TMAF 2021 @SF Program Book

2021 JUL 25 AUG 07

Artistic Director Cho-Liang Lin

TAIPEI MUSIC AC ADE MY & FEST IVAL

ADVISOR

PRESENTER

SPONSOR

AIRLINES

SUSTAINABLE PARTNERSHIP

SPECIAL THANKS

楊懷卿、王煒

SAN FRANCISCO TAIPEI SISTER CITY COMMITTEE

ARTISTIC DIRECTOR'S FOREWORD

Last year, when concert halls around the world faced indefinite closure as the pandemic swept across the globe, Taiwan was a fortress of health and safety. It offered perhaps the safest music sanctuary in the world. Concerts took place and musicians played to packed houses. But the tide turned recently as a surge of Covid-19 related infections started to menace the populace in Taiwan.

Obliging the guidelines of the health authorities means TMAF with all its educational activities and concerts can no longer take place in Taipei this

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summer.

How do we keep the music going? This difficult challenge landed on my lap exactly two months before the scheduled start of TMAF. I felt a keen obligation to keep the promise to the young musicians. The show must go on. But how?

Life has certain ebb and flow. As concert hall lights dim in Taiwan, the curtains in America are starting to raise. Can I pivot to America that quickly? Luckily, I got connected with the San Francisco Conservatory of Music. After a conversation with their visionary and energetic president, David Stull, I felt this might just be possible. Our collaboration evolved and progressed quickly. We had to act fast.

We had to work out venues, new programs, student housing, vaccination, concert planning, lodging for the faculty, new staff, catering and rerouting the faculty and students 10,000 km away. Not easy. But I am pleased to present to you TMAF@SF. The talented students will have state of the art facilities at San Francisco Conservatory for their studies and performances.

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We will present performances in two beautiful concert halls at the San Francisco Conservatory. The acoustically excellent Hume Concert Hall and the brand new Barbro Osher Recital Hall in the stunning Bowes Center. We will also perform a concert at the Frost Amphitheater on Stanford University campus in Palo Alto.

Our concerts will be streamed by Violin Channel worldwide as well as being aired by Taiwanese TV. I am grateful to the San Francisco Conservatory for their invaluable help. I am moved by the crucial support of Ministry of Culture and Ministry of Foreign Affairs of Taiwan, the generosity of our great sponsors in Taiwan, and many supporters in the USA. Despite this detour, they have remained steadfast in their support of this festival.

TMAF wishes Taiwan a speedy tamping down of the infections. I look forward to TMAF returning to Taipei in 2022. This summer, however, come and watch us in gorgeous San Francisco or online. I know all the musicians will play with their hearts and with great beauty.

Artistic Director, Taipei Music Academy & Festival Cho-Liang Lin

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CO-FOUNDER’S FORWARD

The performance of classical music is one of the most complex acts in the history of human civilization. It incorporates several disciplines together with physical mastery, as well as theories on decision-making and leadership. It needs clockwork precision yet also with a touch of romance, subtly combining reasoning and sensibility. Over the centuries, numerous masters have paved the long road, overcoming difficulties and gaining astonishing achievements that reach the heavens.

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I have known Jimmy Lin for many years. His musical achievements and ideals of legacy had me filled with hope for the Taipei Music Academy and Festival, so I called on several friends to lend support and the first-ever festival was born. The top-notch array of musicians and amazing performances have since then taken Taiwan by storm.

The second edition of the festival was just taking off when the global pandemic hit. Fortunately, with careful planning and perseverance, the Taipei Music Academy and Festival became the only festival in the world during the summer of 2020 that had combined face-to-face teaching and live performances in concert halls packed with an audience.

This year, faced with a critical pandemic, the festival was thought to be inevitably postponed. However, with the unrelenting Taiwanese Spirit that Jimmy often talks about, he showed amazing perseverance and found the light at the end of the tunnel—to move the festival to San Francisco, while coordinating with all the

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participating masters within a short time to continue the festival. At that instant, touching memories of the festival appeared once more.

One of the most memorable scenes on stage was seeing the many principals of the world's leading symphony orchestras and renowned musicians who are active in various major music festivals, not only standing in their customary position as soloists in front of the orchestra to demonstrate their virtuosity but also sitting shoulder to shoulder with the participants, guiding them without stealing their limelight. At that moment, one finally realizes that such an event is not just fleeting fireworks, but the cornerstone of a great endeavor.

What we are supporting with our actions is a long-standing road, on which there are not only many current legends but also many of the future masters. Here, the boundaries of generation do not exist, and the difficulties and limitations can be overcome as the faculty and participants work together to advance the path of classical music.

As the Latin phrase goes, "Through hardships to the stars.” (per aspera ad astra) The road is indeed difficult, but we are also witnessing history being made.

President of Chen-Yung Foundation and Co-Founder of TMAF Charles C.Y. Chen

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Friday, July 30, 7:30 pm

TMAF ORCHESTRA CONCERT

Frost Amphitheater, Stanford University

Saturday, July 31, 7:30 pm

Caroline H. Hume Concert Hall, San Francisco Conservatory of Music

Leonard Slatkin, conductor

Maurice Ravel: Le Tombeau de Couperin I. Prélude. Vif II. Forlane. Allegretto III. Menuet. Allegro moderato IV. Rigaudon. Assez vif

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Steven Stucky: Chamber Concerto (2009) Moderato, fluido--Allegro energico--Vivo--Largo--Presto

INTERMISSION b

Ludwig van Beethoven: Symphony No. 3 in E major, Op. 55, Eroica I. Allegro con brio II. Marcia funebre. Adagio assai III. Scherzo. Allegro vivace IV. Finale. Allegro molto

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TMAF ALL-STAR CONCERT

​Wednesday, August 4, 7:30 pm

Caroline H. Hume Concert Hall, San Francisco Conservatory of Music

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Dana Wilson: H ungarian Folk Songs, I. Dudatánc (A Formosa Quartet commission) Reinhardt / Grappelli: Minor Swing (arr. Jasmine Lin) Derrick Skye: American Mirror, Part II Formosa Quartet Violin/ Jasmine Lin, Wayne Lee, Viola/ Che-Yen Chen, Cello/ Deborah Pae

Richard Wagner: Siegfried-Idyll, WWV103 Violin / David Chan, Wayne Lee

Viola / Che-Yen Chan

Flute / Jeffrey Khaner

Oboe / Richard Woodhams

Cello / Deborah Pae Clarinet / John Bruce Yeh, Winnie Fan

Horn / Erik Ralske, Megan Hurley

Double Bass / Peter Lloyd

Bassoon / Stephen Paulson Trumpet / David Washburn

INTERMISSION

Antonín Dvořák: Piano Quintet in A major, Op. 81 I. Allegro, ma non tanto II. Dumka: Andante con moto III. Scherzo (Furiant): Molto vivace IV. Finale: Allegro Violin / Martin Chalifour, Cho-Liang Lin

Cello / John Sharp

Viola / Hsin-Yun Huang

Piano / Garrick Ohlsson

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TMAF CHAMBERFEST

Saturday, August 7, 2:00 pm

Barbro Osher Recital Hall, San Francisco Conservatory of Music

The 2021 TMAF@SF concludes with a celebration of great chamber music combining TMAF faculty and students as we inaugurate the stunning Osher Recital Hall in the new Bowes Center at the San Francisco Conservatory. This

concert will include works by Schubert, Mendelssohn, Ravel, Dvořák, Prokofiev,

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Piazzolla, Nielsen, Freddy Mercury and many more.

