Laureate of the Queen Elisabeth International Violin Competition 2015, William Wei gained recognition as one of the most promising violinists of his generation in Taiwan. With inherent musicality and refined sensibility, Wei is a liberated virtuo with shimmering dynamism. Praised by Le Soir (Belgium), Wei "burns all his passion and freedom in the music till the end"; and "[is]… proved to be a virtuoso, but [with] a special and sensitive interpreter at the same time" (WestDeutsche Zeitung).

 Highlights in the last season include a successful debut in Germany with Niederrheinische Sinfoniker and Shao-Chia Lü for Saint-Saëns Violin Concerto No. 3. Back at home in Taiwan, Wei made his debut with the London Philharmonic under the baton of Edward Gardner performing Sibelius and Saint-Saëns violin concerti which received great attention, following his first collaboration with Eiji Oue and the National Taiwan Symphony Orchestra performing on Tchaikovsky violin concerto. His strong mental strength and adaptability have allowed him to several last-minute step-in concerts with Eliahu Inbal and the Taipei Symphony Orchestra, the latest being Prokofiev’s first violin concerto for Baiba Skride. His season 2024 begins with a return to Weiwuying International Music Festival for a duo concert with Sunwook Kim and debuts with Taipei Chinese Orchestra, National Chinese Orchestra Taiwan, a seasonal opening concert with Kaohsiung Symphony Orchestra with Brahms violin concerto; giving master classes at Talent Music Summer Course and Festival in Brescia, Casalmaggiore Music Festival in Italy and a debut concert at Brandenburgische Sommerkonzerte in Berlin.

As an active soloist and a chamber musician, Wei has collaborated with distinguished artists such as Eliahu Inbal, Marin Alsop, Edward Gardner, Wen-pin Chien, Shao-Chia Lü, Eiji Oue, Gil Shaham, Nai-Yuan Hu, Pei-Yao Wang, Sung-Won Yang, Orion Weiss, Sunwook Kim; his orchestral collaborations include Belgium National Orchestra, Cleveland Orchestra, London Philharmonic, Niederrheinische Sinfoniker, Sejong Soloists, Taiwan Philharmonic, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra, Boston Longwood Symphony; He has appeared on stage of Lincoln Center, Carnegie Hall, Jordan Hall, the Henry Le Boeuf Hall in Brussels, Gasteig Concert Hall in Munich, Seoul Arts Center, Cremona Stradivari Museum (Museo del Violino), National Concert Hall in Taipei and Weiwuying Concert Hall in Kaohsiung.

William Wei captured international attention as the joint gold medalist of the Thomas & Evon Cooper International Competition in 2013. He was later awarded Laureate Distinction at the Queen Elisabeth International Violin Competition in 2015, followed by a reception of the Salon de Virtuosi career grant in 2018. Wei plays the 1722 Stradivari Joachim-Elman violin on a generous loan from the Chimei Cultural Foundation in Taiwan.

Videos 影音連結

• Max Bruch Scottish Fantasy, Op 46 // William WEI, Eliahu Inbal & Taipei Symphony Orchestra

• Ludwig van Beethoven Violin Concerto in D Major, Op 61// William Wei/ Eliahu Inbal

• 1722 Stradivari Joachim-Elman violin photo

• Chimei Cultural Foundation LOGO

榮獲2015年伊莉莎白女王國際音樂大賽桂冠的魏靖儀，是備受國際矚目的臺灣新生代小提琴家。其音樂性天然靈動、情感真摯細膩，演奏技巧游刃有餘，散發光芒四溢的音樂爆發力。比利時《晚訊報》讚譽「在音樂中燃燒他的熱情與率性，直到樂曲完結。」《西德日報》稱「魏靖儀已證明自己是位大師，以一種魔幻敏銳的方式詮釋音樂。」

 上個樂季，魏靖儀與德國下萊茵交響樂團及指揮呂紹嘉首次巡演德國，演出聖桑斯第三號小提琴協奏曲，西德日報讚賞「具有極其細微的音樂顏色變化。」在臺灣，魏靖儀首次與倫敦愛樂、指揮加德納演出西貝流士及聖桑斯協奏曲獲得高度關注；首次與指揮大植英次及國立臺灣交響樂團合作演出柴可夫斯基小提琴協奏曲。他強大的心理素質極富應變能力，讓指揮殷巴爾數度邀請，包括代打絲凱德與臺北市立交響樂團演出普羅科菲夫第一號小提琴協奏曲。2024年春天重返衛武營國際音樂節，首次與韓國鋼琴家金善昱演出二重奏。其他樂季亮點包括將與臺北市立國樂團、臺灣國樂團首次合作，高雄市交響樂團合作演出布拉姆斯小提琴協奏曲；大師班包括義大利布雷西亞音樂營、卡薩爾馬焦雷音樂營、柏林布蘭登堡夏季音樂會，並再次受邀柏林愛樂音樂廳午間音樂會等。

