To the amazing performance of the
"FOUR WINDS" by Meng-Chieh Liu, Borromeo String Quartet, and Forbidden City
Chamber Orchestra at Jordan Hall, the Boston Music
Intelligencer wrote,
" ... A truly enlightening
and satisfying evening. ... FOUR WINDS prompted rounds of
applause for both performers and the program … With
such splendor on stage from every performer to an ever so
fascinating range of traditional Chinese instruments
mingling with the traditional European string quartet, the
eye was as fulfilled as the ear. … Dignity was
everywhere on Jordan’s stage, both sight- and sound-wise
... "
Special credits were given to "Wang Hua
王華, bamboo flute, the xiao, with sensitive silk and satin tones ... Shen Cheng
沈誠,
ZHANG Zunlian
張尊連,
on huqin, or Chinese fiddle, masters of
that instrument, voicing a pureness reaching all the way to
the soul ... Meng-Chieh Liu
劉孟捷 magnificently
captured the youthful extravaganza from the delicately
shaded impressionistic opening to the virtuosic crashing
close."
Liu Meng-Chieh
劉孟捷, pianist A
recipient of the 2002 Avery Fisher Career Grant, Meng-Chieh Liu joins
New England Conservatory's piano studio faculty with the 2014/2015
academic year.
Liu first made headlines in 1993 as a 21-year-old student at the Curtis
Institute of Music, when he substituted for André Watts at the Academy
of Music in Philadelphia with three hours' notice. The concert earned
high acclaim from critics and audience alike and was followed by a
number of widely praised performances, including a recital at the
Kennedy Center and a concert on the Philadelphia All-Star Series.
A dedicated chamber musician, as well as a solo artist, Liu has
collaborated with musicians in North America, Europe, and Asia, in
addition to working with artists in other disciplines, including dancer
Mikhail Baryshnikov and his White Oak Dance Project.
Liu received the 2002 Philadelphia Musical Fund Society Career
Advancement Award and first prizes in the Stravinsky, Asia Pacific
Piano, and Mieczyslaw Munz competitions.
B.M., The Curtis Institute of Music. Studies with Jorge Bolet, Eleanor Sokoloff, and Claude Frank. Also faculty of Roosevelt University and the
Curtis Institute.
Each
visionary performance of the award-winning Borromeo String Quartet
strengthens and deepens its reputation as one of the most
important ensembles of our time. Admired and sought after for both
its fresh interpretations of the classical music canon and its
championing of works by 20th and 21st century composers, the
ensemble has been hailed for its"edge-of-the-seat performances,"
by the Boston Globe, which called it"simply the best there is."
Now celebrating its 25th anniversary, the Borromeo continues to be
a pioneer in its use of technology, and has the trailblazing
distinction of being the first string quartet to utilize laptop
computers on the concert stage. Reading music this way helps push
artistic boundaries, allowing the artists to perform solely from
4-part scores and composers’ manuscripts, a revealing and
metamorphic experience which these dedicated musicians now teach
to students around the world. As the New York Times noted,"The
digital tide washing over society is lapping at the shores of
classical music. The Borromeo players have embraced it in their
daily musical lives like no other major chamber music group."
Moreover, the Quartet often leads discussions enhanced by
projections of handwritten manuscripts, investigating with the
audience the creative process of the composer. And in 2003 the Borromeo became the first classical ensemble to make its own live
concert recordings and videos, distributing them for many years to
audiences through its Living Archive. The next offering of Living
Archive, a music learning web portal, will be released next
season.
Passionate educators, the Borromeos encourage audiences of all ages to explore and listen to
both traditional and contemporary repertoire in new ways. The
ensemble uses multi-media tools such as video projection to share
the often surprising creative process behind some works, or to
show graphically the elaborate architecture behind others. This
produces delightfully refreshing viewpoints and has been a
springboard for its acclaimed young people’s programs. One such
program is MATHEMUSICA which delves into the numerical
relationships that under-pin the sounds of music and show how
musical syntax mirrors natural forms. CLASSIC VIDEO uses one
movement of a quartet as the platform from which to teach computer
drawing, video editing, animation, musical form and production
processes to create a meaningful joining of music and visual art.