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PROGRAM NOTES TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Maurice Ravel : Le Tombeau de Couperin

Ravel was tormented by the First World War. He was accepted into the armed forces despite his small stature and delicate health, but his physical constitution was not robust enough to withstand the rigors of combat and he was quickly discharged for medical reasons. Soon after he arrived home, his beloved mother lapsed into her final illness, and the shock of her death nearly prostrated him.

His own failed health, his mental anguish over the War, and the loss of his mother kept him from doing much creative work during World War I. Le Tombeau de Couperin is his only important work of those difficult years.

The inspiration for Le Tombeau came from two obsessions that filled Ravel’s mind in 1917 — the sorrow caused by World War I and the need to retain the sanity represented by the tradition of French culture. In the piano suite that was the first version of Le Tombeau, each of the movements was dedicated to one of six friends of the composer who had fallen on the battlefield, a musical memorial to his countrymen and, perhaps, to his late mother as well. (He orchestrated four of them in 1920.) In a similar way, composers of the French Baroque age, François Couperin (1668-1733) among them, paid tribute in music to recently deceased colleagues. Such a piece was called a “tombeau,” literally a “tomb,” and Ravel intended such an association here. Beside just a way of eulogizing his comrades, however, the association with Couperin also represented for Ravel the continuity of the logic and refinement of French civilization. It was in this great Gallic tradition that Ravel sought intellectual and emotional shelter from

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crushing contemporary events. The title of Le Tombeau de Couperin, therefore, has a triple meaning: it is a memorial to family and close friends; it is a revival of some aspects of the musical style of the French Baroque; and, probably most significant for Ravel, it is a continuation of the venerable tradition of French culture and thought in a time of despair and nihilism.

Despite its heavy burden of associations, Le Tombeau de Couperin displays little of Ravel’s distraught mental state, especially in its effervescent orchestral version.

Rather than a roiling, emotional document, Le Tombeau is a vision of the refined and elegant world of Versailles shimmering in retrospect through the medium of the dance, its most characteristic social manifestation. The succulently atmospheric orchestration and rich harmony clearly mark the modern origin of the work, but its buoyant rhythms and crystalline structure show the influence of the music of Couperin’s age. “This suite is a garland of musical flowers,” wrote Donald N. Ferguson, “grown from 17th-century seed in a 20th-century hothouse.”

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The gossamer Prélude contains some dazzling passages for the woodwinds led by the oboe. The Forlane is based on a dance of Italian origin popular among the Venetian gondoliers before it crossed the Alps into France. The Menuet is the most durable of all Baroque dances. The Rigaudon is a vigorous duplemeter dance that originated in Provence. ©2021 Dr. Richard E. Rodda

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Steven Stucky : Chamber Concerto (2009)

Stucky composed the Chamber Con­certo in 2009 on commission from The Saint Paul Chamber Orchestra. It is scored for two each of flutes (2nd doubling piccolo), oboes (2nd dou­bling English horn), clarinets, bassoons, horns and TA I P E I M U S I C A C A D E M Y & F E S T I VA L

trumpets; timpani; percus­sion; harp; and strings. These are world premiere performances of the work by the SPCO. Composer Steven Stucky works in many genres, but he is especially known as one of the great orchestral voices of recent generations. He has received commissions from many major American orchestras and has enjoyed an especially close relation­ship with the Los Angeles Philharmonic for more than 20 years. A devoted cham­pion of new music in general, Stucky also hosts the New York Philharmonic's "Hear & Now" programs, chairs the board of the American Music Center (a composer advocacy group), and teaches composition at Cornell University.

Stucky's most celebrated music explores individual sounds within larger bodies.

He has written a number of con­certos for one or more solo instruments, and two concertos for orchestra, the sec­ond of which earned Stucky the 2005 Pulitzer Prize. (The first had been a final­ist for the award in 1989.) He has returned to that winning genre on a slightly smaller scale - in his Chamber Concerto, a new work commissioned by The Saint Paul Chamber Orchestra.

Part of Stucky's success is that he writes the kind of parts performers love to play.

Each line is idiomatic and sono­rous, demanding individual artistry while avoiding grueling toil. In the Chamber Concerto, the clarinet's first solo turn, for example, shows Stucky's keen understand­ing of that instrument's ability to leap and swell.

Flutes join in, playing related material, then bassoons, until the separate woodwinds amass into a flurry of swoop­ing lines that quickly dissolve in a sput­ tering staccato array. There is much more virtuosic music, individually and collec­ tively, but simple and elegant colorations also advance the mood, such as when

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the horns dwell in their dark low range in the somber Largo section near the end.

Besides showing a knack for fine-grained orchestration, Stucky builds cohesive and original structures for his pieces (avoiding the obvious model for orchestra, the symphony, which has not surfaced in his catalog since 1978). The Chamber Concerto progresses in six con­nected sections, alternating slow and fast. Each successive slow section is slower and longer, and each new fast section is faster and shorter, so that the piece arcs toward its most extreme and intense material at the end. The composer has provided this illuminating outline of the piece: Moderato, fiuido: Pastoral, introductory. Allegro energico: Mostly brilliant and scherzando. Prominent soloists, especially oboe.

Lento: Lyrical. Prominent soloists, especially flute.

Vivo: Scurrying.

Largo: Darker, ultimately even perhaps tragic. The emotional center. Prominent TA I P E I M U S I C A C A D E M Y & F E S T I VA L

soloists, especially horns. Presto: Very short but brilliant finale. ©2010 Aaron Grad

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Ludwig van Beethoven : Symphony No. 3 in E-flat major,

Op. 55, Eroica

The year 1804 — the time Beethoven finished his Third Symphony — was crucial in the modern political history of Europe. Napoleon Bonaparte had begun his TA I P E I M U S I C A C A D E M Y & F E S T I VA L

meteoric rise to power only a decade earlier, after playing a significant part in the recapture in 1793 of Toulon, a Mediterranean port that had been surrendered to the British by French royalists. Britain, along with Austria, Prussia, Holland and Spain, was a member of the First Coalition, an alliance that had been formed by these monarchial nations in the wake of the execution of Louis XVI to thwart the French National Convention’s ambition to spread revolution (and royal overthrow) throughout Europe. In 1796, Carnot entrusted the campaign against northern Italy, then dominated by Austria, to the young General Bonaparte, who won a stunning series of victories with an army that he had transformed from a demoralized, starving band into a military juggernaut.

He returned to France in 1799 as First Consul of the newly established Consulate, and put in place measures to halt inflation, instituted a new legal code, and repaired relations with the Church. It was to this man, this great leader and potential savior of the masses from centuries of tyrannical political, social and economic oppression, that Beethoven intended to pay tribute in his majestic E-flat Symphony, begun in 1803. The name “Bonaparte” appears above that of the composer on the original title page.

Napoleon proclaimed himself Emperor of France in 1804, and he was crowned, with the new Empress Josephine, at Notre Dame Cathedral on December 2nd, an event forever frozen in time by David’s magnificent canvas in the Louvre. Beethoven, enraged and feeling betrayed by this usurpation of power, roared at his student Ferdinand Ries, who brought him the news, “Then is he, too, only an ordinary human being?” The ragged hole in the title page of the score now in the library of the Gesellschaft der Musikfreunde in Vienna bears mute testimony to the violent manner in which Beethoven erased Napoleon from this Symphony. He later inscribed it, undoubtedly with much sorrow, “To celebrate the memory of a great man.”

