Foundation for Chinese Performing Arts
Summer FREE Concert @ NEC 2026
夏日系列音樂會
at New England
Conservatory,
Boston,Massachusetts Aug
6 to 22,2026
All concerts Admission Free,suggested donation $10 at door
Age 6 and under not admitted
Concert 4
Sunday,August 9,2026,7:30 pm
at
NEC's Williams Hall
Qianwen
Shen,violin
Junhong Kuang
匡俊宏,guitar
Mo Mo
莫漠
,cello
Yinfei Wang
王寅飛,piano
~
Program ~
Franz Schubert:
Sonata in A Minor,D.821 "Arpeggione"
(Arr. for Cello and Guitar)
I: Allegro Moderato
II: Adagio
III: Allegretto
(25 mins)
Manuel de Falla:
Suite Populares Espagnole
(Arr. for Violin and Guitar)
No.1,El Pano Moruno
No.2,Nana
No.3,Cancion
No.4,Polo
No.5,Asturiana
No.6,Jota
(14 mins)
~ Intermission ~
Johannes Brahms:
Piano Trio No.2 in C Major,Op.87
I: Allegro
II: Andante con moto
III: Scherzo (Presto)
IV: Finale (Allegro giocoso)
(28 mins)
Wen Ziyang:
Beethoven in China
(Arr. for Violin,Cello,Guitar and Piano),U.S. Premier
I: Pathetic Dalogue
II: Moonlight on the Grassland
III:Ode to Joy
(11 mins)
Admission Free,suggested donation $10 at door.
Children under 6 not admitted.
中華表演藝術基金會
Foundation for Chinese Performing Arts
Lincoln,Massachusetts
Qianwen
Shen,violinist
Violinist
Qianwen Shen has joined The Metropolitan Opera Orchestra in the 2019 Season.
As an orchestra musician,Ms. Shen has been seen in performances with
Baltimore Symphony Orchestra,Boston Symphony Orchestra,New World
Symphony,Minnesota Orchestra,and Montclair Orchestra. Ms. Shen has served
concertmaster,Principal Second,and other leadership positions for the New
World Symphony,New England Conservatory Philharmonic Orchestra,New England
Conservatory Chamber Orchestra,Mannes School of Music,and Tanglewood Music
Center. She has appeared in ensemble and solo performances at Carnegie
Hall,Boston Symphony Hall,Victoria Theatre and Concert Hall of
Singapore,Hong Kong Art Center Concert Hall,National Centre for the
Performing Arts in Beijing China,Shanghai Music Hall,Shanghai Oriental Art
Center.
As an active
chamber musician,Ms. Shen has been invited to YellowBarn Music Festival in
2014 and 2015,and Perlman Music Program in 2015. She has performed with the
musicians from Cleveland Quartet,Emerson Quartet,Julliard Quartet,Takacs
Quartet,and Peabody Trio.
Born in
Bengbu,China,She began playing the violin at age of four. Her principal
teachers have included Lei Fang,Donald Weilerstein,and David Chan. Ms. Shen
received her bachelor of music degree from Shanghai Conservatory of
Music,master of music degree and graduate diploma from New England
Conservatory,
professional study diploma from Mannes School of Music. She is currently a
violin faculty member at the Mannes Prep Pre-College Music Program.