 魏靖儀曾以獨奏家身分與一流音樂家合作，如指揮殷巴爾、艾索普，加德納、簡文彬、呂紹嘉、大植英次；吉爾・夏漢、胡乃元、王佩瑤、梁盛苑、奧里安・魏斯、金善昱等；合作樂團包括比利時國家管弦樂團、克里夫蘭管弦樂團、倫敦愛樂、德國下萊茵交響樂團、世宗獨奏家樂團、國家交響樂團、臺北市立交響樂團、國立臺灣交響樂團、波士頓長木交響樂團等；於紐約林肯音樂中心、卡內基音樂廳、新英格蘭音樂院約旦音樂廳、布魯塞爾王家美術宮拉寶芙音樂廳、慕尼黑加斯泰格音樂廳、首爾藝術中心、克雷默納史特拉底瓦里博物館、臺北國家音樂廳、衛武營國家藝術文化中心音樂廳等。

 魏靖儀於2013年初試啼聲即奪下庫柏國際小提琴大賽首獎，2015年比利時伊莉莎白女王國際音樂大賽榮獲桂冠。2018年獲得 Salon de Virtuosi 藝術事業獎。目前使用由奇美文化基金會贊助提供的1722年史特拉底瓦里「姚阿幸—艾爾曼」名琴。

Evan Wong 汪奕聞, pianist
https://www.evanwongpiano.com/

Praised by the Chopin Magazine in Japan for his "transparent, beautiful tone and thoughtful interpretation," Taiwanese American pianist Evan Wong is the Silver Medalist and audience prize winner of the 6th Sendai International Competition in Japan. He has appeared in recitals and concerts throughout North America, Europe and Asia in venues such as Carnegie’s Weill Hall and Merkin Hall in New York, Jordan Hall and John Hancock Hall in Boston, Chicago Cultural Center and Pick-Staiger Hall in Chicago, Toppan Hall, Hitachi Systems Hall, Kirishima Concert Hall and Itzumity 21 Concert Hall in Japan, Daegu Concert House in South Korea, Flagey Studio 4 in Belgium, Brussels, Richard Jakoby Saal in Hannover, Germany, Palau de la Música Catalana in Barcelona, Spain, Teatro Marrucino in Italy, Music Centre in Helsinki, Finland and Taiwan National Concert Hall, Taichung Opera House and Weiwuying National Kaohsiung Center for the Arts in Taiwan.

He released his first solo album under the Acousence Label in Germany in 2020 and has also recorded for the MPR (Minnesota, USA), WFMT (Chicago, USA), KBS (South Korea), Shanghai Classical 94.7 (China), and the Taipei Classical, Radio Taiwan International, National Education, Bravo 91.3 and Voice of Han (Taiwan) stations.

Mr. Wong has appeared as a soloist with orchestras including the Sendai Philharmonic, Orchestre Royal de Chambre de Wallonie, Orquesta de Cámara de Bellas Artes de México, Southern Illinois Festival Orchestra, Taipei Philharmonic Orchestra, National Taiwan Symphony Orchestra, Evergreen Symphony Orchestra, Taipei Century Symphony Orchestra, New Sendai Philharmonic, Saga Symphony Orchestra, World Civic Orchestra, Northwestern University Symphony Orchestra and the NEC Philharmonia Orchestra and conductors Pascal Verrot, Julian Kuerti, Victor Yampolsky, Dorian Wilson, Daniela Candillari, Paul Meyer, Yuri Nitta, Edward Benyas, Kuokman Lio, Seitaro Ishikawa, Tung-Chieh Chuang, Gernot Schmalfuss and Ludwig Carrasco.