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The Eroica (Heroic) is a work that changed the course of musical history. There was much sentiment at the turn of the 19th century that the expressive and technical possibilities of the symphonic genre had been exhausted by Haydn, Mozart, C.P.E. Bach and their contemporaries. It was Beethoven, and specifically this majestic Symphony, that threw wide the gates on the unprecedented artistic vistas that were to be explored for the rest of the century. For the first time, with this music, the master composer was recognized as an individual responding to a higher calling.

After Beethoven, the composer became regarded as a visionary — a special being lifted above mundane experience — who could guide benighted listeners to loftier planes of existence through his valued gifts. The modern conception of an artist — what he is, his place in society, what he can do for those who experience his work — stems from Beethoven. Romanticism began with the Eroica.

The vast first movement opens with a brief summons of two mighty chords. At least four thematic ideas are presented in the exposition. The development is a massive essay progressing through many moods, all united by a titanic sense of struggle. It is in this central portion of the movement and in the lengthy coda that Beethoven TA I P E I M U S I C A C A D E M Y & F E S T I VA L

broke through the boundaries of the 18th-century symphony to create a work not only longer in duration but also more profound in meaning. The beginning of the second movement — “Marcia funebre” (“Funeral March”) — with its plaintive, simple themes intoned over a mock drum-roll in the basses, is the touchstone for the expression of tragedy in instrumental music. A development-like section, full of remarkable contrapuntal complexities, is followed by a return of the simple opening threnody. The third movement is a lusty scherzo; the central section is a rousing trio for horns. The finale is a large set of variations on two themes, one of which (the first one heard) forms the bass line to the other. The second theme, introduced by the oboe, also appears in the finale of Beethoven’s ballet The Creatures of Prometheus, Contradanse No. 7 and Variations and Fugue, Op. 35. The variations accumulate energy, and, just as it seems the movement is whirling toward its final climax, the music comes to a full stop before launching into an Andante section that explores first the tender and then the majestic possibilities of the themes. A brilliant Presto led by the horns concludes this epochal work. ©2021 Dr. Richard E. Rodda 14

Dana Wilson : Hungarian Folk Songs, I. Dudatánc

It is well known that Bartok drew literally and extensively upon his Hungarian roots in writing much of his music, particularly after his early period. Visiting rural villages from 1904-1918 and collecting (via phonograph cylinder) some ten TA I P E I M U S I C A C A D E M Y & F E S T I VA L

thousand Hungarian, Romanian, and Slavic folk songs, he discovered that the "Hungarian" settings of Liszt and Brahms had been based on popular art songs disseminated by Gypsies and not on traditional tunes, and he was immediately drawn to the "real" folk traditions. It is in this spirit that I set several such tunes in Hungarian Folk Songs, and ‘Dudatánc’ is a combining of three of them. ©2021 Dana Wilson

Reinhardt/Grappelli : Minor Swing (arr. Jasmine Lin)

Perhaps the most popular of gypsy jazz tunes, “Minor Swing” was written by the inimitable Django Reinhardt and Stéphane Grappelli, and first released in 1937 by their Quintet of the Hot Club of France. Between the famous intro and outro, there is no established melody but simply a set of briny changes that offers jazz virtuosos a chance to dazzle with pungent chromaticism and a gamut of sensibilities, from the ferocious to the exquisite. In their recording legacies, Reinhardt and Grappelli have left behind a wealth of Minor Swing solos, each a gem that remains among the most transcribed and paraphrased in all of jazz. ©2021 Jasmine Lin

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Derrick Skye : American Mirror, Part II

American Mirror reflects on the coming together of cultures in our society, which consists of many generations and descendants of refugees, immigrants, and enslaved people, and how intercultural collaborations are essential to the wellbeing of American society. Melodically, the piece draws from West African, North African, and Eastern European vocal techniques and ornamentations, in addition to modal scales. Underneath these melodies, American Mirror uses open harmonies commonly found in Appalachian folk music, and also includes drones, an accompaniment practice found in many musical cultures. American Mirror is written in two parts.

Rhythmically, Part II uses clapping as an accompaniment, continuing a tradition practiced in many cultures around the world. Part II uses rhythmic structures found in Hindustani (North Indian) classical music such as tihais (rhythmic cadences played three times where the last note of the third time resolves to TA I P E I M U S I C A C A D E M Y & F E S T I VA L

beat one of the cycle) and dumdhar chakradhar tihais (a longer rhythmic cadence that may include tihais, played three times where the last note of the third time resolves to beat one and there is a rest between each repetition). Part II also uses an eight beat cycle called adi tala, found in Carnatic (South Indian) classical music. Towards the end of the piece, a portion of the audience is invited to mark the shape of adi tala using their hands, a practice found in Hindustani and Carnatic classical music. ©2021 Derrick Skye

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Richard Wagner : Siegfried Idyll, WWV103

It was Cosima, Wagner’s wife, who started the family tradition of celebrating birthdays with a bit of Hausmusik when she had her husband awakened on his birthday in 1869 (May 22nd) by a musician blasting Siegfried’s horn call outside his TA I P E I M U S I C A C A D E M Y & F E S T I VA L

bedroom door at dawn. The following year Cosima assembled a military band of 55 players in the grounds of Triebschen, their house near Lucerne, to serenade her husband with his own Huldigungsmarsch (“Homage March”). To return the kindness, Wagner wrote a chamber orchestra piece during November 1870 as a surprise for Cosima’s birthday, celebrated since her childhood on Christmas, a day after the actual date. He gave the score to the young Hans Richter, who was to be the first music director of Bayreuth, who copied out the parts, traveled to Zurich to engage musicians, and arranged rehearsals for December 11th and 21st in that city. (Cosima was a bit unsettled by her husband’s unexplained absences on those dates, but kept her peace.) The musicians arrived at Lucerne early on Christmas Eve, when Wagner held a final rehearsal in the Hôtel du Lac. The next morning, a Sunday, the small band of fifteen musicians — four violins, two violas (one played

by Richter, who also handled the few trumpet measures in the last pages), cello, bass, flute, oboe, bassoon and pairs of clarinets and horns — tuned in the kitchen, quietly set up their music stands on the narrow staircase leading to Cosima’s bedroom, with Wagner on the top landing, and began their music at exactly 7:30.

“I can give you no idea, my children, about that day, nor about my feelings,” Cosima wrote in the diary she left for her family. “As I awoke, my ear caught a sound, which swelled fuller and fuller; no longer could I imagine myself to be dreaming: music was sounding, and such music! When it died away, Richard came into my room with the children and offered me the score of the symphonic birthday poem. I was in tears, but so were all the rest of the household.” The new piece was played twice again that day, separated by a performance of Beethoven’s Sextet. The “Triebschen Idyll” remained strictly a family affair until the financial distress caused by Wagner’s extravagant life style forced him to give it a public performance, at Meiningen on March 10, 1877, and sell the score for

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publication a year later, when it was titled Siegfried Idyll. “My secret treasure has become everybody’s property,” Cosima lamented.

