|
GUO WENJING
|
Guo Wenjing was born in 1956 in Chongqing, an ancient city of China’s mountainous Sichuan province, and the resulting combination of urban tension and regional folklore in his formative years has fused together into a highly distinctive compositional voice. In 1978, Guo was one of a hundred students admitted out of 17,000 applicants to Beijing’s reopened Central Conservatory of Music. Unlike many colleagues from this acclaimed class (Tan Dun, Chen Yi, Zhou Long), Guo remained in China after graduation except for a short stay in New York (on an Asian Cultural Council grant) and has spent little time outside his home country. Guo’s prolific output includes the internationally acclaimed chamber operas WolfCubVillage (1994) and Night Banquet (1997-98/2001). The former, based on Lu Xun’s Diary of a Madman, was premiered at the Holland Festival, and after a subsequent performance in Paris, Le Monde compared his “masterpiece of madness” to Berg’s Wozzeck and Shostakovich’s The Nose. Night Banquet, inspired by a painting about the Song dynasty court official Han Xizai, was first produced at the Almeida Theatre (London) and the Hong Kong Arts Festival. A subsequent production, premiered at the Paris Autumn Festival, has also appeared at the Berlin, Lincoln Center, and Perth International Arts festivals. In October 2003, both operas received their Chinese premiere at the 6th Beijing Music Festival, directed by Lin Zhaohua of the Beijing People’s Art Theatre. Guo’s recent chamber opera output include Mu Guiying (2003) and Hua Mulan (2004), new Beijing operas directed by Li Liuyi that premiered at the Beijing Capitol Theatre, and Fengyiting (2004), written for Beijing opera tenor and Sichuan opera soprano, premiered in the Concertgebouw in Amsterdam. Critics from many countries have responded to Guo’s “unparalleled musical beauty and dramatic power” (Le Monde), and found his work “pungent and vivid” (The Guardian), “uninhibited and pure” (Het Parool) and “subtle and unusual” (Frankfurter Allgemeine Zeitung), with the composer “showing his credentials as a man of the theatre” (Financial Times) with “a highly original sense of operatic possibility” (The Independent). Guo’s music first became known in the West in 1983, when his Suspended Ancient Coffins on the Cliffs on Sichuan premiered in Berkeley, California. The piece clearly salutes Bartok, highlighting two solo pianos with a battery of percussion instruments, but the strong imprint of Guo’s own Sichuanese roots is unmistakable in the orchestral writing. Shu Dao Nan [“Hard are the ways of Sichuan”] (1987), a symphonic poem with voices, is a setting of Li Bai’s poetry, which the official People’s Music Publishing House selected as part of its series “Twentieth-Century Distinguished Chinese Classics.” Chou Kong Shan [“Sorrowful, Desolate Mountain”] (1992, rev. 1995), a concerto for Chinese bamboo flute, was premiered by the Goteborg Symphony Orchestra in Sweden under the baton of Neeme Järvi. Guo’s other orchestral works include concertos for violin, cello, and harp. His most recent work, written for soprano and orchestra, Journeys, was a commission premiered by Edo de Waart and the Hong Kong Philharmonic in October 2004. The text for Journeys was taken from epic poetry by contemporary Chinese poet Xi Chuan.Apart from his chamber music for traditional western string quartets and percussion ensembles, Guo also has composed Late Spring (1995) for Chinese ensemble and Sound from Tibet (2001) combining instruments from China and the West. Among his most performed chamber works are Drama (1995, a trio for three percussionists who also speak and sing), Inscriptions on Bone (1996, for alto singer and 15 instruments), and She Huo (1991, for eleven players), and Parade (2004, a sequel to Drama, for three percussionists). Guo has also composed music scores for 20 feature films and 25 television films in China. At home, Guo has been honored among the Top 100 Living Artists of China. Abroad, his works have been featured at festivals in Amsterdam, Berlin, Glasgow, Paris, Edinburgh, New York, Aspen, London, Turin, Perth, Huddersfield, Hong Kong and Warsaw, and at such venues as the Frankfurt Opera, Berlin’s Konzerthaus, Amsterdam’s Concertgebouw, Washington’s Kennedy Center and New York’s Lincoln Center. He has written works for such internationally distinguished ensembles as the Nieuw Ensemble, Atlas Ensemble, Cincinnati Percussion Group, Kronos Quartet, Arditti String Quartet, Ensemble Modern, Hong Kong Chinese Orchestra, Goteborg Symphony Orchestra, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, and Hong Kong Philharmonic Orchestra. The former head of the