What is *The Secret Piano* by Zhu Xiao-Mei about?

*The Secret Piano* is a memoir chronicling Zhu Xiao-Mei’s journey from a prodigy in Maoist China to an acclaimed concert pianist. It details her resilience during the Cultural Revolution, including five years in a labor camp, and her eventual escape to pursue music in the West. Central themes include survival through art, the transformative power of Bach’s *Goldberg Variations*, and the enduring legacy of familial and cultural bonds.

Who should read *The Secret Piano*?

This book appeals to readers interested in memoirs of perseverance, classical music enthusiasts, and those exploring China’s Cultural Revolution. Historians, pianists, and fans of stories about reclaiming identity through art will find it compelling. Its blend of personal struggle and musical philosophy also resonates with readers seeking inspiration from unconventional career paths.

Is *The Secret Piano* worth reading?

Yes, it offers a gripping account of resilience and artistry. Reviews praise its vivid portrayal of Mao-era China and Zhu’s philosophical reflections on music. While some note slower pacing in later sections, the memoir’s emotional depth and historical insights make it a standout read for lovers of biography and music history.

How does *The Secret Piano* depict life during China’s Cultural Revolution?

Zhu describes forced labor, ideological indoctrination, and the suppression of artistic expression. She recounts confiscated pianos, public humiliations, and the systemic erasure of intellectualism. Her family’s hidden piano becomes a symbol of resistance, while Bach’s music serves as a mental refuge during her five-year re-education in Inner Mongolia.

What role does Bach’s *Goldberg Variations* play in the book?

The *Goldberg Variations* symbolize Zhu’s spiritual and artistic rebirth. She interprets the piece as a metaphor for life’s complexities, weaving its structure into the memoir’s 30-chapter format. Zhu’s performances of the work, described as introspective and unconventional, reflect her journey from trauma to triumph.

What are the most impactful quotes from *The Secret Piano*?

Key quotes highlight music’s redemptive power: - “In Bach, I found a language that transcended politics and suffering.” - “The piano was not just an instrument; it was a companion in silence.” - “To play freely, you must first free your mind.” These lines underscore Zhu’s belief in art as liberation.

How does *The Secret Piano* compare to other Cultural Revolution memoirs?

Unlike purely historical accounts, Zhu’s memoir integrates musical theory and metaphor. It shares themes with *Wild Swans* but stands out for its focus on art’s survival under oppression. Critics note its unique blend of personal narrative and analytical reflections on Western classical music’s role in Maoist China.

What criticisms exist about *The Secret Piano*?

Some readers find the post-China sections less compelling than the Cultural Revolution narrative. A minority critique the philosophical tangents about music as overly abstract. However, most agree these elements deepen the exploration of art’s relationship to trauma.

Река забвения. Пианистка из Китая в водовороте Культурной революции

от трудовых лагерей Мао до «Гольдберг-вариаций» Баха

Чжу Сяомэй

4.01(2949 Reviews)

Обзор книги Река забвения. Пианистка из Китая в водовороте Культурной революции

Во время Культурной революции Мао пианистка Чжу Сяо-Мэй выжила в исправительно-трудовых лагерях благодаря тайной игре на фортепиано произведений Баха. Ее мемуары, структурированные подобно 30 «Гольдберг-вариациям», которые она освоила, раскрывают, как музыка стала ее спасением, когда все остальное было под запретом.

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Глава 1

From Silence to Symphony: A Pianist's Journey Through Revolution

In the fading light of a Shanghai sunset, a grandmother whispered a prophecy over a newborn girl-that her life would be a "resplendent tapestry." This was Zhu Xiao-Mei, born just weeks before Mao's declaration that "Never again will the Chinese people be enslaved." The irony of this proclamation would shape her extraordinary journey from child prodigy to prisoner of the Cultural Revolution to internationally acclaimed pianist. Her memoir, "The Secret Piano," has become a global sensation, translated into seventeen languages and celebrated by musicians worldwide. Glenn Gould's biographer called it "one of the most moving accounts of a musician's development ever written," while Yo-Yo Ma praised its "profound testament to the resilience of the human spirit." Through her story, Zhu bridges Eastern and Western philosophical traditions, revealing surprising connections between Bach's mathematical precision and Laozi's concept of emptiness-showing how music transcends political boundaries even in the darkest times.