Wagner incorporated into this orchestral lullaby the German children’s song Schlaf, mein Kind (“Sleep, My Child”), some newly composed strains and two motives from the opera Siegfried, to which he was applying the finishing touches at the end of 1870. ©2021 Dr. Richard E. Rodda

Antonín Dvořák : Piano Quintet in A major, Op. 81

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By the time that Dvořák undertook his Piano Quintet in A major in 1887, when he was nearing the age of fifty, he had risen from his humble and nearly impoverished beginnings to become one of the most respected musicians in his native Bohemia and throughout Europe and America. His set of Slavonic Dances of 1878 (Op. 46) was one of the most financially successful music publications of the 19th century, and the work’s publisher, Fritz Simrock of Berlin, convinced Dvořák to add a sequel to it in July 1886 with the Slavonic Dances, Op. 72. (Dvořák received almost ten times the payment for Op. 72 as he had for the earlier set.) Simrock also saw the possibility of financial gain on the chamber music front at that time, and he encouraged Dvořák to compose a piece for piano and strings. To meet Simrock’s request, in the spring of 1887 Dvořák dusted off a Piano Quintet in A major he had composed in 1872 but filed away after its premiere as a failure. His attempts at revision proved futile, however, so he decided to compose a completely new Quintet in the same key, which he did between August 18th and October 8th at his recently acquired country summer home at Vysoká. The composition was enthusiastically received at its premiere, in Prague on January 6, 1888, and quickly

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became a favorite of chamber players throughout northern Europe and Britain.

Dvořák’s range of expression, melodic invention and skill at motivic elaboration are abundantly evident in the Piano Quintet’s opening movement. The cello presents a lovely melody, almost folkish in its simple phrasing and touching directness, as the main theme. This motive progresses through a number of TA I P E I M U S I C A C A D E M Y & F E S T I VA L

transformations before the viola introduces the subsidiary theme, a plaintive tune built from a succession of short, gently arching phrases. The main theme, rendered into the melancholy key of the viola’s melody, returns to close the exposition. Both themes are treated in the expansive development section. A full recapitulation and a vigorous coda round out the movement.

The Dumka was a traditional Slavic (especially Ukrainian) folk ballad of meditative character often describing heroic deeds. As was typical of the folk form, the Dumka that occupies the Quintet’s second movement uses the slow, thoughtful strain of the opening as a returning refrain to separate episodes of varying characters. The movement may be diagrammed according to a symmetrical plan: A–B–A–C–A–B–A. The “B” section, quick in tempo and bright in mood, is led by the violin before being taken over by the piano. “C” is a fast, dancing version of the main Dumka theme given in imitation.

Though the Scherzo bears the subtitle Furiant, the movement sounds more like a quick waltz than like the fiery, cross-rhythm dance of Bohemian origin. The central trio is occupied by a quiet, lilting metamorphosis of the Scherzo theme.

The Finale, woven from formal elements of sonata and rondo, abounds with the high spirits and exuberant energy of a Czech folk dance. The playful main theme is introduced by the violin after a few introductory measures; contrasting material offers brief periods of repose. The development section includes a fugal workingout of the principal theme. A quiet, hymnal passage in the coda provides a foil for the joyous dash to the end of this masterwork of Dvořák’s maturity. ©2021 Dr. Richard E. Rodda

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Faculty & Artists VIOLIN

Martin Chalifour

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artin Chalifour will begin his 25th season as Principal Concertmaster of the Los Angeles Philharmonic this fall. He graduated with honors from the

Montreal Conservatory at the age of 18 and then moved to the United States to continue studies at the famed Curtis Institute of Music.

Chalifour received a Certificate of Honor at the Tchaikovsky Competition in TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Moscow and is also a laureate of the prestigious Montreal International Competition. Apart from his LA Phil duties, he maintains an active solo career, playing a diverse repertoire of more than 60 concertos. Chalifour has appeared as soloist with conductors Pierre Boulez, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Sir Neville Marriner, and Esa-Pekka Salonen. Outside the U.S., he has played solos with the Auckland Philharmonia, the Montreal Symphony, the Hong Kong Philharmonic, the National Orchestra of Taiwan, and the Malaysian Philharmonic, among others.

Chalifour began his orchestral career with the late Robert Shaw and the Atlanta Symphony, playing as Associate Concertmaster for six years. Subsequently, for five years he occupied the same position in the Cleveland Orchestra, where he also served as Acting Concertmaster under Christoph von Dohnányi. While in Cleveland, Chalifour taught at the Cleveland Institute of Music and was a founding member of the Cleveland Orchestra Piano Trio.

Chalifour is a frequent guest at several summer music festivals, including the Sarasota Festival, the Mainly Mozart Festival, and the Reno Chamber Music Festival, where he served as Music Director last year.

Maintaining close ties with his native country, he has returned there often to teach and perform as soloist with various Canadian orchestras, most recently in Vancouver with Bramwell Tovey and in Hamilton with Gemma New. Martin Chalifour has recorded solo and chamber music for the Telarc, Northstar, and Yarlung labels. He teaches at Caltech and at the USC Thornton School of Music.

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VIOLIN

David Chan

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est known as one of the most accomplished violinists of his generation, TA I P E I M U S I C A C A D E M Y & F E S T I VA L

David Chan is fast making a name for himself as a conductor too. The

2019/20 season marks not only his 20th as concertmaster of New York's MET Orchestra, but also his third as the inaugural Music Director of New Jersey's Montclair Orchestra, with which he has already earned high praise for innovative and adventurous programming, and his second as Music Director of Camerata Notturna, one of New York City's foremost chamber orchestras. As a soloist, he has appeared under the baton of such conductors as James Levine and Fabio Luisi, with orchestras including the MET Orchestra, Los Angeles Philharmonic, San Diego Symphony, Indianapolis Symphony, National Symphony Orchestra of Taiwan, and Moscow State Symphony. He is also a dedicated chamber musician who performs regularly in the New York area and at all the leading summer festivals.

Increasingly in demand on the podium, Chan has conducted Belgium's l'Orchestre Philharmonique Royal de Liège, the Malta Philharmonic Orchestra, and l'Orchestre Dijon Bourgogne in France; the student orchestras at New York's Juilliard and Mannes conservatories; at the Pacific Music Festival in Sapporo, Japan; and at Musique et Vin au Clos Vougeot.

A native of San Diego, Chan began his musical education at the age of four.

After winning prizes at the Tchaikovsky and Indianapolis international violin competitions, he made his New York debut in 1995 at Avery Fisher Hall, and his Carnegie Hall debut in 2003, performing the Brahms Double Concerto with the MET Orchestra. A student of Dorothy DeLay, Hyo Kang, and Michael Tseitlin, he received his bachelor's degree from Harvard University and his master's from the Juilliard School. He is currently on the faculty of both Juilliard and the Mannes School of Music.

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VIOLA

Che-Yen Chen

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aiwanese-American violist Che-Yen Chen has established himself as an active recitalist, chamber musician and educator. He is a founding member

of the Formosa Quartet, recipient of the First-Prize and the Amadeus Prize winner of the 10th London International String Quartet Competition. Since winning First-Prize in the 2003 Primrose International Viola Competition and the TA I P E I M U S I C A C A D E M Y & F E S T I VA L

"President Prize" of the Lionel Tertis International Viola Competition, he has been described by the Dallas Morning News as a musician who "played with silken finesse, and with elegant singers' feelings for timing, shape, color and articulation" and by San Diego Union Tribune as an artist whose "most impressive aspect of his playing was his ability to find not just the subtle emotion, but the humanity hidden in the music".

Having served as principal violist of the San Diego Symphony and Mainly Mozart Festival Orchestra, Chen has appeared as guest principal with Los Angeles Philharmonic, San Francisco Symphony, Cincinnati Symphony Orchestra, National Arts Centre Orchestra, and Toronto Symphony. A former member of Lincoln Center Chamber Music Society Two and participant of the Marlboro Festival, he is also a member of Camera Lucida and The Myriad Trio.