composition department of the Central Conservatory, where he still remains on the faculty, Guo maintains a busy schedule as composer and educator. His forthcoming works include: a concerto for erhu (Chinese two-stringed fiddle) co-commissioned by the Singapore Symphony Orchestra (worldpremiered on 19 January 2007) and the Bavarian Radio’s longstanding concert series “Musica Viva”; the opera Poet Li Bai (upon the most famous Tang dynasty poet) the world premiere of which was on July 2007 in Denver (Colorado) during the Summer Festival of the Central City Opera. European premiere took place in Rome, May 2008.Both works receive their premieres in 2007. In October 2009, JIP premiered the Madman's part in 'Suite from Wolf Cub Village' at 2nd Int. New Music Days Shanghai. http://en.wikipedia.org/wiki/Guo-Wenjing
|
 |
|
|
DEQING WEN
|
Wen Deqing. Born in a small village in Southern China, Wen studied composition in China, Switzerland and France, with Guo Zu-Rong, Shi Wan-Chun, Luo Zhong-Rong, Jean Balissat and Gilbert Amy. He was a visiting scholar at Columbia University in New York City while 2005 to 2006. At present, he is professor of “analysis and performance of contemporary music”, as well as the artistic director of New Music Week of Shanghai Conservatory of Music. Composer in residence of “Davos Festival – young artists in concert” 2009. His music is a mixture of traditional Chinese music and complex western techniques combined with his own creative inspiration. Wen is deeply influenced by Chinese culture, particularly philosophy, painting and calligraphy. He also tries to use everyday objects such as cans, bottles, glasses, wind machines, tap water and paper. His music has been performed around the world. He has been honoured with concerts dedicated to his compositions in China, France, Denmark, Switzerland and the United States. Deqing Wen’s CD is published by Stradivarius (Italy) and Grammont Portrait (Switzerland). He has been awarded numerous prizes (among others the Prix Cultura 1999 of the Foundation Kiwanis and the 2001 Composer Prize of the Foundation Leenaards of Switzerland). His commissions include Pro Helvetia, the Festival Archipel, the Association des Amis de la Musique , the Wittener Tage für neue Kammermusik for Arditti String Quartet, Radio-Espace 2 for the Orchestre de la Suisse Romande and the Taipei Chinese traditional orchestra of Taiwan. His opera «Le Pari» (The Wager) has been performed in the international Festival of Geneva (Switzerland), Shanghai, Beijing and Savonlinna (Finland). Since 1991 Wen has been living in Geneva. He is a member of the Association Suisse des Musiciens and the Societé Suisse pour les Droits des Auteurs d’Oeuvres Musicales. Over these past few years, he has returned to China several times to take part in musical exchanges between China, Switzerland, USA and France. www.deqingwen.com |
|
|
|
TAM CHIN FAI, SAMUEL |
Tam Chin Fai, Samuel (born 1969) studied composition with Victor Chan and David Gwilt at the Chinese University of Hong Kong. His early works combined traditional values with experimental elements, as illustrated in his electronic-acoustic ensemble work “Concerto Grosso I” which won him the Yu Luan Shih Creativity Award. Tam works in the field of popular music production for many years and had received several major awards. Recently Tam is working in the field of music education as well as remaining active in serious music composition. His works show great interest in Chinese subjects and attempt to blend traditional and non-traditional sounds (tonal, atonal, etc.) in a contemporary musical context. Music by Tam Chin Fai has been widely performed by local and overseas musicians, including Shum Kin Wai, The Cantacore Society, Ying Wa College Old Boys’ Choir, Valentin Johannes Gloor, Simone Keller, Sregnis Singers and Brain Lai. His new work “If Life is Unknown…” for wind quintet was premiered by the Hong Kong Kamerata earlier this year. His string quartet “Shan Shui I” was selected for the final round of the 7th International Contemporary Music Contest “Città di Udine”, and was published in Italy. His choral work “Deng Luo You Yuan” will also be published by the Hong Kong Composers’ Guild in the coming days. http://www.hkcg.org/Composers/tamchinfai_e.html
|
|
|
|
HUANG RUO Painted Skin, 2011 |
