Ma Sicong

Ma returned to China in 1929 due to financial difficulties. He gave concerts in Chinese cities including Hong Kong, Guangzhou, and Nanjing. In Shanghai, critics referred him as the "Wunderkind of the Chinese Musical World", and his music was "mesmerizing, and uplighting", and "brought the audience to new levels of excitement and tranquility". He met Chinese novelist Lu Xun, who inspired him to compose the Seven classic poems. In January, 1930, Ma returned to Guangzhou, and became first violin of the orchestra of the Research Institute for Dramatic Arts in Guangdong (廣東戲劇研究所).

With financial support from the Guangdong regional government, Ma returned to France in 1931 to study composition. Through Oberdoerffer, Ma became a student of Janko Binenbaum, a Turkish composer of Jewish descent, who served as musical director in Regensburg, Hamburg, and Berlin. Though he led a private life, Binenbaum's compositions had a unique style. "It was not melancholy, but rather some kind of Greek tragedy. There was passion like fire, the passion of music that could not be reined," Ma wrote describing Binenbaum's music. Despite the forty-year age difference between the two, Binenbaum had great influence on Ma's composition, and they became close friends. When the second world war broke out, Ma lost contact with Binenbaum and, according to Ma, "Then I did not know to which country he fled. It was, indeed, one of the saddest moment for me."

In early 1932, the 19-year-old Ma completed his studies and returned to China. With his colleague Chen Hong (陳洪) he established a private conservatory in Guangzhou. There he met pianist Wang Muli (王慕理), who was two years his senior. They were married later that year. The following year, Ma passed the administration of the conservatory to Chen, and went to Shanghai. He sought a position at the National Conservatory of Shanghai, but was rejected. Then, through introduction, he became a lecturer at the Central University of Nanjing. The Ma family rented a property from fellow artist Xu Beihong.

In Nanjing, Ma resumed his concert career, and composed his Piano Trio in B major. In February 1934, Ma collaborated with pianist Harry Ore, who had been a classmate of Sergei Prokofiev, and composed the Violin sonata No. 1 in G major. Ma and Ore continued concertizing in 1935 in Hong Kong. In February, Ma composed the song, You are my life (你是我的生命線), which became his first publicly performed work. In August, Ma and his wife returned to Hong Kong and performed recitals there, and met Xian Xinghai for the second and last time. He also completed the Berceuse (搖籃曲) for violin. Later that year, he wrote his autobiography, entitled Chasing my childhood (童年追想曲), serialized and published in Shanghai. In early 1936, Ma organized a concert for his 13-year-old brother Ma Sihong. His future wife Tung Kwong Kwong (董光光) was at the piano. Ma and his wife traveled north to Beijing and held concerts there. They became acquainted with novelist Chen Ying (沉櫻) and her husband. Ma also composed his Sonata No. 2 in b minor later that year.

Ma resigned his position in Nanjing in 1937, to accept a professorship at the Sun Yat-sen University in Guangdong. However, on July 7, 1937, the Sino-Japanese War broke out. Ma became the director of the patriotic Anti-Japanese Choir, and made many media appearances and recordings. He wrote a large number of patriotic songs during this period, such as The Call for Freedom (自由的號聲), Forward (前進), Guerilla squadron hymn (游擊隊歌), Defend south China (保衛華南) Wang Fah Gong (黃花崗), and From death comes eternal life (不是死是永生). He composed the Inner Mongolia Suite (內蒙組曲). Its second movement, Nostalgia (思鄉曲), would later become synonymous with Ma.

In December 1938, he was commissioned by the Dong River Traveling Chorus to compose their anthem for the troupe. On January 29, 1939, Ma's father Ma Yuhang was assassinated in Shanghai, and Ma's first daughter Ma Bixue (馬碧雪) was born in Hong Kong only two days later. In the summer of the same year, Ma and his family moved to Chengjiang (徵江) to accept a teaching position there. In Chengjiang, Ma completed the Sonata No. 1 for Piano. Ma went to Chongqing, where he met left-wing musicologist Li Ling (李凌). In June 1940, Ma became the conductor of the Sino Philharmonic, and met poet Xu Chi (徐遲). He also wrote the incidental music to the film An Exploration of Tibet (西藏巡禮).

In Summer of 1941, Ma left Chongqing for Hong Kong, but returned to his home Heifeng when the Pacific War broke out on December 8, where he arrived in February 1942. The music from the Inner Mongolia Suite was used in the 1942 film Chronicles of the Fringes (of China) (塞上風雲), and the music was hailed national heritage by Tsui. Ma's family relocated to Guilin in April, where he held concerts, and met novelist Duanmu Hongliang. He returned to Guangdong to resume teaching at Sun Yat-sen University, and published articles in academic musical journals. In spring of 1943, Ma's second daughter, Ma Ruixue (馬瑞雪), was born. In 1944, with the Japanese army approaching, Ma and his family fled to Wuzhou in neighboring Guangxi province, then on September 23 to Liuzhou, and Guilin on October 11, and a week later to Guiyang as each of the regions fell to Japanese hands. By the end of 1944, the Ma family returned to Chongqing. In this period, Ma composed the Madrigal (牧歌), and Harvest Dance (秋收舞曲). In 1945, Ma gave concerts in Chongqing and surrounding areas, and published a number of songs: The Light of Democracy (和平之光), Sabre Dance (劍舞) and "Shuyi" (述異).