In August 2013, Formosa Quartet inaugurated Taiwan's very first chamber music festival. Modeled after Ravinia, Taos, Marlboro, and Kneisel Hall, Formosa Chamber Music Festival is the product of a long-held aspiration and represents one of Chen's primary missions: to bring high-level chamber music training to talented young musicians, and to bring first-rate chamber music to Taiwanese audiences.

Newly appointed Professor of Viola at the UCLA Herb Alpert School of Music, Chen has previously served on the faculty of USC Thornton School of Music, Indiana University South Bend, UC San Diego, San Diego State University, California State University Fullerton, and McGill University, and has given masterclasses across North America and Asia. As a laureate, Chen was invited to serve on the jury of the 2011 Primrose International Viola Competition.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

CLARINET

Winnie Fan

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W

innie Fan is an active soloist, chamber musician, orchestral clarinetist, educator, and advocate of new music. As a solo clarinetist and chamber TA I P E I M U S I C A C A D E M Y & F E S T I VA L

musician, she has performed in the United States, Taiwan, China, Japan, and United Kingdom. She joined the Central Texas Philharmonic as Principal Clarinet in 2013 and was appointed the Director of Admissions and Student Affairs at Taipei Music Academy & Festival in 2019. She is also a member in the Houston Serenade Project, Aevum Piano Trio, and serve as clarinet faculty at Vivace International School of Music in Houston, Texas.

Hailed for her “…played with bold dynamic range…expressive legato…”

(International Clarinet Association Journal), Winnie is an active participant in various summer festivals, including Taipei Music Academy & Festival, Sarasota Music Festival, Brevard Music Center, Montecito International Summer Festival, Round Top International Summer Festival, and Sibelius Academy Creative Dialogue 5. She was the first prize winner of Brevard Music Center concerto competition and Montecito International Music Festival solo compeition, second prize in the International Clarinet Association Orchestra Audition competition.

Since 2016, Winnie has advocated to performing voluntary for Alzheimer organization. In 2017, she started the “Winnie Fan Volunteer Performance Program” in the Greater Houston area to promote this action with her students and more people.

A native Taiwanese, Winnie is originally from Taipei. She moved to the United States in 2010, where she received her Doctor of Musical Arts and Master of Music from The University of Texas at Austin, her Bachelor of Music from the Taipei National University of the Arts. Her former clarinet teachers include Nathan Williams, Richie Hawley, Steve Cohen, Wei-Leng William Chen, Pei-Yun Lin, and Eugenia Jin.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

VIOLA

HsinYun Huang

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

V

iolist Hsin-Yun Huang has forged a career by performing on international concert stages, commissioning and recording new works, and nurturing

young musicians. Highlights of her 2017–2018 season included performances as soloist under the batons of David Robertson, Osmo Vänskä, Xian Zhang, and Max Valdés in Beijing, Taipei, and Bogota. She is also the first solo violist to be presented in the National Performance Center of the Arts in Beijing and was featured as a faculty member with Yo-Yo Ma and his new initiative in Guangzhou.

She has commissioned compositions from Steven Mackey, Shih-Hui Chen, and Poul Ruders. Her 2012 recording for Bridge Records, titled Viola Viola, won accolades from Gramophone and BBC Music Magazine. Her next recording will be the complete unaccompanied sonatas and partitas of J. S. Bach, in partnership her husband, violist Misha Amory.

Ms. Huang regularly appears at festivals, including Marlboro, Spoleto, Ravinia, Santa Fe, and Music@Menlo, among many others. Huang first came to international attention as the gold medalist in the 1988 Lionel Tertis International Viola Competition. In 1993, she was the top-prize winner in the ARD International Competition in Munich and was awarded the highly prestigious Bunkamura Orchard Hall Award. A native of Taiwan, she received degrees from the Yehudi Menuhin School, the Curtis Institute of Music, and The Juilliard School. She now serves on the faculties of Juilliard and Curtis and lives in New York City.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

FLUTE

Jeffrey Khaner

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C

anadian-born flutist Jeffrey Khaner has been principal flute of The Philadelphia Orchestra since 1990. From 1982 to 1990 he was principal flute

of the Cleveland Orchestra, and he has also served as principal of the New York Mostly Mozart Festival and the Atlantic Symphony in Halifax, and as co-principal TA I P E I M U S I C A C A D E M Y & F E S T I VA L

of the Pittsburgh Symphony.

A noted soloist, Khaner has performed concertos with orchestras throughout the United States, Canada, and Asia, collaborating with conductors including Riccardo Chailly, Christoph von Dohnányi, Charles Dutoit, Christoph Eschenbach, Hans Werner Henze, Vladimir Jurowski, Kurt Masur, Yannick NezetSeguin, Yutaka Sado, Robert Spano, Franz Welser-Möst, and David Zinman.

Khaner’s concerto repertoire is extensive and he has premiered many works including the concertos by Ned Rorem, Jonathan Leshnoff, Samuel Jones, Eric Sessler and David Chesky, all written for him.

A graduate of the Juilliard School, Khaner was named to the faculty as flute professor in 2004. Since 1985 he has been a faculty member of the Curtis Institute of Music. He is also Professor of Flute at Lynn University. He has given master classes throughout North, South, and Central America; Europe; and Asia.

As a recitalist, Khaner has appeared on four continents with pianists Charles Abramovic, Christoph Eschenbach, Lowell Liebermann, Wolfgang Sawallisch, Hugh Sung, and many others. He regularly incorporates into the programs the music of today’s composers, many of whom have written expressly for him.

In addition to his orchestral recordings, Khaner has extensively recorded solo flute repertoire. He has released seven critically acclaimed solo CDs on the Avie label. His recording of David Chesky’s Concerto for Flute and Orchestra, appears on Chesky Records and his recording of Ned Rorem’s concerto is on Naxos. His editions of repertoire, including the Brahms sonatas, are published by the Theodore Presser Company. He is a Yamaha performing artist and clinician.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

VIOLIN

Wayne Lee

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

A

merican violinist Wayne Lee is a member of two internationally-acclaimed chamber ensembles, the Formosa Quartet and the Manhattan Piano Trio,

and gives dozens of performances with them annually throughout North America, Europe, and Asia. He regularly appears before audiences as a soloist and recitalist. Past commitments include concerts and recordings with The Knights, festival appearances at Musique de Chambre à Giverny in France, the Taipei Music Academy and Festival, and the Olympic Music Festival, and concerto performances with the Minnesota Sinfonia. As a recitalist, he has designed and presented several large-scale projects, including performances of the complete Beethoven violin sonatas, the six unaccompanied Sonatas and Partitas by Bach, the six Sonatas for Violin and Keyboard by Bach, and a cycle of commissioned works inspired by Bach's B minor Partita. As part of his interest in historical performance practice, he performs on early instruments with longtime sonata partner and fortepianist Mike Lee, a collaboration that has brought the duo as performance and teaching artists to institutions such as Cornell University and Indiana University.