A frequent guest in several renowned festivals, Mr. Wong has performed at the Verbier, Lucerne, Ravinia, Aspen, Gilmore, Kneisel Hall festivals where he has worked and collaborated with musicians such as Itzak Perlman, Miriam Fried, Gary Hoffman, Midori, Mihaela Martin, Pamela Frank, Franz Helmerson, Laurence Lesser, Kim Kashkashian and members of the Cleveland, Takacs and Juilliard Quartets.

Mr. Wong holds degrees from the Hochschule für Musik, Theater und Medien Hannover in Germany (Konzertexamen), Northwestern University’s Bienen School of Music (D.M.A), The Juilliard School (M.M) and the New England Conservatory (B.M). His teachers include Matti Raekallio, Jerome Lowenthal, Wha Kyung Byun, Boris Slutsky, Mengchieh Liu, Alan Chow, Ewa Kupiec and Rolf-Peter Wille.

Currently, Mr. Wong is a Full-time Assistant Professor at the Taipei National University of the Arts. He has also taught at the Harbin Conservatory of Music in China as their Distinguished Professor and served on the faculties at the University of Taipei and Fu Jen University.

Silver medalist and audience prize winner of the 6th Sendai International Competition in Japan, Taiwanese American pianist Evan Wong has appeared in recitals and concerts throughout North America, Europe and Asia.

Mr. Wong has appeared as a soloist with orchestras including the Sendai Philharmonic, Orchestre Royal de Chambre de Wallonie, Orquesta de Cámara de Bellas Artes de México, National Taiwan Symphony Orchestra and released his first solo album under the Acousence Label in Germany in 2020.

Mr. Wong currently teaches at the Taipei National University of the Arts.
 

Program notes of  "Theater on the BEDs 床上的劇場"
by Shiuan Chang 張玹

Theater on the BEDs 床上的劇場 is the concluding piece in Songs of Dun Ren 敦仁 , a 56-minute violin-piano duo commissioned by Dunren 敦仁 Hospital and its founder, Yen-Chung Hu 胡延忠. This musical collection accompanies patients through daily routines—from morning wake-up, breakfast, and exercise to taking medication, having lunch, resting, and eventually drifting to sleep-replacing the hospital’s traditional verbal and bell sound announcements. Songs of Dun Ren reaches out especially to those who have experienced trauma or difficult times, offering comfort and a sense of accompaniment. For Shiuan Chang 張玹, the project became a transformative personal journey: a year ago, he endured a severe panic attack that disrupted his autonomic nervous system. The compositions are the honest documentation of his inner dialogue and ongoing self-reconstruction.

"Before drifting into sleep, my mind wanders upon the bed. I ponder what dreams my fellow patients entertain before slumber. Do they, like me, stage a nightly theater of changing scenes? This piece is my first exploration of minimalism, woven delicately around three notes: B (si), E (mi), and D (re). Though I have no formal study of minimalism, its beauty lies in the subtle weight shifts in repeated intervals, creating a sense of weightless grace."  -Shiuan Chang 張玹.
 

NOTES ON THE PROGRAM
By Dr. Jannie Burdeti

Dmitri Shostakovich (1906 – 1975)
Sonata for Violin and Piano in G major, Op. 134
Andante
Allegretto
Largo – Andante – Allegretto

“I’m much, much happier than anyone in this room in the sense that I’ve known this sonata longer than all of you…I’m deeply moved by every single modulation, every single harmony, every single melody.” -David Oistrakh

Dmitri Shostakovich’s life in music often teetered at the precipice between life and death. Recognized for his exceptional talent from a young age, success as a pianist and composer came early. By the time he was nineteen, his First Symphony had garnered national acclaim; two years later, he became internationally celebrated through performances by famous conductors such as Bruno Walter and Arthur Toscanini. After such widespread acclaim, the public denouncements by the increasingly unbearable Stalin regime, beginning in 1936 with his Lady Macbeth of Mtsensk opera, were all the harder to take. In the infamous editorial which brought chills among the artists of that time, “Muddle Instead of Music,” written after Stalin attended a performance of Shostakovich’s Lady Macbeth, the unsigned writer threatened, “this game might end very badly.” From that moment on, Shostakovich lived in chronic fear for his own life and the safety of his family, while constantly trying to oblige the ruthless authorities. His musical ingenuity and creative power was nonetheless undeniable, especially among Western audiences. Although his name and reputation became deeply associated with Soviet art and communism, his inner suffering and self-hatred colored a life that he frequently wished to terminate.