The quartet has been ensemble-in-residence at the New England
Conservatory and the Isabella Stewart Gardner Museum for
twenty-three years; and has worked extensively as performers and
educators with the Library of Congress (highlighting both its
manuscripts and instrument collections); the Chamber Music Society
of Lincoln Center and the Taos School of Music. The ensemble
joined the Emerson Quartet as the 2014-15 Hittman Ensembles in
Residence at the Peabody Institute in Baltimore, and its upcoming
season includes substantial residencies at Colorado State
University in Fort Collins, Kansas University in Lawrence, and the
San Francisco Conservatory.
The ensemble has been acclaimed for its presentation of the cycle
of Bartok String Quartets as well as its lecture"BARTOK: PATHS NOT
TAKEN," both of which give audiences a once-in-a-lifetime
chance to hear a set of rediscovered alternate movements Béla
Bartók drafted for his six Quartets. Describing a Bartok concert
at the Curtis Institute, the Philadelphia Inquirer wrote that the
quartet"performed at a high standard that brought you so deeply
into the music's inner workings that you wondered if your brain
could take it all in ... The music's mystery, violence, and sorrow
become absolutely inescapable."
Also noteworthy in the BSQ repertory are its dramatic discoveries
within the manuscripts of the Beethoven Quartets, and its
performances of the COMPLETE CYCLE; the BEETHOVEN DECATHALON (four
concerts of Beethoven’s last ten quartets, all with pre-concert
lectures exploring his manuscripts); and single BEETHOVEN TRYPTICH
concerts (one concert including three quartets). Its expansive
repertoire also includes the Shostakovich Cycle and those of
Mendelssohn, Dvorak, Brahms, Schumann, Schoenberg, Janacek, Lera
Auerbach, Tchaikovsky, and Gunther Schuller.
The Quartet has collaborated with some of this generation’s most
important composers, including Gunther Schuller, John Cage, Gyorgy
Ligeti, Steve Reich, Osvaldo Golijov, Jennifer Higdon, Steve
Mackey, John Harbison, and Leon Kirchner, among many others; and
has performed on major concert stages across the globe, including
appearances at Carnegie Hall, the Berlin Philharmonie, Wigmore
Hall, Suntory Hall, the Concertgebouw, Seoul Arts Center, Shanghai
Oriental Arts Center, the Incontri in Terra di Siena Chamber Music
Festival in Tuscany, the Prague Spring Festival and the Haydn
Festival in Eisenstadt.
The 2015-16 season includes performances in Switzerland, Japan, Korea and China; the Bartók Cycle in Boston, San Francisco and at
the Library of Congress; and appearances at the Schubert Club in
Minneapolis, Amherst College, and Trinity Church Wall Street, to
name only a few.
"Nothing less than masterful" (Cleveland.com), the Borromeo
Quartet has received numerous awards throughout its illustrious
career, including Lincoln Center’s Avery Fisher Career Grant and
Martin E. Segal Award, and Chamber Music America’s Cleveland
Quartet Award. It was also a recipient of the Young Concert
Artists International Auditions and top prizes at the
International String Quartet Competition in Evian, France.
[September 2015]
The
Forbidden City Chamber Orchestra is a widely influential chamber
orchestra featured in Chinese Traditional music and is quite
active on the world’s contemporary music stage. The orchestra is
composed of well-known musicians from Chinese Conservatory of
Music, a top university in China of this field.
As a high-level art group recognized by the Ministry of Culture
for international exchange, the Forbidden City Chamber Orchestra
has attended many major music events at home and abroad ever since
its establishment in 2008, touring numerous countries and regions
including Australia, New Zealand, Poland, Russia, the US, Israel, Spain, Serbia, Hungary, Romania, Bulgaria, Belarus, Lithuania,
Latvia, Esthonia, Mexico, Cuba, Czech, Trinidad and Tobago, Tanzania and Mauritius etc. The Orchestra has also been invited to
Auckland and Brisbane Music Festival of Australia, New Zealand
International Music Festival, Romania Enescu Music Festival,
Mexico Cervantes International Art Festival,"Autumn of
Warsaw"— International Modern Music Festival, Singapore Chinese
Art Festival and so forth. Its art footprints spread throughout
the globe.