Huang Ruo. “one of the most intriguing of the new crop of Asian-American composers.” His vibrant and inventive musical voice draws equal inspiration from Chinese folk, Western avant-garde, rock, and jazz to create a seamless, organic integration using a compositional technique he calls "dimensionalism." Huang Ruo’s writing spans from orchestra, chamber music, opera, theater, and modern dance, to sound installation, multi-media, experimental improvisation, folk rock, and film. Ensembles who have premiered and performed his music include the New York Philharmonic, Philadelphia Orchestra, Hong Kong Philharmonic, Chamber Music Society of Lincoln Center, Asko Ensemble, Nieuw Ensemble, Quatuor Diotima, and Dutch Vocal Laboratory, and under conductors such as Wolfgang Sawallisch, James Conlon, Dennis Russell Davies, Ed Spanjaard, Xian Zhang, and Ilan Volkov. Huang Ruo has received awards and grants from the ASCAP Foundation, Presser Foundation, Jerome Foundation, Argosy Foundation, Greenwall Foundation, Meet The Composer, NYSCA, Chamber Music America, American Music Center, Aaron Copland Award, and Alice M. Ditson Award. Huang Ruo has collaborated with New York City Ballet's principal dancer Damian Woetzel and choreographer Christopher Wheeldon, in addition to kinetic painter Norman Perryman. In 2003, Miller Theatre featured Huang Ruo on its Composer Portraits series, where his four chamber concertos were premiered as a cycle with him conducting. New York Times critic Allan Kozinn listed this concert as the second on the list of his “Top Ten Classical Moments of 2003.” Huang Ruo’s Chamber Concerto Cycle was released on Naxos in February 2007; Leaving Sao, a work for orchestra and Chinese Folk Voice, was released on Albany Records with his own singing in 2008; and Divergence came out on Koch International in 2009. Huang Ruo’s film credits include soundtracks for Jian-Fu Garden and Stand Up. The latter was recently named the Official Selection for the Rhode Island International Film Festival and the Atlanta International Film Festival. His music has been played in Carnegie Hall’s Zankel Hall and Weill Recital Hall, Avery Fisher Hall and Alice Tully Hall at Lincoln Center, Miller Theatre at Columbia University, Symphony Space (New York), the Academy of Music (Philadelphia), the Chicago Museum of Contemporary Art, the Chicago Cultural Center, the Harris Concerto Hall (Aspen), the Muziekgebouw aan ’t IJ and Paradiso (Amsterdam), the Shanghai Concert Hall, and the Hong Kong City Hall cultural complex. A frequent winner of the ASCAP Concert Music Award, Ruo’s work has been spotlighted on National Public Radio (NPR), Radio Finland, Radio Sweden, Radio-Amsterdam, Radio-Canada and Radio-China. Huang’s recent commissions include a cello concerto, People Mountain People Sea, for Jian Wang, co-commissioned by the ASCAP Foundation as part of Miller Theatre’s Pocket Concerto series; Real Loud, a chamber work co-commissioned by the La Jolla Music Society’s SummerFest and the Santa Fe Chamber Music Festival; and The Color Yellow, a concerto for sheng, written for Wu Wei and the Albany Symphony under David Alan Miller. Huang Ruo’s future concerts include with the Hong Kong Philharmonic Orchestra at Hong Kong’s Culture Center Concert Hall, Shanghai Symphony at the Shanghai Grand Theater, as well as the American Composers Orchestra with him singing his own Leaving Sao at Carnegie Hall’s Zankel Hall in 2009.His future commissions and premieres include an orchestra work for the Shanghai Spring International Music Festival with the Shanghai Symphony, the chamber concerto MO for the Luxembourg Sinfonietta (Luxembourg), an grand opera for the Opera Hong Kong, a chamber opera for the Dutch Vocal Laboratory (Netherlands), String quartet No.2 for the Carducci Quartet (Great Britain), and String Quartet No.3 for the Chiara Quartet (USA), chamber works for UMS ´N JIP (Switzerland), the Continuum Ensemble, Camerata Pacifica, the Bowdoin Summer Music Festival, the Macau International Music Festical. Huang Ruo’s past film credits include sound tracks to the films Jian-Fu Garden as well as Stand Up. His works are published by the Huang Ruo Publishing and Recording Company, which he founded in 2000. Also noted as an author, he published Selection of Classic Chinese Folk Songs (Zhong Shan University Press). In 2006, the National Committee on United States–China Relations selected him as a Young Leader Fellow. A frequent winner of the ASCAP Concert Music Award, Ruo’s work has been spotlighted on National Public Radio (NPR), Radio Finland, Radio Sweden, Radio-Amsterdam, Radio-Canada and Radio-China. Aside from being an avant-garde composer, he is also a conductor and Chinese folk-rock singer, releasing commercial recordings on Naxos and Albany Records, and making debuts at Lincoln Center as well as Carnegie hall. Also noted as an author, Huang Ruo published Selection of Classic Chinese Folk Songs with the Zhong Shan University Press. His music is published by the Huang Ruo Publishing and Recording Company, which he