Business in China

The New Culture Movement of the 1910s and 1920s evoked a great deal of lasting interest in Western music. A number of Chinese musicians returned from studying abroad to perform Western classical music, composing work based on Western musical notation system. The Kuomintang tried to sponsor modern music adoptions via the Shanghai Conservatory of Music despite the ongoing political crisis. 20th-century cultural philosophers like Xiao Youmei, Cai Yuanpei, Feng Zikai and Wang Guangqi wanted to see Chinese music adopted to the best standard possible. There were many different opinions regarding the best standard. Symphony orchestras were formed in most major cities and performed to a wide audience in the concert halls and on radio. Many of the performers added jazz influences to traditional music, adding xylophones, saxophones and violins, among other instruments. Lu Wencheng, Li Jinhui, Zhou Xuan, Qui Hechou, Yin Zizhong and He Dasha were among the most popular performers and composers during this period. After the 1942 Yan'an Forum on Literature and Art, a large-scale campaign was launched in the Communist controlled areas to adapt folk music to create revolutionary songs to educate the largely illiterate rural population on party goals. Musical forms considered superstitious or anti-revolutionary were repressed, and harmonies and bass lines were added to traditional songs. One example is The East Is Red, a folksong from northern Shaanxi which was adapted into a nationalist hymn. Of particular note is the composer, Xian Xinghai, who was active during this period, and composed the Yellow River Cantata which is the most well-known of all of his works.

The modern large Chinese orchestra is a 20th century development and is based on the Western symphony orchestra, but uses Chinese instruments in place of Western instruments. It also emulates the Western orchestra in terms of the seating position of its musicians. The typical Chinese orchestra of today also includes the Western cello and double bass, as well as other Western instruments like the vibraphone and triangle. Also, many of the Chinese instruments are modified versions of traditional instruments, for example, the diyinsheng (large bass sheng), and the zhongyin (alto) suona, which is fitted with keys. Since its inception, the music produced by the Chinese orchestra is unique and very distinct from any Western counterpart. However, the repertoire of the Chinese orchestra may include adaptations of some Western orchestral pieces. Many Chinese classical orchestras however have strong links with Western Orchestras, and some of the very best of Chinese classical musicians complete their formal training overseas at academic institutions such as New Yorks Julliard. Most Chinese orchestras are city based and have regular programs of events.

Lang Lang, the Shenyang born Chinese pianist many consider the best of his generation, ("Stunning" - New York Times) has released a new joint CD and DVD, "Dragon Songs" on the Deutsche Grammophon label, the most prestigious for international classical artists. Comprising many of China's most loved classics, the pianist also made a documentary of the recording, included in the package.

Featuring the pianist, both solo and accompanied by the China Philharmonic Orchestra, and with a variety of traditional Chinese instruments, Lang Lang's recordings revisit "The Yellow River Piano Concerto", based on the "Great Song of The Yellow River" written by Xian Xinghai in 1939, and subsequently scored for orchestra by Yin Chengzang during the early seventies. "The Buffalo Boys Flute" is also included, a tune with a particularly interesting history in the development of Western classical music in China.

In 1934, the Russian composer and pianist Alexander Tcherepnin organized a competition in Shanghai designed to produce the first "Chinese" piano piece. Eleven Chinese composers submitted a total of 20 works. The winner was "The Buffalo Boys Flute", composed by He Luting, and it remains a milestone for the development of an independent form of Chinese piano music.

Following Mao's victory during the Chinese civil war, traditional Chinese folk songs were encouraged to be scored for piano, and a number of great pieces came from this initiative. "Happy Times", also included here along with "Dialogue In Song" are both adaptations of popular folk songs from Hebei, while "Straw Hat Dance" is derived from the Chinese ballet "Yumeiren". The trend continues to this day, rather like the reworking of many Italian folk songs in the 1800's into Opera, and pieces such as Chen Peixun's transcription of the classic "Autumn Moon On A Calm Lake" and Sun Yiqiang's "Dance of Spring" are good examples. Lang Lang brings us up to date too; "Spring Wind" is from the recent Taiwanese film score of the same name.

