As a classical guitarist, I find a plethora of captivating contrasts and connections between Chinese and French cultures. Paris stands out as a major hub for significant composers during the 19th and 20th centuries, a trend mirrored in the realm of guitar composition during that era. Today, many canonical pieces in the guitar repertoire hail from composers like Fernando Sor, Napoleon Coste, and Heitor Villa-Lobos, all of whom resided in Paris at some juncture, with some overlapping in residency. This geographical overlap underscores the intimate connection between the instrument and French culture. Moreover, it's noteworthy that several of these guitar composers were also proficient guitarists themselves, a prevalent practice prior to the early 20th century. This tradition, once pervasive in classical guitar circles, persists among a select group of musicians today, serving to revive and carry on this tradition of the instrument.

In China, the classical guitar has never been an indigenous instrument. While more traditional plucked string instruments like the Guqin and Pipa boast centuries of history, the classical guitar remained a foreign import slowly gaining ground. Nevertheless, China has produced remarkable classical guitarists who have made a mark on the global stage, infusing their performances with distinct Chinese elements. One such luminary is Xuefei Yang. Despite her immersion in Western influences and her residency in the UK, Yang consistently incorporates traditional Chinese songs into her programs, a notable feature of her concert performances. Given the scarcity of classical guitar compositions by Chinese composers, Yang's practice of arranging traditional Chinese music for the guitar is particularly noteworthy. Her adept use of techniques such as tremolos to emulate the Pipa's sound and the percussive capabilities of the guitar to replicate traditional Chinese percussion instruments demonstrates a creative fusion of musical traditions.