By the time Shostakovich completed his Violin Sonata in October of 1968, he had endured three public denouncements and had been coerced into officially joining the Communist Party. His health was declining, marked by symptoms of polio and a heart attack in 1966 (he would experience two more). Moreover, in 1967, he wrote: “I am at seventy-five percent: right leg broken, left leg broken, right hand defective. Now I need to damage my left hand and then all one hundred percent of my extremities will be out of order.” Remarkably, he continued composing (often on the hospital bed), and was said to have insisted on responding to every correspondence in his own writing.

Shostakovich wrote his only Violin Sonata for his friend and frequent collaborator, David Oistrakh, on the occasion of his sixtieth birthday. It opens with a stark twelve-tone row, heard in octaves on the piano. Although he had previously lectured against such “dangers of avant-gardism,” he justified it by saying all musical tools which served a greater vision were valid when used in “good measure.” Bach and Mozart also used twelve-note tone rows, he argued. After the opening in the piano, the violin enters with Shostakovich’s musical signature (the notes spell his initials D-Eb-C-B or D-S-C-H in German notation), The atmosphere is grim and barren, while the piano repeats the opening theme. The second theme, marked by march-like staccatos, evokes a macabre humor. A third element enters: spidery, spectral arpeggios heard high in the violin register.

The second movement is terrifyingly ruthless and acerbic. The rhythmic drive is inexorable, as if seated on a relentless machine. It climaxes in the middle with a harsh and sardonic waltz.

The third and and most extensive movement begins with a somber and grand introduction. The violin then presents an eleven-bar theme, played pizzacato, followed by variations in the form of a passacaglia (a repeating bass line). The music rises to two full-blown solo cadenzas, first in the piano and then in the violin. After material from the first movement is reprised, the work ends with eerie shivers: haunting ponticello (played near the bridge) tremolos. The sonata’s official public premiere was given by David Oistrakh and Sviatoslav Richter.

Clara Schumann (1819 – 1896)
Three Romances for Violin and Piano, Op. 22 Andante molto
Allegretto
Leidenschaftlich schnell

“Frenzied applause recalled her to the stage thirteen times. Princes and barons invited her to play at their palaces and showered her with jewels and treasure…she received the greatest honour Austria could bestow…Royal and Imperial Chamber Virtuosa, a distinction without precedent for an eighteen-year-old, who was, moreover, a Protestant, a foreigner, and female. The emperor dubbed her Wundermädchen….” -Nancy Reich, musicologist

Clara Schumann established a career as a tremendous virtuoso pianist of the highest caliber (compared to the likes of Franz Liszt and Anton Rubinstein) despite the greatest personal difficulties. Although a tremendous composer in her own right, she lived as a devoted and supportive wife to Robert Schumann and mother to eight children.

Her ambitious father’s tutelage shaped Clara’s childhood. He was a  piano teacher, proud of his pedagogical abilities, who devoted his life to her musical development. Clara received an exceptionally well-rounded musical education encompassing composition, theory, harmony, counterpoint, vocal, and orchestration lessons to name just a few. She integrated her compositions into her earliest public performances. At the age of 11 with approval from her father, her four polonaises became her earliest published works. Throughout her married life, she composed but often doubted and understated her creative ability as a result of her deep admiration for her husband’s works.

In 1853, at the age of thirty-four, Clara composed her last published works, Opp. 20-23. She would not continue composing after her husband’s death in 1856. It was an eventful and challenging time in her life: her husband faced criticism in his job as music director which Clara took personally and his mental instability became undeniably pronounced—he would commit himself to the asylum the following year. This was also the year that the Schumanns met the young Johannes Brahms and deepened their relationship with the great violinist, Joseph Joachim—both of whom would become important pillars in her life, both musically and personally. All this while, she continued concertizing regularly in Düsseldorf and neighbouring cities.

In 1853, she dedicated her Three Romances, Op. 22 “to the illustrious master and friend, Joseph Joachim, in fond remembrance.” They remain her only compositions for this instrumentation, although the genre of Romances was one she had delved into often. Each romance stands as an individual composition, rather than a single movement within a larger structure, as noted by William Wei, violinist of today’s concert.

The first romance, in D-flat major, is a capsule in time of exquisite tenderness. Its subtle rhythmic ambiguity allows the interplay of lyricism between the two instruments to unfold with utmost grace, as if in spontaneous improvisation. In contrast, the second romance exhibits a more clearly defined rhythmic structure. As the moods oscillate between serious and light, delicate trills are heard. The piece ends with a twinkle in the eye. Clara envelops the final romance of the set with long singing and passionate melodic lines, while the accompaniment undergoes variations.