While inheriting excellent Chinese musical and cultural
traditions, the Forbidden City Chamber Orchestra is also committed
to innovating Chinese folk music in the new era and cooperates
widely with international art institutions, performing jointly
with Russian Andreyev National Model Orchestra, New Zealand String
Quartet, the pianists from Wellington Music Conservatory, composer Gao
Ping, Borromeo String Quartet of the New England college of
music, pianist Meng-Chieh Liu from Curtis Institute of Music, Dallas Symphony Orchestra, Huston Symphony Orchestra and many
prestigious Chinese and foreign folk musicians successively, and
launching cross-cultural music exchanges and cooperation.
The Forbidden City Chamber Orchestra has published 5 original
music CDs: Mengbian Simeng (Four Dreams beside Plum), Feng Sheng
(Sound of Wind), Tian Yun (God’s Will), Simian Laifeng(Wind Coming
from All Sides)and Simian Laifeng, collecting many classic works
of Chinese folk music. Besides, the orchestra also commissioned
famous composers from China, the US, Russia, New Zealand, Poland, Philippines to compose dozens of multi-style and pioneering
original music pieces. The serial art practices of Forbidden City
Chamber Orchestra have been highly praised by the international
music community and thousands of music lovers. It is remarked as :
"the embodiment of the unique grace and elegance of Chinese
traditional music, and demonstration of the rare classics and
charm of contemporary music";
"an example of exploring
the communication between Chinese contemporary music and the
world"; and
"one of the most influential chamber
orchestras across the globe".
十变五化 -- Ten Changes
and Five Variables (Zou Hang)
Forbidden City Chamber Orchestra and Borromeo String Quartet
Notes on the
Program
FOUR WINDS
四面來風
Music Dialogue and Cooperation (Series 5)
Meng-Chieh Liu
劉孟捷,
Borromeo String Quartet, and
the Forbidden City Chamber Orchestra
紫禁城室內樂團
The tune portrays
a beautiful scene in nature – a group of birds playing
joyfully in the icy water on a cold day. It is a metaphor of
the optimism people have when facing challenges in life.
"With the lilies,
the song, and the stars" is my imagining of the dreams and
fantasies of the people of the Paleolithic era – the first
humans to make lasting art. These prehistoric humans made
vivid cave paintings all over the world 40, 000 years ago, and
it is fascinating to me that whether in Indonesia or Europe,
there is a fundamental commonality between all of the examples
that have survived. The moment that people began to use tools,
they made art, and we see in these origins that our
differences are not so great, after all.
Some anthropologists believe that before spoken language there
was song, used to communicate over large distances over
valleys and in echoing caves. I am not attempting to capture
what that might have sounded like in this music, but something
of the wondrous world that these early people wanted to
capture in their beautiful artwork. In their overlapping hand
stencils are the impressions of flowers and nature. In their
many depictions of animals are their stories and songs. And in
the burnt surfaces of their torches on the glinting rock is
the proxy for stars in the bright prehistoric night.
"With the lilies, the song, and the stars" uses the Chinese
xiao
bamboo flute juxtaposed next to strings and the relatively
modern piano. The xiao
is perhaps the most ancient crafted instrument still played in
the modern world. I can think of no better voice to help
describe this ancient world, and its people’s concerns with
the worldly and celestial.
"See Without Looking" is
inspired by the ancient philosophy of the Tao Teh Ching
道德经,
the peaceful strength and
simplicity of its teaching and the way it has influenced
Chinese culture. Each of the five movements focuses on a
different aspect of the Tao Teh Ching, from the birth of all
creation to the way humanity fits within it. Four pitches
begin and end the piece, representing the Tao giving birth to
One, One giving birth to Two, Two giving birth to Three and
Three giving birth to the Universe. The Tao pitch ("Re")
connects all things within the piece, just as the Tao connects
all things in life.
