. He has published articles and book scores, Pipa Tour in the East, "Pipa Playing Collection", "Pipa Playing Basic Course", "My Pipa" line" etc.

He is currently a researcher at the China National Academy of Arts[1], a director of the Chinese Musicians Association, a member of the National Committee of the Chinese People's Political Consultative Conference, a national first-class actor, an expert who enjoys special allowances granted by the State Council, and an outstanding academic leader in the national propaganda and cultural system theory, publishing, journalism, and art circles, China He is an outstanding literary and artistic worker of the "Shuangxin of Morality and Art" of the literary and art associations of the Federation of Literary and Art Circles, a senior professional title judge of the Ministry of Culture, a visiting professor of the Music Research Institute of the China Academy of Arts, the Shenyang Conservatory of Music, and Renmin University of China, and a national March 8 red-banner.

On September 27, 2021, the 7th National Member Congress of the Chinese National Orchestra Society held a new leadership team, and Wu Yuxia was re-elected as the president.

From being selected to self-selecting, set foot on the road of virtue and art

Wu Yuxia, who was born in an ordinary family in Shanghai, was selected by the teacher Wei Zuguang of the Children's Palace when she was 10 years old, and was led into the door of music. If it is said that the pipa was chosen, then the madness for the pipa was chosen by her. Although no one in the family has practiced music for several generations, she has matured her skills day by day and deepened her artistic accomplishment through hard practice and pondering for several hours a day.

Wu Yuxia was admitted to Beijing from Shanghai in 1977. She studied under Liu Dehai, Li Guanghua, Chen Zemin, Li Guangzu, Wu Guoliang, Wei Zuguang, Yang Chengye and Zhao Zhongda in Beijing Dance Academy and Central Conservatory of Music. Study works from different genres. Under the artistic nourishment of each senior, after years of hard training and learning from others' strong points, she has finally grown into an excellent pipa player with outstanding skills and unique style, and has formed her own unique artistic style.

Li Guanghua, Wu Yuxia's instructor and a famous pipa player, once commented: "Yuxia's performance is sometimes like ink and wash, the more dizzy it gets, the more faint it becomes, and it gradually becomes silent. It is Yuxia Rong who is out of her generation and out of reach of her peers." And her artistic pursuit of "lighting on dazzling skills and emphasizing realm" has also been recognized on and off the stage. When she performed in Taiwan for the first time in 1992, the Taiwanese media praised her: "The performance of pipa tunes has already surpassed the stage of only focusing on pipa playing skills and beautiful melody, and has entered the core of pipa tunes, exploring the inner world of the protagonist in the piece. The pipa playing skills perfectly interpret the emotion, every time it touches the heart, and it is unforgettable." As a leader among contemporary pipa players, Wu Yuxia often participates in major performances at home and abroad, and is moved by her acting skills and abundant passion. Countless audiences and won wide acclaim. Over the years, she has appeared in important performances such as Carnegie Hall in the United States, Lincoln Center for the Performing Arts, Vienna Golden Hall, "Ode to the Long March - Commemorating the 70th Anniversary of the Victory of the Long March" in the Great Hall of the People in Beijing, and performed with the Central Chinese Orchestra. He visited Europe, Africa, Asia, and America to spread Chinese folk music all over the world.

As a performer, only by constantly communicating with the broadest audience on the stage and serving the public with his art can he fully reflect his value. But in the period of social transformation, artists also face the test of values and outlook on life. Some people can't bear people's alienation from art, and their pursuit of art gradually fades; some people seem to forget the responsibility of artists and become very utilitarian. As a member of the National Committee of the Chinese People's Political Consultative Conference and an artist of "Shuangxin of Virtue and Art", Wu Yuxia has always regarded serving the public and repaying the society as her responsibility. She often said: "I have the responsibility to set an example for changing some quick success and bad atmosphere in the literary and art circles; I also have the confidence to use my actions to influence the people around me."

From improvement to reference, obsessed with artistic innovation and development

Wu Yuxia believes that the meaning of life lies in continuous improvement, and the life of art lies in continuous innovation. For many years, she resisted the temptation and disturbance of the outside world and was fascinated by her own art world. In the day-to-day intensive study, I have continuously explored sensitive and spiritual artistic tentacles, captured the beneficial elements that can add color to the pipa, and carried out multi-level exploration and innovation on the pipa's playing repertoire, skills and styles. Enter the free kingdom of lute art.