Junhong Kuang
匡俊宏,guitar
Kuang’s
brilliantly clean passagework and sparkling arpeggios in the outer
movements seem effortless and are balanced by a sensitively played
middle movement, deeply elegant by any standard. (Concierto de
Aranjuez) - American Record Guide, July 2021 (Jim
McCutcheon)
Kuang’s performance is outstanding…His technical facility is
mind-blowing. The way he dispatches the decorations and variations
of the famous theme of the second movement is astonishing. (Concierto
de Aranjuez) - Fanfare, March 2021 (Phillip Scott)
Kuang’s readings are impeccably clean, bright, and graceful
enough to satisfy Rodrigo’s wish that his concerto be ‘no stronger
than a butterfly’. (Concierto de Aranjuez) - BBC Music Magazine, September 2020 (Steph
Power)
Kuang performs the Bach Chaconne with not only technical command
but with an impressive understanding of the architecture of the
piece. - American Record Guide, May 2015 (Kenneth
Keaton)
As one of the most influential
young musicians today, guitarist Junhong Kuang was selected as one
of the ‘30 Brilliant Classical Musicians Under 30 ' by
conductor Julian Lloyd Webber. He has worked with many
conductors, including Darrell Ang, Michael Francis, Tonu Kaljuste,
Kevin Griffiths, Jed Gaylin, Nell Flanders, Chen Xieyang, Chen Lin,
Yin Jiongjie Hu Yongyan, Zhu Qiyuan, Fu Renchang, and shared the
stage with musicians: Manuel Barrueco, David Russell, Pepe Romero,
Lv Siqing, Li-Wei Qin, Tao Wang, and Zeng Yun. He also works closely
with composers Gerald Garcia, Yao Chen, Liu Peng, Jin Zhuosheng and
Wen Ziyang. In 2017, Kuang was awarded the top prize in the
classical guitar category of the prestigious ARD Music Competition,
along with the Audience Prize and the Ifp-Musikpreis, making him the
youngest prizewinner in ARD’s history.
Kuang has performed with some of
the top orchestras around the world, including the Bavarian Radio
Symphony Orchestra, Estonian National Symphony Orchestra, Czech
Chamber Philharmonic Orchestra, Munich Radio Orchestra, Basel
Collegium, Peabody Symphony Orchestras, Sichuan Symphony Orchestra,
Suzhou Symphony Orchestra, Chengdu Symphony Orchestra, Xiamen
Philharmonic Orchestra, and Sichuan Philharmonic Orchestra. Kuang’s
recent performances including Tedesco’s D major guitar concerto
with Sichuan Symphony Orchestra, Rodrigo’s Fantasia para un
Gentilhombre with Xiamen Philharmonic Symphony Orchestra and
Chengdu Symphony Orchestra, Concierto de Aranjuez with Bay
Atlantic Symphony Orchestra, Suzhou Symphony Orchestra and Xian
Symphony Orchestra, Vivaldi’s D major guitar concerto with
Harbin Conservatory of music Symphony Orchestra and Sichuan Symphony
Orchestra and Gerald Garcia’s China Sings with Zhejiang
Conservatory of music Symphony Orchestra. Kuang is also the first
Chinese guitarist to release guitar solo and concerto recordings on
Naxos. In recent years, Kuang was invited to perform for the
opening concert at the Madrid International Guitar Festival in
Spain, to tour with Deutsche Grammophon recording Clarinetist Tao
Wang in China and Japan, and to give a master class at the New York
Juilliard School Pre-college, Hong Kong Chinese University, Peking
University, and Tianjin Conservatory of Music.
Kuang began his study at the age
of nine with Professor Xu Bao in Chengdu, China. He was accepted
into the Peabody Institute of Johns Hopkins University at the age of
15 and is currently studying (Artist Diploma) with the legendary
maestro Manuel Barrueco. He is an associate professor of classical
guitar at the Sichuan Conservatory of Music and Pre-College faculty
at The Tianjin Juilliard School.
Celebrated
by the Weekly Music magazine for his "impeccably logical and
also vivid,emotional playing",Mo Mo has firmly established himself
as one of the leading cellists of his generation. In recent years,he
has performed with esteemed orchestras such as China National
Symphony Orchestra,China Philharmonic Orchestra,China National Opera
House Symphony Orchestra,Beijing Symphony Orchestra,Hangzhou
Symphony Orchestra,and the Macao Chinese Orchestra,under the baton
of Tan Dun,Lv Jia,Yang Yang and Liu Sha. Mo Mo’s performances have
resonated across the United States,China,and Europe at iconic venues
such as Carnegie Hall,Kennedy Center in Washington D.C.,National
Center for Performing Arts in Beijing,Jordan Hall in Boston,and the
Fontainebleau Palace in Paris. He is a regular invitee to
prestigious music festivals such as Tanglewood Music Festival,the
Heifetz International Music Institute,Festival Croisements,Shanghai
New Music Week,and Macao Arts Festival.