The master Lao-Tzu tells us that we do not need to rush though
this world, or be tempted by material things, but instead to
"know without traveling, see without looking and achieve
without action". This natural, effortless order of life is at
the center of the Tao Teh Ching and at the core of the music.
The Bright March 光明行
by Xiaogang Ye
葉小綱- for piano and Eastern and Western
instruments Shun Liu劉順
, conductor
World Premiere of the chamber music version
(室內樂版本世界首演)
The Bright
March was a solo piece for erhu二胡,
composed by Maestro LIU Tianhu
劉天華in the early 20th century. The piece
showed the composer’s longing for a bright future in his
contemporary circumstance. 100 years later, when composer
Xiaogang Ye 葉小綱visited Wuxi City of the Jiangsu
Province, and traced music maestros LIU Tianhua and A’bing’s
阿炳life footsteps in their hometown, he
decided to compose 6 works for Chinese traditional music with
the same names of the two maestros’ works. And the works are
The Bright March, Listening to the Pine, The Shaking
Candlelight and the Shadow, The Cold Spring Wind, The Dragon
Boat, and An Imagination of Music and Dance.
The Bright March is Xiaogang Ye’s first one among the 6 works
for Chinese traditional music. It was commissioned by LIU
Tianhua and A’bing Foundation in 2016. The new piece didn’t
adopt any music elements from LIU Tianhua’s original work, and
was totally newly conceived by the composer. The piece is to
express the composer’s admiration and thoughts to Maestro LIU
Tianhua. The new piece is full of optimism and passion, which
showing great expectation of the composer of the new
generation. The piece has been presented in Beijing, Hong
Kong, Taiwan, Macau, and Nanjing, etc. and were well received.
The US performance of this piece will be the world premiere of
the chamber music version of "The Bright March."
The "Great
Proletarian Cultural Revolution" (1966-1976) is a special
period in Chinese history. During that period, the development
of Chinese culture and art was in a "crazy" condition and went
to a strayed path. The art of China was brutally suppressed
and the culture of piano music was almost killed. Piano was
forbidden as a symbol of nobility and bourgeoisie.
Compositions for piano was regarded as "only for the
bourgeoisie" and an action of "worshiping the foreign
powers". Due to the constraint from the social environment and
the direction from the political requirements, the composers
realized that they could only compose music to adapt the
environment. There were a number of piano music published from
that period with a strong characteristic of the Culture
Revolution. They composed by adopting Chinese folk songs and
expressed typical Chinese characteristics. Anlun Huang
黃安倫
was one of them. With his rich knowledge and life experience,
Anlun Huang composed many pieces including "The Prelude and
the Dance" in 1974.
"The Prelude and the Dance", the second of the "Five Chinese
Rhapsodies" composed by Anlun Huang, was also the first
Chinese music which was performed outside of China. It was
premiered by pianist Shikun Liu
刘诗昆
in 1977, and was renamed to "The Prelude and the Dance" from
formerly "Chinese Rhapsody No. 2" . This works is based on the
Pentatonic mode, combined and integrated other modes and
chords structures adapted from Western Rhapsody, and the
free-form structure of the Chinese folk music to create a
brilliant concert effect. The basic scale of the theme
appeared in la, do, re, mi, sol, la. The melody seems adopted
from the Gaoshan folk song "father is going to fish" (formerly
known as "Fisherman"). The note D and the syncopation rhythm
are the basic motives throughout the Prelude.
The joyful and lively Dance gives the climax of the whole
piece. The Dance has a very complex structure. The phrases of
each theme were composed in two combinations of
4 + 4 + 5 + 5
and
4 + 4 + 4 + 3 + 3.
This combination is not as the
symmetrical phrase structure as the western music phrase
structure, but is a combination of long-- short sentences. The
irregular combination of the phrase and the conversion of the
rhythm, makes the music become more lively and free. It also
features the passionate and lively language of Gaoshan folk
music. The tune seems adopted from the Gaoshan folk song "The
song of joy".