Глава 2

The Piano That Spoke When Touched

There it stood in my parents' cramped Beijing apartment-a piano that barely fit through the door. At just three years old, I was both terrified and fascinated by this mysterious object that my mother dusted religiously each morning but never played, adorning it with paper flowers like an ancestral altar. The instrument spoke when touched, producing dragon-like sounds at one end and bird-like ones at the other. Our family of seven shared just two rooms totaling five hundred square feet, with one water tap and toilet shared among eleven families. My family carried the burden of a "bad class background"-my paternal grandfather had been a Western-fascinated businessman who operated everything from furniture manufacturing to dance studios, while my maternal grandparents made their fortune in import-export, immersing themselves in European culture. In Mao's China, this heritage was a permanent stain. My father, Qixien, was a strange, detached man who seemed incapable of expressing emotion-a trait his father had mistaken for wisdom. My mother Ruying, born in 1918, had defied tradition by pursuing education and marrying for love. As Mao's reforms intensified, my mother supported our family as a music teacher while my father remained unemployed. Everything changed one stormy evening when my mother took my hand and led me to the piano. As she played Schumann's "Reverie," an entire world opened before me. The gentle notes awakened something profound-perhaps my grandparents' love of Western culture or the universal truth in the music itself. I knew immediately I wanted to learn this instrument that had mysteriously joined our family. Each evening after nursery school, I'd explore the piano with one finger until my mother could no longer stand my repetitive hammering. Finally, she spoke the words I longed to hear: "Xiao-Mei, I'm going to teach you how to play the piano." Her teaching method was uniquely engaging-each note represented a family member, making music theory magical and accessible. For me, the piano became a living entity that sang and responded to my touch. My father remained harsh and demanding, following strict Confucian principles of absolute obedience. Yet when I played piano, his scolding ceased-perhaps the music reminded him of his parents' better life. What a strange Chinese girl I was, moved by Schumann but bored by traditional Chinese opera when my grandmother took me to "broaden my musical culture." At age six, I entered the children's music school-a preparatory program for the Conservatory. Despite strict professors who initially killed my joy with endless repetition, my talent earned me invitations to perform on radio, television, and even at the Imperial Palace. My "bad family background" followed me everywhere, but music offered a path forward-until a single careless comment changed everything.

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Глава 3

The Joke That Destroyed a Life

In spring 1963, as I approached fourteen, Professor Pan announced it was time for my first recital. He selected an ambitious program including Beethoven's Pathetique Sonata, Mozart's Concerto No. 23, and Chopin's Etude Op. 25, No. 3. "You must be two hundred percent prepared," he warned, quoting Sun Tzu: "Invincibility is in ourselves." Days before the concert, during a hot night, I went with three classmates to the Conservatory roof for fresh air. Jokingly, I said, "And what if I jumped?" This innocent comment would destroy my life. The watchman heard us, and I was reported for "attempting suicide"-a grave political offense in Communist China. In a totalitarian regime, suicide suggests rebellion against the system. I was isolated, locked in a small office while my case was investigated. My diary entry about Anna Karenina's suicide further condemned me. I was forced to write a humiliating self-criticism denouncing my "bourgeois" background, my reading of Western literature, and my individualism. The next day, I had to read this self-criticism before the entire Conservatory in the very auditorium where I was to have performed my recital. Professor Pan, sitting stone-faced in the front row, later told me, "You cannot play the piano well if, deep inside, you are hostile to the regime. I do not want to teach you anymore." Ostracized by classmates, I nearly starved until one student, Aizhen, secretly left food on my desk. My situation worsened when a zealous student wrote to Chairman Mao about the "bourgeois decadence" at the Conservatory, specifically mentioning my "suicide attempt." Remarkably, Mao himself responded with a note about Western culture needing to serve China. At fourteen, I received a virtual life sentence-no university education, no normal job prospects. This incident was part of Mao's broader political strategy in 1963, foreshadowing the Cultural Revolution. He was using young people like me as pawns to regain power by dismantling the state apparatus and isolating political enemies.