Lang Lang's career has been nothing short of stellar. Beginning his studies at the age of three, he began attending the Shenyang Conservatory of Music and won first prize in the city piano competition aged just five. In 1991, he entered the Beijing Central Music Conservatory, and began performing Western piano pieces in Concert Halls a few years later - his first recital being the entire Chopin Etudes. He also performed at the inaugural concert of the China National Symphony, and in 1997, aged just 15, began studies with Gary Graffman at the Curtis Institute in Philadelphia. He got a break as a last minute substitution for Andre Watts at the Ravinia Festival "Gala Of The Century", bringing the house down with a stirring rendition of Tchaikovsky's First Piano Concerto with the Chicago Symphony Orchestra. He has subsequently gone on to become one of the most sought after pianists with the world's leading orchestras, performing recitals globally. He is currently artist-in-residence at the Bavarian Radio Symphony Orchestra, based in Munich.

The release of both "Dragon Songs" and the fascinating DVD accompanying it are a must have for any collector of Classical music, and for anyone with an interest in contemporary Chinese culture.

Plus elles sont nombreuses, plus il y a de conflits. Avec l'arrivée massive d'entreprises étrangères, les prétoires chinois ont de plus en plus de litiges à gérer. Lorsqu'ils sont en désaccord avec une société chinoise, les groupes venus d'ailleurs doivent cependant s'attendre à quelques déconvenues. Comme l'explique, un entrepreneur étranger implanté ici depuis longtemps, " faire des affaires en Chine, c'est comme jouer un match de foot dans un stade chinois avec des supporters et des arbitres chinois ". Les mésaventures de GM-Daewoo sont encore dans les mémoires. Décembre 2004 : le constructeur américain accuse Chery, son concurrent chinois, d'avoir récupéré les plans de son modèle Matiz pour réaliser sa QQ. Estimant le préjudice à 80 millions de yuans, soit près de 7,3 millions d'euros, le groupe porte l'affaire devant les tribunaux. Mais, après avoir vu ses demandes de licences refusées à plusieurs reprises par les autorités et s'être fait expliquer officieusement qu'il valait mieux pour son avenir dans le pays ne pas faire trop de vagues, la société retire sa plainte à la fin novembre 2005. L'affaire se réglera " à l'amiable ". Chery est autorisé à produire et à exporter sa QQ.

CLAUSES D'ARBITRAGE

Conscientes que faire valoir leurs droits en Chine relève de la sinécure, les sociétés incluent de plus en plus souvent des clauses d'arbitrage dans leurs contrats. " Les hommes d'affaires pensent rarement au moment de sa signature qu'un accord puisse échouer. Nous leur conseillons souvent de prendre cette précaution car elle permet de contourner la rigidité des tribunaux locaux ", assure Tao Jingzhou, avocat au cabinet Jones Day de Pékin. Les rencontres et échanges se déroulent alors dans un pays déterminé à l'avance et jugé neutre par les deux parties.

À l'occasion du conflit qui l'a opposé à son partenaire chinois Wahaha, Danone a pris la mesure de l'intérêt de cette formule. Les décisions des cours de justice locales et de la cour d'arbitrage de Hangzhou ont presque toujours donné raison au groupe chinois, alors que la décision de la cour d'arbitrage de Stockholm, encore en attente, devrait lui permettre de sauver la mise. En cas de victoire à l'étranger, il est en effet possible de prendre ou geler les actifs à l'étranger du perdant. En revanche, faire appliquer cette même décision en Chine reste compliqué. Seul un avocat chinois est habilité à négocier avec les pouvoirs locaux. Malgré ces difficultés d'application, cette forme d'arbitrage entre petit à petit dans les moeurs chinoises.

Il y a dix ans, les entrepreneurs chinois arrivaient peu préparés car ils pensaient que tout se négocierait comme chez eux en faisant jouer les relations des autorités chinoises avec le pays hôte. Ils n'imaginaient pas que la cour de Stockholm puisse être indépendante ! L'emploi d'avocats étrangers commence cependant à faire changer les choses. Une évolution à laquelle les entreprises chinoises vont devoir se plier, au fur et à mesure qu'elles multiplieront les associations avec des groupes étrangers.