A dedicated teacher and arts advocate, Lee is on the violin faculty at the University of Illinois at Urbana-Champaign. He has given master classes throughout the United States and Asia and previously served as teaching assistant at the Juilliard School, from which he holds both bachelor's and master's degrees. In addition to his performing and teaching activities, Lee is co-founder and co-artistic director of the Piedmont Chamber Music Festival, an annual week of chamber music that brings an internationally-acclaimed roster of musicians to the Bay Area every summer. He plays on a 2001 Joseph Curtin violin.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

ARTISTIC DIRECTOR & VIOLIN

ChoLiang Lin

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C

ho-Liang Lin was born in Taiwan. Upon hearing a neighbor's violin studies, the 5-year old boy wanted the same musical toy. At the age twelve, he

moved to Sydney to further his studies with Robert Pikler, a student of Janos TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Hubay. After playing for Itzhak Perlman in a master class, the 13-year old Lin decided that he must study with Mr. Perlman's teacher, Dorothy DeLay. Two years later, Lin traveled alone to New York and auditioned for the Juilliard School and spent the next six years working with Ms DeLay. A concert career was launched in 1980 with Lin's debut with the New York Philharmonic and Zubin Mehta. He has since performed as soloist with virtually every major orchestra in the world. His busy schedule on stage around the world continues to this day. His wide-ranging interests have also led him into diverse endeavors. At the age of 31, his alma mater, Juilliard School, invited Lin to become faculty. In 2006, he was appointed professor at Rice University. He served as music director of La Jolla SummerFest for 18 years. He continues to direct the Hong Kong International Chamber Music Festival. Ever so keen about education, he created the Taipei Music Academy & Festival (TMAF) for the purpose of providing the best educational setting to talented young musicians.

In his various professional capacities, Cho-Liang Lin has championed composers of our time. His efforts to commission new works have led many important composers to write for him. The list includes John Harbison, Christopher Rouse, Tan Dun, John Williams, Steven Stucky, Esa-Pekka Salonen, Bright Sheng, Paul Schoenfield, Joan Tower and many more.

Lin's passions include tango music, fine wines and New York Yankees. Lin performs on the 1715 Stradivari named "Titian" or a 2000 Samuel Zygmuntowicz.

His many concerto and chamber music recordings on Sony Classical, Decca, BIS, Delos and online can be heard on Spotify or Naxos.com. His albums have won Gramophone Record of the Year and multiple Grammy nominations.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

VIOLIN

Jasmine Lin

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

J

asmine Lin began violin studies at age four. Lin is a graduate of the Curtis Institute of Music. She has appeared as soloist with orchestras including the

Chicago Symphony Orchestra, Illinois Philharmonic Orchestra, Singapore Symphony Orchestra, Symphony Orchestra of Brazil, Symphony Orchestra of Uruguay, Evergreen Symphony of Taiwan, and National Symphony Orchestra of Taiwan, and in recital in Chicago, New York, Nova Scotia, Rio de Janeiro, Montevideo, and Taipei. She was a prize winner in the International Paganini Competition and took second prize in the International Naumburg Competition.

The New York Times describes her as an "unusually individualistic player" with "electrifying assertiveness" and "virtuosic abandon".

As a chamber musician, Lin has been a participant of the Marlboro Music Festival and the Steans Institute for Young Artists at Ravinia, and has toured extensively in the United States as part of the Chicago String Quartet, in China as part of the Overseas Musicians, and in Taiwan as a member of Taiwan Connection Music Festival. Lin is a founding and current member of the Formosa Quartet, which won first prize in the 10th London International String Quartet Competition. In addition to her activities with the Formosa Quartet, she is a member of Trio Voce with cellist Marina Hoover and pianist Patricia Tao; the Trio released its first CD of works by Shostakovich and Weinberg, Inscapes, on the Con Brio label. Lin is also a member of the Chicago Chamber Musicians whose Composer Perspectives series won the ASCAP award for adventuresome programming.

She has been an adjunct faculty member at Northwestern University and DePaul University and was a faculty member of the Taos School of Music in New Mexico.

She is on the faculty at Roosevelt University.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

DOUBLE BASS

Peter Lloyd

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

A

native of Philadelphia, Peter Lloyd is a graduate of the Curtis Institute of Music and the Settlement Music School, having studied with Roger Scott

and Eligio Rossi.

Lloyd joined the Philadelphia Orchestra in his last year at Curtis and remained there for more than eight seasons before accepting the position of Principal Bass of The Minnesota Orchestra, a title he held from 1986 to 2007. Since 2007 Lloyd has returned to perform with the Philadelphia Orchestra and has served as Guest Principal Bass with The National Arts Centre Orchestra, the Hong Kong Philharmonic, the Orpheus Chamber Orchestra and for three years, the Acting Principal Bass of The Los Angeles Chamber Orchestra.

Having dedicated much of his career to the chamber music repertoire, Lloyd has performed with the Guarneri String Quartet, Jamie Laredo at The 92nd street Y and for many years been a regular participant at the Marlboro School of Music, the Chamber Music Society of Lincoln Center, the Orpheus Chamber Orchestra, Chamber Music Northwest, Music From Angel Fire, Bravo! Vail Valley Music Festival, La Jolla Summerfest, Chicago Chamber Musicians, The Brooklyn Chamber Music Society, BargeMusic in New York City and The Brandenburg Ensemble.

In addition to his concert schedule Peter Lloyd is a regular visitor to the leading music schools in the United States, giving master classes, lectures, and recitals at The Curtis Institute, The Juilliard School, The Tanglewood Music Festival and many others. He has served on the faculties of Indiana University, Northwestern University and the University of Minnesota. Since 2010 he has been Professor of Double Bass and Chamber Music at The Colburn Conservatory in Los Angeles.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

PIANO

Garrick Ohlsson

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S

ince his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a

musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Chopin, Ohlsson commands an enormous repertoire, which ranges over the entire piano literature. A student of the late Claudio Arrau, Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him.

In 2018/19 season he launched an ambitious project spread over multiple seasons exploring the complete solo piano works of Brahms in four programs to be heard in New York, San Francisco, Montreal, Los Angeles, London and a number of cities across North America. In concerto repertoire ranging from Mozart and Beethoven to Brahms and Barber, he returned to the Nashville, Oregon, Dallas Symphonies, Washington Kennedy Center with Melbourne Symphony and internationally with orchestras in Seoul, Helsinki, Zagreb, Tallinn, Manchester and London.

A frequent guest with the orchestras in Australia, Ohlsson has recently visited Perth, Brisbane, Melbourne, Sydney, Adelaide and Hobart as well as the New Zealand Symphony in Wellington and Auckland. In February 2020 he accomplished a seven city recital tour across Australia just prior to the closure of the concert world due to Covid-19. An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, Tokyo and Takacs string quartets, including most recently Boston Chamber Players on tour in Europe. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Passionate about singing and singers, Mr. Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

CELLO

Deborah Pae

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

P

raised by critics for her "focused intensity and extraordinary musicianship" (San Diego Union Tribune), "superb tone", and "high level of interpretative

intelligence" (Transcentury), Korean-American cellist Deborah Pae has received international acclaim for her powerful performances, uncompromising curiosity for expression and devotion to the arts. Pae has appeared as a soloist, recitalist, and chamber musician throughout the United States, Europe, Canada, and Asia, at venues such as Carnegie Hall, Auditorium du Louvre in Paris, Wigmore Hall in London, the National Concert Hall in Taipei, Kennedy Center, Metropolitan Museum of Art, Berlin Philharmonie, and the 45th Grammy Awards at Madison Square Garden.

Pae is the cellist of the award-winning Formosa Quartet, recipients of the First Prize and Amadeus Prize at the 2006 International London Quartet Competition and founding member of the Namirovsky-Lark-Pae Trio, winners of the 2016 Tarisio Trust Young Artist Grant and 2012 Fischoff National Chamber Music Competition.