Глава 4

When Music Becomes the Enemy

The Cultural Revolution erupted at the Conservatory in June 1966. A dazibao (big-character poster) by Nie Yuanzi denouncing revisionists sparked immediate division among students and faculty. Violence escalated rapidly as professors were forced to kneel on the running track, deliver self-criticisms, and endure brutal beatings from Red Guards who struck them with belt buckles until they bled. We students were made to shout "He is guilty!" and "Long live Mao and the Revolution!" after each confession. The persecution intensified with endless dazibaos accusing professors of bourgeois education. Several renowned musicians couldn't bear the humiliation-piano teachers Gu Shengying and Li Cuizhen committed suicide. When soldiers briefly attempted to restore order, they were soon removed after Mao sided with the extremist students. The violence claimed more victims: Mama Zheng, who had cared for us like a mother, hanged himself after being tortured by Red Guards. My schoolmate Cunzhi was savagely beaten after being falsely accused of possessing a rifle and Guomindang flag. Terrified, I rushed home where my mother and I tried desperately to hide our piano-a dangerous symbol of bourgeois culture-by covering it with blankets and hanging a dazibao on it declaring: "This piano was acquired by exploiting the people, through their sweat and blood. We want to return it to the people." The People's Daily urged Red Guards to "drive out the old parasites, the bloodsuckers hiding in the shadows." This time, they would come for us at home. Studying Mao's thought became mandatory for everyone. Red Guards would quiz people on The Little Red Book before allowing them onto buses, ruthlessly turning away elderly people with poor memories. I witnessed a twenty-seven-year-old man beaten and humiliated in a Beijing stadium for suggesting one could be revolutionary despite having bad-class parents. He was later executed, reinforcing the slogan "Reactionary father, bastard son." By late 1966, the "Conservatory without music" replaced education with political action. With all Western music destroyed, only Madame Mao's approved Yangbanxi "model works" remained. I learned piano transcriptions of these pieces and performed them in sixty concerts across China. Despite their revolutionary themes, these works ironically borrowed passages from condemned Western composers like Chopin.

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Глава 5

Prisoner of Camp 4619

By early 1969, my family began to scatter across China. My father was sent to a labor camp after officials used an old file as "proof" he was a spy. I received orders to leave for Zhangjiakou in northern Hebei Province, assigned to a military camp. On my departure day, my mother packed practical items for me, and we parted without formal goodbyes, as is Chinese custom. Walking away, I turned to see her staring palely into space, now left with only my sister Xiaoyen. Beijing's streets were eerily empty while its railway station teemed with people and revolutionary banners. I joined fellow students from Beijing's art schools as we boarded trains for Camp 4619 in Yaozhanpu. The camp consisted of three low, red-brick military buildings around a square. Our quarters were cramped-ten narrow straw mattresses on the floor of a 200-square-foot room, covered with cockroaches. Commander Tian addressed us: "Among you there are tigers and dragons, but your minds remain bourgeois. This is why you must be re-educated." My hope of becoming a real revolutionary quickly collapsed as I realized the camp's purpose was to break us. Each day followed the same brutal pattern for what would become five years: 6 AM wake-up, running exercises, studying Mao's Little Red Book, then working in unsuitable rice fields-digging irrigation ditches, spreading excrement, and standing in freezing water that left me feverish with stopped periods. Evenings brought mandatory self-criticism sessions before we could wash, where we denounced each other to improve our chances of early release. We slept fully dressed for midnight emergency drills, endured sandstorms on laundry days, and found our only pleasures in occasional Albanian films with their forbidden kisses. Mail provided rare comfort, connecting me to my mother in Beijing and my fifteen-year-old sister, now sent to remote Manchuria.