founded in 2000. Huang Ruo has been an invited lecturer and forum presenter at New York University, Columbia University, Central Conservatory of Music in Beijing, Shanghai Conservatory of Music, and Guangzhou Conservatory of Music. He was also a visiting composer at the Oberlin Conservatory of Music and the University of Georgia. Huang Ruo was born in Hainan Island, China, in 1976, the year the Chinese Cultural Revolution ended. His father, who is a well-known composer in China, began teaching him composition and piano when he was six years old. Growing up in the 1980s and 1990s, when China was steadily opening its gates to the Western world, he received both traditional and Western education at the Shanghai Conservatory of Music. He was admitted into its composition program, studying with Deng Erbo at the age of twelve. As a result of the dramatic cultural and economic changes in China following the Cultural Revolution, his education expanded from Bach, Mozart, Stravinsky, and Lutoslawski to include the Beatles, rock and roll, heavy metal, and jazz. Huang Ruo was able to absorb all of these newly allowed Western influences without inhibiting factors. As a member of the new generation of Chinese composers, he clearly knows that his goal and task is not just to mix both Western and Eastern elements, but to go beyond that to create a seamless integration and a convincing organic unity, drawing influences from various genres and cultures. After winning the Henry Mancini Award at the 1995 International Film and Music Festival in Switzerland, he moved to the United States to further his education. Since then, he has earned a Bachelor of Music degree from the Oberlin Conservatory of Music and Master of Music and Doctor of Musical Arts degrees in composition from the Juilliard School. His composition teachers have included Randolph Coleman and Samuel Adler. Huang Ruo is currently a member of the composition faculty at SUNY Purchase. He is the artistic director and conductor of Future In REverse (FIRE), and was selected as a Young Leader Fellow by the National Committee on United States–China Relations in 2006. www.huangruo.com |
|
|
|
DU YUN Panacea, No-chê, 2009
|
Du Yun. Born and raised in Shanghai, China, Du Yun currently resides in New York City. She is an alumna of Shanghai Conservatory, Oberlin Conservatory (B.M.) and Harvard University (M.A., Ph.D). Her principal compositional teachers include DENG Erbo, Randolph Coleman, Bernard Rands, Joshua Fineberg, and Mario Davidovsky. She currently serves on the composition faculty at the State University of New York-Purchase. Aside from composing notated music for concert halls, Du Yun's music also spans from writing for art shows, experimental theatres to improvising/performing actively at avant-garde venues on the amplified/processed Chinese zither (the 21-string zheng), piano, laptop, and with her own voice. Propelled by the kernel of genere-defying, her approach to music, regardless its formation, has always aimed to be ultimately visceral; to evoke a sense of corporeality stripped-down from spirituality. Recent recipient of the 2007 Fromm Foundation, in the recent years Du Yun has been granted of awards, fellowships, and commissions including from the Jerome Foundation, Meet the Composer, American Music Center, Greenwall Foundation, Lower Manhattan Council, the First Place of China National Young Composer Competition, Harvard Dissertation Completion Award, winner of the 3rd British and International Bass Forum Composition Competition (solo section), Adelbert W. Sprague Prize, the audience award of the 2004 International Composer Forum in Montréal, Canada, New Trumpet Festival of New York, and the Shanghai New Music Foundation. http://www.iceorg.org/about/artist/yun.html
|
|
|
|
TAO YU
|
Tao Yu. born 1981 in Beijing. Tao Yu began private piano lessons with Wang Jia, Wang Ming-li and Zheng Xiu-lan in Beijing at age four and studied composition privately with Wang Ning in Beijing from 1995-99 and privately with Yao Heng-lu in Beijing from 1998-2002. She studied composition with Shi Wan-chun at the Conservatory of Music in Beijing from 1996-2000, where she also studied composition with Wang Ning from 2000-02, on a scholarship. She then studied composition with Nicolas Bolens and Éric Gaudibert and electronic music with Rainer Boesch and Émile Ellberger at the Conservatoire de Musique de Genève from 2002-05. Among her honors are Second Prize in the art song competition of the Conservatory of Music in Beijing (2000, for Rose) and the Excellence Prize in the TMSK Chinese chamber music competition in Shanghai (2003, for Poetry of the Autumn Wind). She has received commissions from Ensemble Phoenix, pipa-player Han Yinying, theorbo-player Markus Hochuli, the ensemble Ilôrkestra, and the Museum Rath in Geneva and her music has been performed in China, Germany, Japan, Poland, South Korea, Switzerland, and the USA. |