In 1946, after the Japanese surrendered, Ma was still the director of the Center of Fine Arts in Guiyang. In collaboration with writer Duanmu Hongliang, Ma composed the grand chorus Democracy (民主大合唱). Ma returned to Shanghai in spring of 1946, and was elected general manager of the Music Society of Shanghai. In July 1946, Ma moved to Taiwan, and in August 1946, his only son Ma Rulong (馬如龍) was born in Taiwan. In November, he returned to Shanghai and met with delegates Zhou Enlai, Qiao Guanhua and Gong Peng. In November, Ma returned to Guangzhou and became the Dean of Music at the Guangdong College of Fine Arts, and in May 1947, under the encouragement of Li Ling, Ma became the director of the Music Conservatory of Hong Kong. While there, Ma gave recitals, and took on the editorship of the Music Weekly of newspaper Sing Tao Daily. He collaborated with poet Jin Fan (金帆), and composed the grand chorus Motherland (祖國大合唱). Ma's family moved to Hong Kong in early 1948 to escape prosecution, as a result of his protest against authoritarian rule by the Kuomintang government. When John Leighton Stuart, the US Ambassador to China, offered Ma and his family an opportunity to live in the US and US citizen, Ma rejected the offer. While in Hong Kong, Ma also composed the grand chorus Spring (春天大合唱).

On March 24, 1949, took on roles in a number of central government committees dedicated to the performing arts. His family resided in Beijing. In November 1949, Ma was requested by Zhou Enlai to be part of an entourage in an official visit to the Soviet Union. And on December 18, 1949, Ma was appointed first president of the Central Conservatory of Music in Beijing, which had opened November 17, 1949. In addition, Ma also held the vice-chairmanship of the Association of Chinese Musicians (中華全國音樂工作者協會).

Ma and his family moved once again to Tianjin, and there Ma composed Tribute of October (十月禮讚), We enter the battlefield with bravery (我們勇敢地奔向戰場) and grand chorus Yalu River (鴨綠江大合唱). In May and June 1951, Ma represented China to attend The Prague Spring International Music Festival (Mezinárodní hudební festival Pražské jaro) in Czechoslovakia. After holding various administrative positions, Ma was appointed a delegate of the First National People's Congress in September 1954 and returned to Beijing. In 1957, Ma embarked on a concert tour of China, the first large-scale concert series in China since the establishment of the People's Republic of China, and received critical acclaim. In March 1958, Ma served on the jury for the First Tchaikovsky International Competition.

In February 1966, Ma composed The Elegy for Jiao Yulu (焦裕祿悼歌), which would become his last composition to be composed in China. The Cultural Revolution broke out in early June, 1966 and Ma became the target of the revolutionary Anti Academic Elitism movement (反動學術權威). Along with colleagues at the Central Conservatory, Ma was assigned to re-education camp, and later was placed under house arrest. The Red Guards harassed Ma's family and, in August, confiscated all of the family's property. Ma's wife escaped with her children and they hid at her sister's home in Nanjing and shortly after in Danzao (丹灶). In November, Ma was diagnosed with hepatitis and was permitted to return home for recovery. He left Beijing to reunite with his family. On January 15, 1967, Ma and his family fled to Hong Kong by boat, an event that was known colloquially as en passant (上卒), after the chess move. From Hong Kong, Ma traveled to the United States, where he remained until his death in 1987.

His escape was investigated by the Chinese government. The investigation was led by Kang Sheng, head of the Central Investigation Agency, and Xie Fuzhi, the Minister of Public Security. Many of Ma's friends and family members were subsequently implicated. In 1968, a standing warrant was issued for Ma's arrest for treason. The charge was not retracted until 1985. His Nostalgia became his most famous work, renamed as The East is Red (東方紅), a propaganda piece glorifying both Mao Zedong and Communism.

In the United States, he wrote music for the ballet Sunset Clouds (晚霞), and composed the opera Rebia (熱碧亞). Like many other nationalist composers, he integrated national folk elements with western music structure. He also continued his compositions of Chinese patriotic music in the US, and he seldom discussed his experience during the Cultural Revolution in public. When President Richard Nixon and Secretary of State Henry Kissinger visited China in 1972, Zhou Enlai expressed his regret for the persecution and escape of Ma.

Ma visited Taiwan several times to find new musical inspiration, collecting elements of Chinese folk music and incorporating them in his compositions. In June 1985, when Ma and his wife were in their seventies, they toured Europe to critical acclaim.

In 1987, Ma died during a heart operation in Philadelphia. Ma was 75. Ma had authorized the high-risk procedure, and was hoping to visit China had it been successful.[1]

The Ma Sicong Museum of Musical Arts (馬思聰音樂藝術館) was opened in 2002. It is located in the Guangzhou Museum of Art in Guangzhou, China.

In December 2007, the Chinese government held ceremonies for welcoming Ma's ashes to his home town of Haifeng. Meanwhile, his music and letters were issued, including a 13-CD collection of his musical works. From then on, China began to rediscover the value of Ma's music and many other accomplishments.