Глава 6

The Piano That Saved My Soul

In early 1971, we were transferred to our fourth camp, Dayu-a true prison with high walls topped with barbed wire. In this desolate place, I became obsessed with music, particularly Rachmaninoff's Second Concerto, which matched the bleak landscape. Despite warnings from friends that it was madness that could extend my imprisonment, I hatched a plan to have my piano sent from Beijing. Through a friend, I arranged for a former movie actor named He, who lived in isolation near the camp, to house my piano. I wrote desperate letters to my mother until she finally relented, enlisting workers to disguise and ship the piano by train. After three anxious weeks, it miraculously arrived at Sha Lingzi station. Though blackened from the coal compartment and missing twenty strings, I was overjoyed. When a new, simpler commander nicknamed "Thousand-Drops" arrived, we convinced him to let us practice the Yangbanxi. Soon, instruments appeared in the camp-my friend Like received a cello, and others obtained two pianos. Emboldened, I brought my own piano into the camp, finding a small soundproof room where I practiced after stealing coal to heat the freezing space. Though we were officially permitted to play revolutionary Yangbanxi and even Beethoven's Appassionata (Lenin's favorite), we desperately needed more scores to replace those burned in the Conservatory courtyard. I approached my friend whose father lived in Hong Kong, hoping he might send us music. His father, Zho Henli, sent packages of scores-many were intercepted, but some miraculously arrived containing Bach's Well-Tempered Clavier, Chopin's Scherzos and Ballades, Beethoven's Sonatas, and Rachmaninoff's Piano Concerto No. 2. We fought over these treasures, and I painstakingly copied them all onto precious music paper my mother somehow procured. The refrigerator became my sanctuary where I could finally play whatever I wanted. My relationship with the piano was simple and pure-I felt weightless, balanced, completely detached from any purpose beyond the music itself. In late 1971, we gave our first concert. Though officially approved for Yangbanxi and Albanian music, we actually performed Tchaikovsky's Piano Trio, Dvorak's Cello Concerto, and concertos by Rachmaninoff and Tchaikovsky. The emotion was overwhelming-each face reflected our shared anguish at being denied our futures. Our camp transformed into a "Villa Medici"-an artists' colony where I befriended Fu, a brilliant painter who taught me to see the seven colors of the sky, and Teng Wenji, a future film director who vividly explained cinema theory. The music revived our humanity and offered glimpses of spirituality. It taught us to love again-even literally, as five couples formed at Zhangjiakou. In camp, I understood music's power and my fortune in being a musician.

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Глава 7

From East to West: A New Beginning

After returning to Beijing and reconnecting with Professor Pan, I fought against bureaucratic age limits to apply to the Conservatory. When told I exceeded the maximum age of twenty-five, I followed Professor Pan's advice to petition the Ministry of Culture. With four classmates in the same situation, we staged a sit-in with a simple demand: "If we are at the same level as the younger students, take them. If we are better, take us!" The ministry relented, allowing us to take the entrance exams. For my competition piece, I chose Huang Anlun's "Prelude," dedicated to a friend crushed by the Revolution-music describing "the rebellion of a caged animal." I played with such intensity that I broke a string on the Conservatory's Steinway, and the audience broke into forbidden applause. The next day, my name appeared among the four successful candidates. As China normalized, cultural openness increased. Despite resistance from the Conservatory administration, I secured permission to study abroad, obtained sponsorship from the California Institute of the Arts, and eventually convinced the American ambassador to grant my visa. When my mother suggested selling our piano to fund my journey, she ultimately couldn't bear to part with it, saying "The piano is you. If you leave and the piano goes too, it will be as though you are leaving twice." On February 1, 1980, I departed for China, my father's final words echoing: "Stay in America; don't come back. There is no justice here." On the train, I finally allowed myself to cry as I had never done as a child. My introduction to America was filled with challenges. To support myself, I became a cleaning woman for wealthy Americans with a magnificent Steinway grand piano. Though I earned $300 monthly, the work was exhausting. The waste, superficial conversations, and obsession with money overwhelmed me. Even a trip to Disneyland felt like "mental torture" to me, shocking my hosts who believed I'd been "contaminated by Communism." After developing an allergy to my employers' dog, I received a life-changing call from Like, urging me to audition in Boston. I was accepted at the New England Conservatory with a scholarship, finally seeing a path forward.