This work was awarded as The Great Composition Prize by the
Chinese Ministry of Culture in 1978, and has still been used
by a lot of Chinese pianists and piano competitions.
序曲中始終貫穿D持續音和切分節奏的湧動,而舞曲則將生命力的勃發推至最終的高點。舞曲部分的曲式較為複雜,兩個主題的旋律組合小節數為
4+4+5+5,和
4+4+4+3+3,這種組合不如西方音樂的樂句組合方整,而是由長短句組成,不規則的組合形式與節拍的轉換讓樂句曲調更為活潑、自由,盡顯高山族民歌曲調熱情奔放、律動明快的特點。這一曲調的原型,據推測,為高山族民歌《歡樂歌》。
1978年獲中國文化部優秀作品獎,至今被很多中國鋼琴家和鋼琴比賽列為比賽曲目。 Ten Changes and Five Variables
十變五化 by Hang Zou鄒航 - for Chinese ensemble and
string quartet Shun Liu劉順
, conductor
US Premiere
(美國首演)
"Ten Changes and
Five Variables" is a Chinese idiomatic phrase referring to the
ever-changeable nature of things. In this work the Ten Changes
suggests the contrasting states of performing: independence
and a mixture of solo and ensemble playing, and the coloristic
distance between the Chinese and Western instruments,
reminiscent of the ancient concept of Yin and Yang.
The Five Variables, on the other hand, has its origin in Five
Elements of which all things comprise. Though the
five-sectioned work is based on these ideas, it also breaks
out of the confines of the abstract. The music is created with
five typically traditional ways of music making: blowing,
bowing, plucking, hitting, singing, with the aim of capturing
some of the essence of Chinese culture from a unique angle and
point of view.
"十變五化"是一句中國俗語,指事情不斷變化的特質。在這首曲子中,"十變"是指對比鮮明的表演狀態：獨奏與合奏表演的相對獨立和混用,中西樂器之間的色彩差異,以及對古代陰陽概念的運用。另一方面,"五化"則源於組成萬物的五大元素。儘管曲目是基於這些概念創作而成的五部分,但它同時也打破了抽象界限。作品以五種傳統的音樂製作方法為基礎,即吹、彎、拉、打、唱,並以通過獨特視角和觀點來捕捉中國文化精髓為目標。 Meet the
Composers David Ludwig
David Ludwig’s music has been called "entrancing," and that it
"promises to speak for the sorrows of this generation,"
(Philadelphia Inquirer). It has further been described as "arresting and dramatically hued" (The New York Times) and has
been noted for "music supercharged with electrical energy and
raw emotion" (Fanfare). The Chicago Tribune says that he "deserves his growing reputation as one of the up-and-comers
of his generation." NPR Music picked him as one of the Top 100
Composers Under Forty in the world in 2011. In 2013, Ludwig's
choral work, "The New Colossus," was selected to open the
private prayer service for the 57th Presidential inauguration
of Barack Obama.
Ludwig has written for many prominent artists, including
soloists Jonathan Biss and Jaime Laredo, ensembles like eighth
blackbird and ECCO, and orchestras including the Philadelphia,
Minnesota, and National Symphonies. Residencies with arts
institutions at home and abroad include Marlboro, the Gardner
Museum, the Ravinia Steans Institute, the MacDowell and Yaddo
colonies, and the Seoul University and Shanghai International
Festival. Ludwig directs summer composition programs at the
Lake Champlain Festival and the Atlantic Music Festival, and
he is the artistic director of the Curtis Institute Young
Artist Summer Program. He has won numerous awards and honors
from nationally recognized arts organizations, including the
Theodore Presser Foundation, the Independence Foundation, and
the National Endowment for the Arts.
Born in Bucks County, P.A., Ludwig comes from a family lineage
of musicians that includes his grandfather Rudolf Serkin, and
great-grandfather Adolf Busch. He holds degrees from Oberlin,
The Manhattan School, Curtis, and Juilliard, as well as a PhD
from the University of Pennsylvania. Ludwig is on the
composition faculty of Curtis where he serves as the Dean of
Artistic Programs and as the director of the 20/21 Ensemble.