As a
soloist,Mo Mo embraces a diverse repertoire and is passionate about
promoting Chinese music culture. He has worked closely with leading
Chinese composers such as Tan Dun,Chen Qigang,Zhao Jiping,Qin
Wenchen,and Zhou Tian,on their groundbreaking cello
concertos,including The Map
andReflet
D`un Temps Disparu.
His artistic ventures extend beyond classical realms,with notable
collaborations with Ms. Han Hong,one of the most revered pop singers
and music producers in China,on her debut cello composition "Chant
for Life",dedicated to those suffered during the worldwide Covid-19
pandemic. He also left his mark on the realms of film
music,recording original music for the acclaimed Full
River Red
by Director Zhang Yimou,and the art world,collaborating with English
sculpture artist Antony Gormley for his exhibition,Living
Time,at
the TAG Art Museum.
Mo Mo’s
2024-2025 season highlights include featuring in the season opening
concert of New Jersey Festival Orchestra,performing Tan Dun’s cello
concerto
Crouching Tiger and Hidden Dragon. Solo
appearance with Beijing Symphony Orchestra in NCPA China Orchestra
Festival and Shanghai Spring International Music Festival,with China
Symphony Orchestra in their season concert,as well as concert in
International Music Festival in Yaroslavl.
An avid
chamber music player,Mo Mo has collaborated with renowned musicians
such as Mark Kaplan,Ilya Kaler,and Robert Diaz. He was invited to
tour with artists from the Heifetz International Music
Institute,performing across Rode Island and New York. In 2018,Mo Mo
joined Beijing Contemporary Soloists,the first professional
contemporary music ensemble in China,dedicated to promoting chamber
works by both Chinese and international composers. Their debut
album,Jade,released under Naxos in 2022,features chamber
works by five distinguished Chinese composers.
Mo Mo
began his cello studies with Professor Song Tao at the Central
Conservatory of Music in Beijing at the age of 6,and later with the
legendary Brazilian-American cellist Aldo Parisot at Yale School of
Music. His accolades include top prizes at international
competitions such as the 2016 Schoenfeld International String
Competition in Harbin,China,and the 2017 Koussevitzky Young Artist
Award in New York. He is also a recipient of the Aldo Parisot Prize
from Yale University,the Karl Zeise Memorial Cello Award from
Tanglewood Music Center,and the Beneficent Society Scholarship from
New England Conservatory. His other mentors includes Mula
Na,Laurence Lesser,and Philippe Muller.
Pianist
Yinfei Wang made his first public appearance at the age of seven in
the Shanghai Concert Hall. Since then, he has performed throughout
China, Singapore, Spain, Australia and the United States. He has
been a prizewinner of many national and international piano
competitions, including Washington International Piano Competition,
Gershwin International Piano Competition, Five Towns Piano
Comeptition in New York, Jacob Flier Piano Competition, Shande Ding
Piano Competition in Shanghai, Chopin Piano Competition in
Connecticut and many others. As a soloist, Mr. Wang has performed
with the Hudson Valley Philharmonic Orchestra, the MSM Symphony
Orchestra, with conductors Vladimir Feltsman, Phillipe Entremont,
among others.
An avid chamber musician, Mr. Wang has performed in many music
festivals and concert series, including The Perlman Music Program,
PianoSummer at New Paltz, Summer Concerts at NEC in Boston, Walnut
Hill Music Festival, the Concerts on the Slope series in New York,
and many others. He has collaborated with musicians such as Thomas
Hill, Nai-Yuan Hu, Nicholas Kitchen, Kenneth Radnofsky and Cong Wu.