Глава 8

The Power of Emptiness: Finding Bach and Laozi

In Boston, Gabriel Chodos proved to be an extraordinary teacher with clear artistic vision. His teaching method had one prerequisite: total respect for the score. "The only way to be faithful to the composer is to explore the score in depth," he would say, turning away students who used incorrect editions or added unindicated expressions. He focused on two foundations of interpretation: phrasing and complete engagement. For phrasing, he made me stop at phrase endings and lift my hands from the keyboard-"like breathing." For engagement, he insisted I draw energy from my stomach and develop a more orchestral tone. We worked meticulously on Bach's Prelude and Fugue in B Minor for six months, then focused exclusively on Schumann's Davidsbundlertanze and Beethoven's Sonata No. 2. Gabriel was humble before music, which he considered sacred. His most important lesson was that deep musical knowledge comes from exhaustive exploration of a single piece rather than studying many works-discovering the universal in the particular, reaching the infinite through patient exploration of the finite. During this period, I received a letter from my father, who rarely wrote. In it, he revealed finding peace through studying Tibetan Buddhist texts, having "begun to comprehend the secret of the Tao." Despite his difficult life, he had discovered inner serenity and encouraged me to explore Chinese philosophy. Inspired by his transformation, I began studying and meditating on ancient texts. This philosophical shift transformed my musical approach. Instead of forcing interpretation, I now play pieces attentively until I naturally love each passage. The tempo emerges organically through breathing with the music. I discovered that music's horizontal progression often supersedes vertical harmony. Like Zhuangzi's "Dexterous Butcher" who transcended technique to find Tao, I learned to approach my piano not as something to struggle with but as an eternal friend. Before playing, I empty my mind in meditation, finding greater ease in entering the music. This approach aligns with Chinese philosophy, where stillness-like calm water-allows one to see deeper. Following Laozi's teachings on emptiness, I apply this method to every musical work. During these years of hardship, I experienced profound happiness through daily meditation and "piano meditation"-working tirelessly with no other goal than the truth of music.

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Глава 9

The Goldberg Variations: A Musical Homecoming

I discovered Bach's Goldberg Variations while browsing a friend's music library in Boston. The piece became my salvation. The Goldberg Variations completely took over my existence. This music contained everything: the first variation gave me courage, the tenth made me smile, the thirteenth soothed me, the twenty-fourth had me dancing, and the fifteenth and twenty-fifth moved me to tears. The thirtieth, the famous Quodlibet, amazed me with how Bach blended popular songs into sublime counterpoint. The final return of the aria became the most moving passage-after thirty variations exploring every human emotion, Bach returns to serene, comforting music that gently sinks into oblivion. As the music subsides, the spirit ascends. I applied my new working methods to the Variations: emptying my mind before playing, finding the perfect tempo, uncovering the truth of the score, and disappearing behind the music as Laozi and Zhuangzi taught. Bach's horizontal thrust in music, with few rests and continuous overlapping lines, provides a perfect illustration of the flow I sought. The bass provides the life-giving pulse beneath this horizontal motion. I was astounded to find elements of Chinese culture in Bach's work, as though he were the reincarnation of a Chinese sage. His counterpoint reminded me of calligraphy, the art of breathing and meditation. Like the great calligraphers who withdrew into solitude before creating masterpieces, I sought to disappear behind the composer, to show only Bach's genius. The Goldberg Variations embodies the "golden mean" Professor Pan taught me-not a compromise between extremes but a point of equilibrium that reveals every dimension of the work. Through polyphony, Bach simultaneously expresses multiple contradictory emotions without one taking precedence. The return of the aria at the end reflects Laozi's teaching: "Returning is the movement of the Tao." Like water that flows, evaporates and returns as rain, the closing aria is both the same and transformed.