David Ludwig 的音樂總被譽為"欣喜",其為"承諾這一代的悲傷"(費城問詢報Philadelphia
Inquirer)。甚至被描述為"驚艷及戲劇化的色調"(紐約時報)以及"音樂被飽充著電及原生情感"(Fanfare雜誌)。芝加哥論壇報(Chicago
Tribune)譽稱"在他這一代不斷上看的個人聲勢"。美國國家公共電台(NPR)遴選他為2011年世界四十歲以下最頂尖的100位作曲家之一。
2013年他的合唱作品"新巨人"(The New Colossus)獲選為美國第57屆總統巴拉克•奧巴馬(Barack
Obama)就職私人祈禱儀式的開場曲。
David Ludwig 經常為知名音樂家創作,如：喬納森•比斯(Jonathan Biss)及傑米•羅瑞多(Jaime
Laredo)；室內樂知名團體如：Eighth Blackbird
及ECCO、交響樂團如：費城交響樂團、明尼蘇達及美國國家交響樂團。也曾擔任萬寶路重奏團(Marlboro
Ensemble)、加德納博物館(Gardner Museum)、拉維尼亞學會(Ravinia Steans
Institute)、麥道爾與亞多文學營(MacDowell and Yaddo
Colonies)、首爾大學及上海國際藝術節的駐地藝術家。他並擔任尚普蘭湖音樂節(Lake
Champlain Festival)及大西洋音樂節(Atlantic Music
Festival)的創作總監,他也是柯蒂斯音樂學院(Curtis
Institute)青年藝術家夏季營的藝術總監。他曾多次獲頒國際知名藝術機構的獎項及榮譽,如：Theodore
Presser基金會、Independence 基金會及國家藝術金金會。
生於美國賓州巴克斯的音樂世家,他的祖父為上世紀知名鋼琴家魯道夫•塞爾金(Rudolf Serkin),曾祖父為上世紀知名小提琴家及作曲家阿道夫布許(Adolf
Busch)。他曾就讀歐柏林音樂學院(Oberlin)、曼哈頓音樂學院、柯蒂斯音樂學院及朱麗亞音樂學院,並於賓州大學取得博士學位。David
Ludwig
現擔任柯蒂斯音樂學院作曲教授及藝術項目主任,並擔任20/21室內樂團的總監。
Contemporary American classical composer Daniel Walker’s music
has been heard around the world on the concert stage, in film
and on television. His film and television credits include
feature films for HBO and Showtime and his music has been
heard on The Tonight Show with Jay Leno, 20/20, Friends, Sex
and the City, and The Annual Academy Awards Show. Film work in
Asia includes the score and theme song for the stylish
thriller Curiosity Kills the Cat, and the theme song for The
Galaxy Railways, a hit Japanese anime series.
Walker began an artistic collaboration with noted concert
pianist Kong Xiangdong
孔祥東
in 1999, writing a piano concerto
for the musician for a concert performed in Lhasa, Tibet in
August of that year. The project established a continuing
partnership with Kong through which the pianist has premiered
a number of new works by the composer.
Walker’s classical ballet, Marco Polo: The Last Mission, was
premiered by the Shanghai Ballet Company as part of the
opening festival of the China’s World Expo in May 2010. The
historically based work continues to be performed as part of
the company’s repertoire.
As an arranger and conductor, Walker has worked with
singer/actor Andy Lau
劉德華and arranged music for the 2008
Beijing Olympics closing ceremony. In 2012, Walker completed
his modern musical theatre piece Qing Cheng/Dark City, a
dramatic urban story set within the teeming city of Hong Kong.
He teaches composition and film scoring at Shepherd University
in Los Angeles, and has served as dean of the music department
since March 2012. Member: Television Academy of Arts and
Sciences .