A graduate of the Juilliard School, New England Conservatory, and Associate Artist at the Chapelle Musicale Reine Elisabeth in Belgium, Pae is committed to mentoring the next generation of young artists. She is Professor of Cello at Eastern Michigan University, cello and chamber music faculty at the National Youth Orchestra of Canada, Formosa Chamber Music Festival, and Taipei Music Academy & Festival, and Faculty Emeritus at the Perlman Music Program. Pae travels and performs with her trusty companion, a Vincenzo Postiglione cello (c.1885) from Naples, Italy.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

BASSOON

Stephen Paulson

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

S

tephen Paulson joined the San Francisco Symphony as Principal Bassoonist in 1977 and made his SFS solo debut the following year in Vivaldi’s C major

Bassoon Concerto. Since then, he has been a frequent soloist with the Orchestra, performing with conductors such as Kurt Masur, Wolfgang Sawallisch, Christopher Hogwood, and Helmuth Rilling.

Paulson has served on the faculty of the San Francisco Conservatory of Music since 1978. He has been a guest artist and faculty member at the Aspen Music Festival, the Grand Teton Music Festival, and Music in the Vineyards. He has also been a guest coach with the New World Symphony. In 1995 he was one of four SFS musicians chosen by Sir Georg Solti to play in Solti’s World Orchestra, celebrating the 50th anniversary of the United Nations.

Stephen Paulson graduated with honours from the Eastman School of Music. He studied bassoon with K. David Van Hoesen and Mordechai Rechtman and composition with Samuel Adler. From 1970 to 1977 he served as co-principal bassoonist of the Pittsburgh Symphony Orchestra. Prior to that, he performed with the Rochester Philharmonic for four seasons, serving as principal bassoonist with that ensemble from 1968 to 1970. February 2016, Paulson received a stellar review following his performance of the Mozart Bassoon Concerto with the San Francisco Symphony.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

HORN

Erik Ralske

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

E

rik Ralske, was appointed by Maestro James Levine as Principal Horn of the Metropolitan Opera Orchestra beginning with the 2010-2011 season. On

July 6, 2010 he was featured in a front-page article in The New York Times for

having won both the MET Opera position and the Los Angeles Philharmonic Principal Horn position in the same week!

Previously, he was a member of the New York Philharmonic, Houston and Vancouver Symphony Orchestras. During his tenure with the NY Philharmonic, Ralske performed as soloist over a dozen times under Kurt Masur and Lorin Maazel, in New York, Europe and South America. He has been in demand as a guest Principal of many of the world's greatest orchestras, such as the Staatskapelle Berlin, Philadelphia Orchestra, Cleveland Orchestra and the LA Philharmonic.

Erik Ralske has long been active in the recording industry, having performed on many movie soundtracks - from Oliver Stone's Platoon (1986), to many recent releases, such as A Dog's Purpose (2017). His 2011 live performance of Siegfried's Horn Call is available on iTunes as a MET Opera Ring Tone.

Currently, he is on the faculty of the Juilliard School, Manhattan School of Music, and Mannes College of Music. He received both his Bachelor of Music and Master of Music degrees from the Juilliard School. His primary teachers were Ranier DeIntinis, John Cerminaro and Myron Bloom.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

CELLO

John Sharp

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

A

ppointed as one of the youngest principal cellists in the history of the Chicago Symphony Orchestra, John Sharp has served in that position

during the tenures of Sir Georg Solti, Daniel Barenboim, Pierre Boulez, Bernard Haitink, and Riccardo Muti. A top prize winner of the International Tchaikovsky Competition in Moscow, he has appeared as soloist with the Chicago Symphony under the baton of Mstislav Rostropovich in the Britten Symphony for Cello and Orchestra, in a recording of Strauss' Don Quixote conducted by Daniel Barenboim, and with ltzhak Perlman and Daniel Barenboim in performances of Beethoven's Triple Concerto. He has performed as soloist with Music Director Riccardo Muti, Sir Georg Solti, Pierre Boulez, Bernard Haitink, Lorin Maazel, Charles Dutoit, and Michael Tilson Thomas.

An active chamber musician, Sharp has appeared at the festivals of Marlboro, Santa Fe, La Jolla, Bravo! Vail, and the Chamber Music Society of Lincoln Center.

He has recorded Tchaikovsky's Souvenir de Florence with the Vermeer Quartet, and has performed in chamber music concerts with Mitsuko Uchida, Yo-Yo Ma, Pinchas Zukerman, Emmanuel Ax, and Christoph Eschenbach. He often performs as a duo and in chamber music concerts with his wife, the violinist Liba Shacht.

Born in Texas, Sharp studied the cello with Lev Aronson and later with Lynn Harrell at the Juilliard School. Previously he has played in the Metropolitan Opera Orchestra, and served as principal cello of the Cincinnati Symphony. He has given master classes throughout the United States and in Europe, and has coached at the New World Symphony, the National Orchestral Association, the National Youth Orchestra of the USA, and the Chicago Civic Orchestra. Currently he is a professor of cello at Roosevelt University. John Sharp plays a rare cello made by Joseph Guarnerius in 1694.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

CONDUCTOR

Leonard Slatkin

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I

nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra and Directeur Musical Honoraire of the

Orchestre National de Lyon. He maintains a rigorous schedule of guest TA I P E I M U S I C A C A D E M Y & F E S T I VA L

conducting throughout the world and is active as a composer, author, and educator.

In the 2019/20 season, he will celebrate his 75th birthday year with several of the orchestras he has led over the course of his 50-year career, including the St. Louis Symphony Orchestra, National Symphony Orchestra, Nashville Symphony Orchestra, DSO, and ONL. Other highlights include debuts with the KBS Symphony Orchestra in Seoul, NDR Radiophilharmonie in Hannover, and Würth Philharmonic in Künzelsau, Germany; and three weeks in Spain conducting orchestras in Castile-León, Bilbao, and the Balearic Islands.

A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria's Decoration of Honor in Silver, the League of American Orchestras' Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017.

Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland.

Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninov, Borzova, McTee, and John Williams (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

TRUMPET

David Washburn

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

D

avid Washburn is a Yamaha Performing Artist and is the principal trumpet of the Los Angeles Chamber Orchestra. A much sought-after musician in

Los Angeles, he also holds the position of associate principal trumpet of the LA Opera Orchestra. He has served as principal trumpet and soloist with the Hong Kong Philharmonic Orchestra.

Active in the recording studios, Washburn has numerous motion picture soundtracks to his credit. He played principal trumpet for Incredibles 2, Coco, A Quiet Place, War for the Planet of the Ape, 10 Cloverfield Lane, Independence Day: Resurgence, Godzilla, Karate Kid, Avatar, The Legend of Zorro, Troy, A Beautiful Mind, Windtalkers, The Perfect Storm, Titanic and Deep Impact. He has also been a part of the John Williams Trumpet Section for over 20 years including Star Wars, The Force Awakens and The Last Jedi.

Currently, Washburn is a member of the faculty at Biola University, UC-Irvine and Azusa Pacific University. He has held teaching positions at Chapman, CSU Northridge, CSU Long Beach, Redlands University, Idyllwild School of the Performing Arts and the Hong Kong Academy of Performing Arts. He received his Masters of Music, with distinction, from the New England Conservatory of Music in Boston and his Bachelor of Music from the USC Thornton School of Music.