His recordings could be found in the Shanghai Conservatory of Music:
Seventieth Anniversary Gala Album.
Mr. Wang received his Bachelor’s degree from the Shanghai
Conservatory of Music, his Master’s and Doctor of Musical Arts
degree from the Manhattan School of Music. His Principle teachers
include Phillip Kawin, Yanxin Chen, Christopher Zhong and Chongfang
Zhang.
Program Notes of "Beethoven in China"
Wen Ziyang:
Beethoven in China (Arr. for Violin,Cello,Guitar and Piano),U.S. Premier
(Composed in commemoration of the 250th anniversary of Beethoven's birth)
I: Pathetic
Dalogue
II: Moonlight on the Grassland
III: Ode to Joy
"Beethoven in
China" creates a dramatic collision and vibrant fusion between elements of
Beethoven’s music and traditional Chinese musical idioms,offering audiences
an exceptionally fresh and richly rewarding listening experience."
— Music Weekly (Reporter: Xu Limei)
To Chinese
audiences,Beethoven has always carried a unique significance,one closely
connected to his life story. Chinese listeners often turn to Beethoven’s
music as a way of contemplating their own inner world. With this in mind,I
selected several of Beethoven’s most iconic works—including the "Pathétique,"
"Moonlight," "Dawn," and "Ode to Joy"—and combined them with Chinese folk
melodies.
The first
movement presents a raw and confrontational juxtaposition,placing Chinese
folk tunes directly alongside Beethoven’s original musical materials. The
second movement resembles a chaconne: over the harmonies and textures of the
"Moonlight" Sonata,a Mongolian folk melody flows quietly,evoking the
star-filled sky above the grasslands. The third movement is a rondo-like
dance in which "Ode to Joy" intertwines with festive Chinese musical
traditions,propelling the music again and again toward exhilarating
climaxes.
My intention is
not to quote Beethoven’s music extensively,nor to imitate his compositional
style. Rather,I seek to discover a distinctly Chinese mode of expression
within his musical materials. To me,this reflects the Chinese understanding
of Beethoven: he is not merely an isolated Western composer,but someone who
lives in the hearts of each of us.
Beethoven in China
Commemorating the 250th Anniversary of Beethoven’s Birth (2020 / rev. 2026)
Composed by Wen Ziyang
I: Pathetic Dalogue
II: Moonlight on the Grassland
III:Ode to Joy
"Beethoven
in China brings the musical elements of Beethoven into a fierce and
fiery encounter with Chinese music,offering audiences a strikingly fresh and
richly layered sonic experience."— Music Weekly (Reporter: Xu
Limei)
To the Chinese,Beethoven has always carried a unique resonance—perhaps
because his life story mirrors an inner struggle familiar to many. Chinese
listeners often turn to Beethoven’s music as a way to contemplate their own
hearts.In this work,I have chosen some of his most recognizable pieces—Pathétique,Moonlight,Dawn,and
Ode to Joy—and intertwined them with Chinese folk melodies.
The first movement is a raw and confrontational
juxtaposition: folk songs and Beethoven’s original materials are set
directly against each other.
The second movement,resembling a chaconne,unfolds
quietly; over the harmony and texture of Moonlight Sonata,Mongolian
folk tunes drift gently like stars over the steppe.
The third movement is a swirling dance where Ode to Joy
alternates with festive Chinese motifs,driving the music to an ecstatic
culmination.
Rather than quoting Beethoven excessively or imitating his style,I sought to
uncover a Chinese mode of expression within his materials. To
me,this reflects the way Chinese people understand Beethoven—not as a
distant Western figure,but as a spirit that lives within us all.
Thank you for your
generous contribution to
Foundation for Chinese Performing Arts
中華表演藝術基金會
Foundation for Chinese Performing Arts
Lincoln, Massachusetts