Глава 10

A New Life in Paris

Despite my friends in America, I struggled financially and felt unchallenged. Paris called to me through old family connections-my mother's stories of the Louvre, memories of the French Quarter in Shanghai. I understood better now what connects the French and Chinese, as Lin Yutang described: a sense of humor, depth of feeling, and an artistic approach to life. In France, I knew only one friend and spoke no French. When the day came to audition for Marian Rybicki, I carefully watched my time-having just enough money for one hour at 400 francs. After thirty minutes of conversation, he finally asked me to play. I placed my watch on the piano and began Schumann's Davidsbundlertanze. When my alarm sounded during the penultimate piece, I abruptly stopped playing. Rybicki was astonished: "You're out of your mind! I've never heard Schumann played like that before!" He refused payment and instead miraculously arranged everything I needed: a scholarship, a maid's room on Avenue de Suffren, and seven students who offered their pianos for practice. Through Rybicki's students, I formed a support network of fellow foreigners. Most significantly, Madame Aalam, daughter of the Shah's physician, took me in and refused to let me do housework: "I want you to practice without a thought of anything else." The Chinese believe life begins at forty-exactly when my career finally gained momentum. After returning from a visit to China, I began receiving performance offers, thanks to my network of supportive friends. My first major Parisian venue was the Theatre de la Ville, where I performed the Goldberg Variations. Despite the concert's success, it made me ill for months-I felt incapable of achieving perfection, devastated by my powerlessness. I've since developed a ritual before performances, paying honor to each venue as sacred space. My most successful concerts occur in theaters and churches where I sense something special-the Theatre de la Ville, Chapelle Sainte-Cecile, Lourmarin church, Martinu Hall in Prague, Teatro Bibiena in Mantua, and Teatro Colon in Buenos Aires. Most moving of all was visiting the Thomaskirche in Leipzig, where Bach worked until his death. Standing before Bach's simple tomb marked only "JOHANN SEBASTIAN BACH"-no dates, no titles, just what was essential like his music-I was overwhelmed with emotion, silently thanking the master through whom I had once again become human.

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Глава 11

The Wounds That Never Heal

The Cultural Revolution scarred me permanently. Each morning I wonder how to continue living, how to find peace after what I've experienced. This period left me with severe psychological handicaps-perpetual fear of criticism and inability to trust myself or others. When you've been forced at twelve to criticize yourself-an age of innocence-what are friends and family but potential denouncers? Before every performance, I question why the audience has come. Though grateful, I feel undeserving and suspect they're there to judge me, as in a self-criticism session. Only my faith in music gives me strength to continue. I fear manipulation, having been indoctrinated during the Cultural Revolution. I try to understand how noble Communist ideals led to such catastrophe, or how I couldn't see or refused to believe what was happening, but comprehension eludes me. The Cultural Revolution debased me, turning me into a perpetrator who criticized others, accused them of grave misdeeds, and investigated their pasts. I actively participated in collective destruction. Five years ago in Paris, I reunited with Shaohua, whom I had willingly informed on. After her concert performance, I begged forgiveness. She smiled tenderly: "You've already been forgiven a thousand times over. We were so young. We are all victims of the Revolution." Hannah Arendt's writings on totalitarianism resonate deeply with me-particularly her description of "arbitrary selection of victims" and the "murder of the moral person." At thirteen, I was an innocent victim branded with "bad family background," then transformed into an active participant in the regime's crimes. I remain haunted by this past, released from physical prison only to become a prisoner of myself. In 2003, I received a cancer diagnosis. Like my mother who had refused chemotherapy, I feared treatment would destroy my energy. When I asked how long I'd live without intervention-three years at most-I felt an odd relief rather than despair. I'd lived a rich, varied life, though happiness and peace had eluded me. Sitting in the doctor's office, I realized what I still wanted to accomplish: play the entire piano repertoire and record as much as possible-Beethoven and Schubert's final sonatas to understand their messages as death approached, and the complete Well-Tempered Clavier, my constant companion since Zhangjiakou. The outpouring of friendship touched me deeply. After difficult months of treatment, I returned home to my beloved Steinway and played the Goldberg Variations, experiencing an emotional reunion. Once again, music saved me. Music unites people beyond politics or religion, instilling love of humanity that overcomes hardship. When playing, you give unconditionally-my definition of love. My Cultural Revolution experience taught me never to use music to impose anything on audiences. I suffered too much under servitude and prefer to speak rather than compel. I often recall Laozi's words about water-useful, serving, descending rather than rising, nestling in unloved hollows rather than heights of domination, competing with no one yet overcoming rock. Without water, life wouldn't exist. This is why I've brought music to prisons, retirement homes, and hospitals-places of despair. Once, despite friends' skepticism, I performed the Goldberg Variations at a prison in Bergerac. When I told the inmates I'd been imprisoned in China where Bach's music was forbidden, they listened to the entire piece despite my initial plan to play only ten variations. After everything I've experienced, I cannot approach music intellectually. When I play, I aim to speak to people, to move them, to share beauty. What matters most is reaching someone who isn't a musician, revealing part of their humanity they may not know exists-hoping someday this might help them speak out when essential values are threatened.