沃克的作品環繞在世界各地的音樂會及電影、電視中。他的電影、電視作品包括HBO和Showtime的劇情片、Jay
Leno的《The Tonight Show with Jay Leno 傑伊.萊諾今夜秀》、《20/20》、《Friends
老友記》、《Sex and the City
慾望都市》、《神秘中國》系列、德國傳奇女導演萊尼•里芬斯塔爾Leni
Riefenstahl生前最後一部紀錄片《Impressions of the deep水下印象》及奧斯卡頒獎典禮等。亞洲的電影作品包括張一白執導, 劉嘉玲、胡軍、小宋佳、廖凡主演的中國愛情驚悚片《好奇害死貓》的配樂、主題歌及日本動漫系列片《銀河鐵道物語》主題曲。
Xiaogang Ye graduated from the Central Conservatory of Music
in China and Eastman School of Music in the United States. His
tutors included composers such as Du Mingxin, Alexander Goehr,
Samuel Adler, Joseph Schwantner and Louis Andriessen. Xiaogang
Ye came back to China from U.S.A. in 1994. He has been one of
the most famous composers in China with his increasing
international influences at the same time. He is the first
Chinese composer who signed with Schott Music. He is presently
Vice Chairman of China's Musicians' Association, Vice
President of the Central Conservatory of Music, Founder and
Artistic Director of Beijing Modern Music Festival, the
biggest contemporary music festival in the Far East. Xiaogang
Ye is a Standing Member of the Chinese People's Political
Consultative Conference, giving proposals and suggestions to
Chinese government for supporting music and arts. In 2013, he
became the head of ISCM China Section.
Xiaogang Ye’s earliest well-known piece "Moon over the West
River 西江月" performed by New Zealand Symphony Orchestra. The CD
of this work was released by Naxos. His works have been
performed all over the world, by orchestras such as New York
Philharmonic, Detroit Symphony Orchestra, China Philharmonic
Orchestra, Munchner Philharmoniker, Tokyo Symphony Orchestra,
China National Symphony Orchestra, Bamberger Symphoniker ,
Philhamoniker Hamburg, Deutsche Radio Philharmonie Saarbrücken
Kaiserslautern, Nebraska Symphony Orchestra, Hong Kong
Philharmonic Orchestra, Macau Orchestra, National Symphony
Orchestra (Taiwan), Ensemble Modern, and many other famous
chamber groups in the world. His works have been presented in
most cities of China. In 2013, a concert of his works was
presented at the Lincoln Center Avery Fisher Hall with
critical acclaim.
Xiaogang Ye's most noticeable works are his "Tibet Series",
reflecting the influences on the composer by the Tibetan
Buddhism, Bonism, the unique geomorphology and humanism of
Tibet, evident especially in the "Nice Sacred Lakes Series"
and some other symphonic suites. The "Twilight of the
Himalayas" finished in 2013 reveals the composer’s exploration
to the Tibetan humane characteristics. There is a "Tropic
Plants Series" in Xiaogang Ye’s works. It embodies the
subtropical zone-born musician’s sensitivity to the natural
environment. In this series, "Scent of Green Mango",
"Enchanted Bamboo", and "Datura," etc. have shown a distinct
personal characteristics of the composer. In addition to many
works of China’s historic theme, Xiaoagang Ye also has a
"Namesake Series" of the classic works in western music
history. The most famous one from the series is his "Das Lied
von der Erde (The Song of the Earth)", which is the same to
Gustav Mahler’s work in both of name and the content for
Chinese Poems in Tang Dynasty. This piece has already been
performed in many famous venues in the world. His composition
of "Enigma Variation (Winter III)" with the theme his father’s
work, "La Mer" with Claude Debussy’s work, and even the "4’33’’ with much noise.
Xiaogang Ye is also a successful film music composer. He has
composed over 30 movies and TV plays in China, and awarded
"National Best Score" twice. He received the "Man of China"
honorary title in 2005. The Beijing Modern Music Festival held
by him received extensive attention and was very successful.
He has won numerous national and international music awards,
including the 2012 US Guggenheim Fellowship and the 2013
National China Arts Award.