|
|
|
LI KAR YEE, KARRY |
Li Kar Yee (b. 1981) received her Master Degree of Music with local full scholarship, major in composition and electronic music in The Hong Kong Academy for Performing Arts, studied with Law Wing-fai and Clarence Mak. In 2006, her Spring won the Best Composition Award in the HK New Generation Composition Concert and was selected to be performed in the 2006 Musicarama Festival and Macau Orchestra Concert. She participated in the ACL Music Festival in Bangkok in 2005 as the HK Young Composer Representative with her chamber work Summer performed in the concert. In 2008, Li has her 1st individual multi-media concert Escape in HKAPA. Apart from presenting her compositions in concerts, Li is active in promoting creative art and music and related educational activities for the young generation. She formed the Creator Of Music Performance Organization (COMPO) with a group of young composers in 2003 for promoting Contemporary music in Hong Kong, and currently working as the president. She is currently a part-time teacher of the Hong Kong Academy for Performing Arts. http://www.hkcg.org/Composers/likaryee_e.html
|
|
|
|
WU GUANQING, CHRIS |
Wu Guanqing, Chris. Born 1983 and raised in Guangzhou, China, Guanqing is an Chinese female composer and pianist. She is now doing her doctoral degree at The Chinese University of Hong Kong. She had studied at Shanghai Conservatory (B.A in both composition and conducting), University of Missouri-Kansas City, and The Chinese University of Hong Kong (MMus). Her principal compositional teachers include Ye Guohui, Victor Chan, Wendy Lee, Mario Davidovsky, Chen Yi, Zhou Long, Paul Rudy and James Mobberley. She began her music career with piano study at age 3. Three years later, she made her first successful debut as a child pianist. She was granted the “Best Performance Prize” in the 7th YMCA International Piano Competition when she was at the age of 13. At 15, she found her interests in composing and thereafter she began her formal training as a composer. Her music compositions have been performed in different places, including Beijing, Shanghai, Guangzhou, Hong Kong and The United States. Her chamber work Died For Beauty (for four flutes) was selected for the grand opening of The Beijing International Modern Music Festival. In recent years, commissions, scholarship, and awards she received include those from The Academia, Ensemble Tag, UMS 'n JIP, Hop Wai Foundation, the 2010 David Gwilt Composition Competition, the 2008 New Generation Young Composers’ Competition and the UMKC Chamber Music Composition Competition. Her recent compositions include: Nirvana (written for Nieuw Enemble), Last Dance of the Prey (premiere by Musica Nova), Mountain song (for woodwind quintet and cello), The Sick Rose (for Academia Winds), and The Fly (commissioned by UMS ‘n JIP).
|
|
|
|
CHEN YEUNGPING A silent tree, 2010 New Work |
Chen Yeungping was born in Hong Kong in 1983, where he first studied clarinet and then composition from 2002 until 2005 at the Hong Kong Baptist University. He starts his postgraduate studies with Law Wing-fai and Clarence Mak immediately afterwards at the Hong Kong Academy of Performing Arts. In addition, he has studied privately and in masterclasses with Wolfgang Rihm, Isabel Mundry, Misato Mochizuki, Marco Stroppa, Guo Wenjing, Stefano Gervasoni, Xiaoyoung Chen, Tokuhide Niimi, and Julian Yu. He gave academic presentations and attended exchange programs and modern music festivals in Guangzhou, Bangkok, Bali, Beijing, Darmstadt, Taipei and Shanghai. As an original mixture of Western tradition and Asian cultural temperament, his music develops seductive atmosphere and astonishing sound colors with a freedom in form and style; the genres of his music include chamber, symphonic, electronic, multimedia, and arrangements. The unique mixture of Western and Chinese musical idea and effort in his music has attracted more and more people. One of his most representative pieces Bie I, a duet for clarinet and sheng, was being one of the winning works of International Call for Duet Compositions at Shanghai Conservatory of Music, New Music Week 2009 and won the prize of Inter-Sections fellowship. Recently, one of the prestigious contemporary music groups in Asia - Hong Kong New Music Ensemble has performed the complete series of Bie in Hong Kong Osage Gallery conducted by conductor of Hong Kong Philharmonic Orchestra Perry So.