★★★★★

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Ключевые темы в Река забвения. Пианистка из Китая в водовороте Культурной революции

cultural revolution survival
musical resilience
maoist political persecution
western classical music
chinese diaspora memoir

Цитаты из Река забвения. Пианистка из Китая в водовороте Культурной революции

Never again will the Chinese people be enslaved.
Invincibility is in ourselves.
And what if I jumped?
You cannot play the piano well if, deep inside, you are hostile to the regime.
This piano was acquired by exploiting the people, through their sweat and blood.

Персонажи в Река забвения. Пианистка из Китая в водовороте Культурной революции

Zhu Xiao-MeiThe protagonist and pianist who wrote the memoir
RuyingXiao-Mei's mother and first music teacher
QixienXiao-Mei's father, a detached and demanding man
Professor PanXiao-Mei's piano teacher at the Conservatory
AizhenA student who secretly helped Xiao-Mei

Об авторе

Чжу Сяо-Мэй, знаменитая пианистка и автор книги «Тайное пианино» (The Secret Piano), известна своими глубокими интерпретациями «Гольдберг-вариаций» Баха.

Родившись в Китае, она начала играть на фортепиано еще ребенком и в десять лет поступила в Пекинскую консерваторию, но ее обучение было прервано Культурной революцией.

Ее мемуары — захватывающее сочетание личной биографии и исторического повествования — повествуют о пяти годах в монгольском трудовом лагере, ее последующем побеге на Запад и становлении как всемирно признанного музыканта. Темы стойкости, художественной страсти и искупительной силы музыки являются стержнем ее истории.

Будучи профессором Парижской высшей национальной консерватории музыки и танца с 1984 года, Чжу выступала на шести континентах и записала такие знаковые произведения, как «Английские сюиты» и «Искусство фуги» Баха. Ее литературные труды, включая «Реку и ее тайну» (La Rivière et son Secret), отражают ее путь от политического угнетения к художественному мастерству.

Книга «Тайное пианино» была переведена более чем на 15 языков, находя отклик у читателей по всему миру как свидетельство преображающей силы искусства.

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Создано выпускниками Колумбийского университета в Сан-Франциско

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483

"Makes me feel smarter every time before going to work"

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Создано выпускниками Колумбийского университета в Сан-Франциско

LOVED BY

1,000,000+ curious minds.

4.7

avg rating

1M+ learners

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

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Река забвения. Пианистка из Китая в водовороте Культурной революции

ОбзорОбзор книги Река забвения. Пианистка из Китая в водовороте Культурной революции

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From Silence to Symphony: A Pianist's Journey Through Revolution

The Piano That Spoke When Touched

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The Joke That Destroyed a Life

When Music Becomes the Enemy

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Prisoner of Camp 4619

The Piano That Saved My Soul

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From East to West: A New Beginning

The Power of Emptiness: Finding Bach and Laozi

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The Goldberg Variations: A Musical Homecoming

A New Life in Paris

Следите за каждым словом во время прослушивания

The Wounds That Never Heal

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1,000,000+ curious minds.

Одна книга. Множество способов её услышать.

From Silence to Symphony: A Pianist's Journey Through Revolution

The Piano That Spoke When Touched

Следите за каждым словом во время прослушивания

The Joke That Destroyed a Life

When Music Becomes the Enemy

Получите больше от Река забвения. Пианистка из Китая в водовороте Культурной революции

Prisoner of Camp 4619

The Piano That Saved My Soul

Следите за каждым словом во время прослушивания

From East to West: A New Beginning

The Power of Emptiness: Finding Bach and Laozi

Получите больше от Река забвения. Пианистка из Китая в водовороте Культурной революции

The Goldberg Variations: A Musical Homecoming

A New Life in Paris

Следите за каждым словом во время прослушивания

The Wounds That Never Heal

Вы дочитали Река забвения. Пианистка из Китая в водовороте Культурной революции до конца

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