Brimming with grace and ease, the entire set of Three Romances reveals Clara Schumann’s effortless command of musical expression and offers a peak into her gifts as an improviser.

Robert Schumann (1810 – 1856)
Sonata No. 2 in D minor for Violin and Piano, Op. 121
Ziemlich langsam – Lebhaft
Sehr lebhaft
Leise, einfach
Bewegt

Some tasks in life are best done systematically. When the pianist Sviatoslav Richter learned a new composition, he did not turn the page until he could play what was in front of him perfectly. Richard Strauss’ writing was so methodical and natural that he compared his composing to a cow giving milk. As for Robert Schumann, he focused intensely on composing in one genre at a time: his first twenty-three opuses comprised of exclusively piano works, followed only by vocal works (lieder), and later, his ‘symphonic year’ and ‘oratorio year.’ In 1842, Schumann focused his energies on chamber music, a genre he would visit again intensely in 1851. His many chamber music works include his piano quartet and piano quintet, three string quartets, three piano trios, and three violin sonatas.

Schumann’s composed his first two violin sonatas in a fervor of inspiration in the fall of 1851. He and his family had just moved to Düsseldorf the previous year so that Robert could take on a new job as music director of the Municipal Orchestra and Chorus to support his large family. However, his tenure was short-lived—three years later, his already unstable mental state would result in a failed suicide attempt in the icy waters of the Rhein river. Schumann would spend the rest of his life in an asylum. Bygone musicologists and critics have previously dismissed his later works as victims of his declining mental state but these compositions are now rightly recognized as profound expressions of unbound imagination and genius.

His Violin Sonata No. 2 in D minor, Op. 121, was dedicated to his long-term friend and colleague, Ferdinand David and premiered by Joseph Joachim and Clara Schumann. Joachim wrote to his friend, Arnold Wehner: “I must not fail to tell you about the new Sonata in D minor….I consider it one of the finest compositions of our times in respect of its marvellous unity of feeling and its thematic significance. It overflows with noble passion, almost harsh and bitter in expression, and the last movement reminds one of the sea with its glorious waves of sound.”

Schumann’s use of Brahmsian thematic and rhythmic development results in some of the composer’s most interconnected writing. A majestic introduction opens the movement with the motive DAFD to symbolize the name of David, a motive that will continue to be of significance throughout the work. The rest of the movement organically unfolds, permeated with an agitated, syncopated rhythm.

The gutsy Scherzo that follows is presented in rondo form (it may have served as a seed of inspiration for the young Brahms’ Scherzo in C minor for violin and piano). One of the alternating sections includes a motive outlining a falling fifth (a musical cipher for Clara). The movement climaxes in a quotation of the chorale melody, ‘Gelobet deist du, Jesu Christ,’ heard in both instruments.

Schumann opens the third movement with the familiar chorale melody previously heard in the Scherzo, establishing it as the main theme of the variations that develop throughout the rest of the movement. The set of variations is an exquisite exploration of different textures. An eloquent coda ties the middle two movements together through musical material that harkens back to the Scherzo.

The finale is a tour de force for both instruments that seems to ride on waves of sixteenth notes. The brooding first theme begins tumultuously, undergoing various transformations before being momentarily halted by the lyrical respite of the second theme. The movement culminates in a radiant conclusion in the parallel key of D major, bringing the work to a powerful close.
 

Post-Concert Chinese Press
 
音樂會後新聞稿
Violinist William Wei 魏靖儀 and Pianist Evan Wong 汪奕聞
at NEC’s Jordan Hall,  January 11, 2025

中華表演藝術基金會第36屆音樂季第2場音樂會, 於週六1月11日晚上八時, 邀請備受國際矚目的臺灣新生代小提琴家,  2015 年伊麗莎白女王國際小提琴比賽獲獎者魏靖儀(William Wei), 以及2016 仙台(Sendai) 國際鋼琴賽銀獎及觀眾獎得主鋼琴家汪奕聞(Evan Wong), 在新英格蘭音樂學院的喬丹音樂廳(Jordan Hall) 同台聯合演出。

音樂會盛大而成功。當晚約有300名熱情的觀眾, 對這場令人難忘的音樂會和高水平的演出, 報以熱烈的掌聲和歡呼, 久久不散。音樂會曲目包括:

• 張玹: 《Songs of Dun Ren 敦仁》中的 "床上的劇場《Theater on the BEDs》"(北美首映)

• 蕭斯塔科維奇(Shostakovich): G大調小提琴與鋼琴奏鳴曲, 作品134號

• 克拉拉舒曼(Clara Schumann): 小提琴與鋼琴三首浪漫曲, 作品22號

• 羅伯特舒曼(Robert Schumann): D小調第二小提琴與鋼琴奏鳴曲, 作品121號

榮獲2015年伊莉莎白女王國際音樂大賽桂冠的魏靖儀, 是備受國際矚目的臺灣新生代小提琴家。其音樂性天然靈動、情感真摯細膩, 演奏技巧游刃有餘, 散發光芒四溢的音樂爆發力。《西德日報》(West Deutsche Zeitung ) 稱「魏靖儀已證明自己是位大師, 以一種魔幻敏銳的方式詮釋音樂。」

被日本《Chopin》雜誌形容擁為「充滿透明感的優美音色, 在嚴謹的詮釋中充分展現出了他豐富的才華」的汪奕聞(Evan Wong) 是第六屆日本仙台國際音樂大賽銀獎暨觀眾獎得主。汪奕聞擁有歐美雙博士。

他曾就讀於新英格蘭音樂學院。獲得學術榮譽學士學位(BA with Academic Honors)。多年後, 他首次回到母校, 面對坐在觀眾席中許多對他成長階段影響深遠的老師, 感到既緊張又興奮。他目前為日本經紀公司(Yatabe Music Associates) 旗下藝術家, 並專任於國立台北藝術大學, 也在臺北市立大學、輔仁大學授課。他曾任中國哈爾濱音樂學院特聘教授。

作曲家張玹的作品專輯《Earthing 安土》,  是在參訪敦仁醫院時, 看到現場沒有鐵窗, 沒有異味與令人緊張的聲音, 病友一派閒適。敦仁醫院如何以病友為中心, 通過每日完善由內而外的支持系統, 以輔助發病者恢復自我照顧能力？張玹想, 若為病友創作音樂, 可引他們再訪童年、懷想舊情。新創的音樂可替代原本的廣播與鈴聲, 陪病友起床、用餐、運動、領藥、小睡, 及至晚上伴隨入眠。張玹旨在建立與病友的記憶聯繫, 搭建通往過去的橋樑。

受委託創作之初張玹經歷了非常痛苦的恐慌症發作, 導致嚴重的自律神經失調, 作曲過程對於他恰是一段自省、自癒和自知的旅程。專輯中的《如歌的行版》、《道別 I》、《道別 II》、《又是美好的一天》和《床上的劇場》等諸曲, 不惟是張玹為敦仁病友譜寫, 亦紀錄自我的內在對話與身心重建。遂悟敦仁醫院為何以易經「安土敦乎仁」自期, 故得專輯名。

《波士頓音樂情報》(The Boston Musical Intelligencer) 的樂評 Lee Eiseman 高度讚揚了這場音樂會, 並詳細討論了每一首作品。他形容這場演出為「喬丹音樂廳的四星級震撼」("FOUR STARS WOW Jordan Hall"), 不僅是對兩位演奏家的稱讚, 也包括對喬丹音樂廳全新的斯坦威 D 型鋼琴, 以及魏靖儀所使用的由奇美文化基金會贊助提供的 1722 年斯特拉迪瓦里小提琴(Joachim-Elman Stradivarius)的稱讚。

樂評讚揚魏靖儀的「價值百萬的音色和巧妙的細膩處理」, 以及「在每個音域和動態下都令人驚嘆的音色。」他還讚美汪奕聞的「音樂感」, 並指出他的演奏「帶有持久而甜美的歌唱。」對於他們詮釋肖斯塔科維奇(Shostakovich)《小提琴奏鳴曲》的表現, 他評論道: 「[這]讓我印象深刻, 是我聽過的任何演出中最優秀之一。」

他對作曲家張玹的作品專輯《Earthing 安土》(全長56分鐘, 音樂會上僅演奏了一個樂章)也表現興趣。在音樂會後的慶祝酒會上, 超過30位跨代知名音樂家齊聚一堂, 向他們表示祝賀。該音樂會的視頻將放上中華表演藝術基金會YouTube上. 免費供大家欣賞。也請關注中華表演基金會的 Instagram.