|
|
|
|
LIU JIAN |
Liu Jian, born in Guangzhou in 1984, studies piano and painting since she was very young. She finished her bachelor’s degree in Xinghai Conservatory of Music, where she got the dual degree of musicology and composition theory. In the musicology department, the history of western music is her major, and her tutor is Professor Huang Hong. She learned composition theory from Professor Xu Xueji and Associate Professor Li Fang. Now she is a graduate student of Shanghai Conservatory of Music, where she learns composition theory from Associate Professor Lu Huang. In theory, Liu Jian concentrates on the relation between Stravinsky and Picasso, and the research of the space in music; In practice, she makes the composition of both of western instruments and Chinese traditional instruments, and devotes to the exploration of the combination of western and Chinese style in the modern music. Developing of both the theory and practice, and the loving of the fine arts endow her music with rich imagination and unique style. The new pieces which won several prizes and have been performed in 2008 and 2009 are: the Dragon playing a ball for Pipa and percussion (Excellence Awards in the TMSK Chinese Traditional Chamber Music Competition in Shanghai in 2007), Eight Claws for two violins (Candidate Prize in the 2008 “Palatino” Awards, premiered in Concert Hall of Central Conservatory of Music in May 2008), Song for the Yellow River Boatman for Chinese bamboo flute solo (chosen oeuvre for the Contemporary Music Performance Competition for Challenge and Encouragement Award, premiered in He Luting Concert Hall of Shanghai Conservatory of Music in June 2008), Saluting to Mozart for percussion nonet (commissioned by Wang Yinrui for his “Special Concert of Percussions” of the Shanghai Traditional Orchestra, premiered in the Shanghai Oriental Art Center in September), Ping-pong and the Ball for two groups of tempo block (Excellent Award for the Composing in the 14th National Musical Pieces Prize), the Cross Talk for three Suona horns (Consolation Prize for the “Min Yin Cup”, the 2nd Chinese Traditional Chamber Music of Shanghai Conservatory of Music in 2008), Thunders in the summer day for Pipa and Zheng (the Second Prize of the “Chang Feng Prize”, 16th International Chinese Traditional Instrumental Composition Competition in 2008), the septet My Steps (Selected for the Special Concert for the Chinese Young Composer in the Germany Music Week in Beijing in 2009, premiered by Ensemble Recherche), and Er-Hu for two Erquan Hu (entering in the 2nd New Music Week of Shanghai Conservatory of Music in 2009). |
|
|
|
NG KING FUNG, KELVIN |
Kelvin King-fung Ng was born in Hong Kong in 1985. He is currently a Master of Music in Composition candidate in the University of Missouri-Kansas City, after studying Music and Psychology in the Chinese University of Hong Kong. His major teachers include Chan Wing-wah, Chen Yi, Lo Hau-man, James Mobberley, João Pedro Oliveira, John Psathas, Paul Rudy, and Zhou Long. http://www.kelvinng.info http://www.hkcg.org/Composers/ngkingfung_e.html |
|
|
|
LEE KAR TAI, PHOEBUS |
Lee Kar Tai, Phoebus. Phoebus Lee was born in Hong Kong in 1986. He had obtained his Bachelor of Arts degree in Music and Master of Music degree from the Chinese University of Hong Kong, studying composition with Professor Victor Chan, Professor Wendy Lee Wan-ki and Dr. Lo Hau-man. He was admitted to the Doctor of Music program (D.Mus.) at CUHK once after his master graduation in 2009 and attained his doctoral candidature in 2010. In recent years, he was awarded the Composers and Authors Society of Hong Kong Scholarship 2008/2009 and the Winner Award of the New Generation 2010 held by Hong Kong Composers’ Guild and RTHK Radio 4. He is also a member of the Composers and Authors Society of Hong Kong and the Hong Kong Composers’ Guild. http://www.hkcg.org/Composers/leekartai_e.html
|
|
|
|
TRADITIONAL CHINESE
MUSIC REPERTOIRE (live recordings, Switzerland
01/2009) Autumn Moon In The
Imperial Palace Of Han Dynasty PERFORMERS
TRADITIONAL CHINESE MUSIC (Switzerland
01/2009)
MORE ABOUT CHINESE MUSIC |
|