Wuqu Wentan is another form of exploration that transcends traditional aesthetics and revitalizes old music. Pipa can be divided into Wenqu and Wuqu in terms of playing style. "The Overlord Disarms Armor" is a famous pipa martial arts, which is based on a story of the life and death of Concubine Yu after the defeat of Xiang Yu, the overlord of Western Chu. And Wu Yuxia integrates her understanding of this tragic event as a woman into a performance that goes against tradition , so that people who are used to listening to this famous song also feel refreshed. Tian Qing, a well-known music critic, said: "Wu Yuxia's pipa solo "The Overlord Removing Armor" can be said to be a representative work of classic traditional repertoire. She pays attention to absorbing artistic nutrition in many aspects, so that her performance has a profound cultural heritage, and her artistic temperament is more and more 'refined'. Her performance of "The Overlord Unloading Armor" is grand and majestic, delicate and euphemistic It is secluded, rich in layers, strong in contrast, relaxed and harmonious, and has a general atmosphere." Wu Yuxia said frankly: "Traditions and rules also need to be constantly enriched and developed. I added the skills of Wenqu to Wuqu, and I hoped that it would be used in the narrative of Wuqu. The description of the characters' characters and the descriptions of the characters' emotions are added to enrich the expressive power of the pipa."

Wu Yuxia also tried to perform traditional pipa repertoire through new instrument combinations during the performance, making pipa playing art more layered and individual.

For example, most performers performed "Give Me a Rose" in the form of pipa solo, and Wu Yuxia performed it in the form of pipa and tambourine. The original cheerful and bright style of pipa was set off by the masculine percussion. It highlights the feminine and graceful beauty, brings the audience a different artistic experience, and provides a broad imagination space for the audience to better understand this piece of music.

The use of the west for the Chinese is another bold attempt by Wu Yuxia. In 2007, Wu Yuxia added a new combination of Pipa and Zhongruan duet, Pipa and Zhongruan and cello trio, New Zealand folk songs played by pipa and bass and percussion when holding a solo pipa concert. The cooperation of different musical instruments expands the performance space of the pipa and increases the affinity between folk music and foreign audiences; the use of Western chamber music forms such as trios, fugues, improvisations, etc., organically integrates the characteristics of the pipa and other ethnic instruments. At the same time, some Western music can be included in the repertoire of Pipa, which promotes the complementation and integration of Chinese folk music and Western music.

These seemingly "unconventional" innovative moves by conservative people reflect Wu Yuxia's pursuit and achievements in continuously expanding the artistic expression of the pipa and developing Chinese folk music chamber music from different angles.

In addition to inheritance and innovation, Wu Yuxia is also an enthusiastic promoter of new works. The pipa concertos "Spring and Autumn" and "Thinking about the Ancient Road" premiered by her are all outstanding pipa pieces that have emerged in recent years. Good reviews.

From childhood to adulthood, I take responsibility for the inheritance of folk music

In Beijing, many primary and middle school students have heard Wu Yuxia's pipa lecture concert. She is also a director of the Chinese Musicians Association and a visiting professor of art education at Renmin University of China. Wu Yuxia has many social activities, but out of a sense of responsibility to promote national music, she always It is to take time out to popularize music education and cultivate reserve talents for folk music: she has held dozens of "Hundred Years Lecture Hall" at Peking University, Renmin University of China, City University of Hong Kong, Guangdong Sun Yat-Sen University, Nanjing University, Lanzhou University of Technology and other places. Wu Yuxia's "Appreciation of Pipa Famous Songs" popular concert; for many years, she has served as the instructor of the Beijing Middle School Student Jinfan Folk Orchestra and the Renmin University Student Folk Orchestra, and has carefully cultivated many outstanding players who have won gold medals in various pipa competitions; for more than ten years , she participates in the "Opening the Door to Music - Summer Concert Series" held in Beijing for primary and middle school students almost every year, and tries to have a new perspective every year.

Speaking of the great amount of time and energy, the sacrifice of family and fame and fortune, Wu Yuxia said sincerely: "I was born in an ordinary family, everything I have benefited from the society and the audience that cultivated me, and I should give back to the society. "

Being elected as a member of the National Committee of the Chinese People's Political Consultative Conference prompted Wu Yuxia to take on the sacred duty of participating in and deliberating on politics, and her attention has also expanded to hot issues in the art world and society. In view of the current situation of education that emphasizes intellectual education and neglects moral education, she proposes proposals for "establishing a coming-of-age ceremony activity day among high school students" and "strengthening artistic quality education for primary and secondary school students", in order to arouse students' responsibilities to society and family, and society to students in an all-round way She has unique views on the cultivation and use of artistic talents, and calls on amateurs to popularize art education not to be eager for quick success. Students in professional colleges should continue to adapt and inject new ideas on the basis of inheriting traditions, striving to become comprehensive talents with all-round development.