Anlun Huang黃安倫
With many awards and his more than 40 symphonic works,
Chinese-Canadian composer Anlun Huang’s compositions have been
widely performed and warmly received around the world. Lang
Lang won the 1st prize of the International Tchaikovsky Youth
Piano competition by playing his "Chinese Rhapsody No. 2" in
1995. Many of his works have been chosen as the official final
round pieces of the major music competitions, including the
International Rubinstein Piano Competition, Israel. His ballet
"Dream of Dunhuang" has been selected as one of the "Master
Pieces of the Chinese Compositions in 20th Century".
Numerous of his CD, LP and scores have been published and
released. Not only had an adjudicator for various
competitions, but also a conductor, his successful
performances included the all-his-works-concerts in Russia,
U.S.A. and China.
Recently as the composer-in-residence of the Shenzhen Symphony
orchestra, China, and the winner of the New Pioneer Arts Award
of Canada (2004), Anlun Huang began his piano lessons at the
age of five, and completed his first piano album at seven. He
graduated from the attached Middle School of the Central
Conservatory of Music, China in late sixties. As the
composer-in-residence of the Central Opera House of China, he
became a member of the China Musician’s Association in 1979.
Huang came to the North America to continue his music
education in 1980. He received the FTCL in 1983 and the MM at
Yale University with the Alumni prize in 1986. In the same
year he moved to Toronto. Huang was the former president of
the Canadian-Chinese Music Society of Ontario till 1996. He
has also been invited as the guest professor of several
Universities in China recently.
As one of the Composers representing Chinese "New
Generations", Hang Zou was honored the International Gaudeamus
prize for composition; The Best Music for dance drama music of
the 5th National Water Lily Prize Dancing Competition; The
Golden Bell prize of China Music (as composer and lyricist)
(2001); The Gold prize of the 9th Guangdong Art Festival; The
Excellent Works award in the 6th Music Contribution
Competition of Taiwan Symphony Orchestra.
As one of the seven 2008 Beijing Olympics Game Opening
Ceremony’s composers, Hang Zou’s works included: symphony
prelude Jing Cai; dance drama "Nanjing 1937"; large-scale
chamber orchestra "Eighteen Arhats;" "Monk Jumps Over the
Wall" (for Chinese Traditional folk symphony orchestra); zheng
chamber music "Sanyin Sixi", piano quintet "When the public
are happy"; piano solo "The Distance of Jazz." His works were
premiered in the US, the Netherlands, German, Austria, France,
Belgium, the Czech Republic, and Korea.
音
樂會門票分為$50 (貴賓保留區、可預先指定座位)及$30(不對號自由入座)兩種 ,學生票$15 (不對號自由座區) 。六歲以下兒
童請勿入場 。購票:喬登廳票房: 617-585-1260。
網站購票: http://www.ChinesePerformingArts.net
無手續費 。 $50: VIP
Reserved Seats
$30: open seating at non-VIP section
$15: student open seating at non-VIP section
Children under 6 not admitted. 提
供100張免費學生票 (14歲以上 , 每人一張) 請上贈票網頁索票 。 100 free
student tickets available at www.ChinesePerformingArts.net only
(1 per request for age 14 and up)
A
recipient of the 2002 Avery Fisher Career Grant, Meng-Chieh Liu joins
New England Conservatory's piano studio faculty with the 2014/2015
academic year.
The ensemble has been acclaimed for its presentation of the cycle
of Bartok String Quartets as well as its lecture"BARTOK: PATHS NOT
TAKEN," both of which give audiences a once-in-a-lifetime
chance to hear a set of rediscovered alternate movements Béla
Bartók drafted for his six Quartets. Describing a Bartok concert
at the Curtis Institute, the Philadelphia Inquirer wrote that the
quartet"performed at a high standard that brought you so deeply
into the music's inner workings that you wondered if your brain
could take it all in ... The music's mystery, violence, and sorrow
become absolutely inescapable."
音
樂會門票分為$50 (貴賓保留區、可預先指定座位)及$30(不對號自由入座)兩種 ,學生票$15 (不對號自由座區) 。六歲以下兒
童請勿入場 。購票:喬登廳票房: 617-585-1260。
提
供100張免費學生票 (14歲以上 , 每人一張) 請上贈票網頁索票 。 