David Washburn has been a featured soloist with many different orchestras including the Los Angeles, St. Louis, Hong Kong and California philharmonics; the Los Angeles and San Diego chamber orchestras; the Berkeley, Burbank and Glendale symphonies; the New York Chamber Music Society at Lincoln Center, as well as at the Santa Fe, La Jolla and Music@Menlo chamber music festivals.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

OBOE

Richard Woodhams

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

R

ichard Woodhams served as principal oboe of The Philadelphia Orchestra from 1977 until his retirement in 2018, and has taught on the faculty of the

Curtis Institute of Music since 1985. His students hold many orchestral and teaching positions in the United States and abroad, and he has given Master Classes in Great Britain, Japan, China, Brazil and Israel in addition to America.

Mr. Woodhams has performed over his long career with many outstanding soloists, chamber musicians and Conductors, including, most recently, the Dover String Quartet and also as soloist with Yannick Nezet Seguin. He began his career as principal oboe of the St. Louis Symphony under Walter Susskind and Leonard Slatkin and has participated over the years in many music Festivals including the Marlboro Festival, Sommerfest in La Jolla, Ca. and the Aspen Music Festival where he played and taught from 2000 until 2015.

He has played many concerts throughout the world with the World Orchestra for Peace, founded by Sir George Solti, served on the jury of the Munich International Oboe Competition, and was a frequent soloist with the Philadelphia Orchestra with five different Music Directors.

He continues to teach, play, and enjoy his life in music. A native of Palo Alto, California, Mr. Woodhams studied there with Raymond Duste, Charles Price, and Jean Louis Le Roux before attending Curtis where his teacher was Berkeley native John de Lancie, who preceded him in the Orchestra.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

CLARINET

John Bruce Yeh

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T

he first Asian musician ever appointed to the Chicago Symphony Orchestra, as well as the longest-serving clarinetist in CSO history, John Bruce Yeh

joined the CSO in June of 1977, having been appointed solo bass clarinet of the Orchestra at the age of 19 by Sir Georg Solti. Two years later, he was named assistant principal and solo E-flat clarinet. He served as acting principal clarinet TA I P E I M U S I C A C A D E M Y & F E S T I VA L

of the CSO from 2008 to 2011. Yeh has performed concertos with the CSO on several occasions, including the 1998 American premiere of Elliott Carter's Clarinet Concerto with Pierre Boulez conduct-ing and the 1993 performance of Carl Nielsen's Clarinet Concerto with Neeme Järvi. A concert recording of the Nielsen was released on the CSO CD set Soloists of the Orchestra II: From the Archives, vol. 15. In 2004, Yeh was featured in Leonard Bern-stein's Prelude, Fugue and Riffs in collaboration with the Hubbard Street Dance Company and the CSO conducted by David Robertson. An enthusiastic champion of new music, John Bruce Yeh is the dedicatee of new works for clarinet by numerous composers, ranging from Ralph Shapey to John Williams.

A prize winner at both the 1982 Munich International Music Competition and the 1985 Naumburg Clarinet Competition in New York, Yeh continues to solo with or-chestras around the globe. His more than a dozen solo and chamber music recordings have earned worldwide critical acclaim. He frequently appears at festivals and on chamber music series worldwide. Yeh has performed several times with Music from Marlboro; the Guarneri, Ying, Colorado, Pacifica, Calder and Avalon string quartets; as well as the Chamber Music Society of Lincoln Center.

Passionately committed to music education, Yeh served for 26 years on the faculty of DePaul University's School of Music, and in 2004 joined the artistfaculty at Roose-velt University's Chicago College for the Performing Arts where he continues to teach. He has given master classes at many universities and conservatories including the Juilliard, Eastman and Manhattan Schools of Music, the Cleveland Institute of Music, Northwestern University and University of Michigan.

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TMAF ORCHESTRA TMAF FACULTY VIOLIN

David Chan Martin Chalifour Cho-Liang Lin VIOLA

Che-Yen Chen Hsin-Yun Huang CELLO

Deborah Pae John Sharp BASS

Viola

Peter Lloyd

Clara Bouch Hui-Yi Wendy Kao Chung-Wen Lee Sebastian Srefanovic Toby Winarto

FLUTE

Jeffrey Khaner TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Yun Lee Julie Lin Chia-Lun Mu Kenneth Ryu Naito Noelle Naito Julianne Oh Clara Saitkoulov Tristan Siegal Cherry (Choi-Tung) Yeung

OBOE

Richard Woodhams CLARINET

John Bruce Yeh BASSOON

Stephen Paulson HORN

Erik Ralske TRUMPET

David Washburn Violin Sohyun Ahn Kristy Chen Liang-Liang (Lia) Chen Daniel Cho Jeremy Lap Hei Hao Chae won Kim Joyce Kwak Shin Lan (Sheena)

Cello Amanda Chi Tzu-Wei Huang Benjamin Lanners Pi-Wei Lin Rebekah Yang Bass Nicholas Arredondo Caleb Edwards John Mietus Logan Nelson Andres Vela Chloe Yu

Ann Kuo Oboe Ian Daugherty Beverly Wang Clarinet Roy Park Jefferson Sheng Bassoon Shelby Capozzoli Oleksandr Kashlyuk Ying-Chieh Lan Horn Megan Hurley Joel Rodeback Yechan Moon Trumpet Omri Barak Nicholas Washburn Harp *Molly Langr Timpani *Raymond Froehlich Percussion *Jimmy Chan

Flute Cassandra Chong

Guest Musician

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TMAF STAFF Director of Education

Cho-Liang Lin

Shih-Kai Lin

Chief Executive Officer

Director of Admissions & Student Affairs

Deborah Ho Lin

Winnie Fan

General Manager

PR and Marketing

Meng-Shan Wu

Atmos Culture Company Limited

Administrative Manager

Visual Designer

Shih-Yueh (Ariel) Liu

Te Sian (Lera) Shih

Project Manager

Orchestra Manager

Sarah Tu

Dian Zhang

Director of Finance

Campus Office

Janet Chung

Pei-Kuan Chiu

Treasure

TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Artistic Director

Anna JiEun Lee Meng-Che Lee

T.K. TSAI & CO., CPAS

Shih-Ying Lin

Susanna Hung

Lara Lin

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FRIENDS OF TMAF 2021 Maestros’ Circle

($20,000 & above)

王煒 李明潔

先生及夫人

(Ms. Serena Yu)

陳致遠

先生及夫人

徐為椿

黃崇仁

先生及夫人

*Anonymous*

蔡明興 翁美慧

先生及夫人

林百里 郭倩如

先生及夫人

楊懷卿 劉麗珠

先生及夫人

周俊吉

女士

TMAF Angels

(Individual Scholarship

and/or $5,000 & above)

Mr./Mrs. Gwong Yih and Angela Lee

董事長及夫人

徐大麟 沈悅 博士及夫人 (Dr. Talin & Joyce Hsu)

TMAF Family

($1000 & above)

Mr./Mrs. Michael & Jasmine Chang TA I P E I M U S I C A C A D E M Y & F E S T I VA L

Virtuosos’ club

($10,000 & above)

Dr. Michael and Amy Coburn

趙元修 辜懷箴 先生及夫人 (Mr./Mrs. James & Lydia Koo Chao)

Mr./Mrs. Michael & Maggie Li Hsieh

Mr./Mrs. Sandy & Ruth Chau

江慶華 (Dr. Ching-Hwa Kiang)

Mr./Mrs. Chua Ya & Yvonne Mei Chen

Mr./Mrs. David and Lydia Lai

許玉山

先生及夫人

Dr. Ian Yu-Zen Lian

胡立民

先生

(Dr. Limin Hu)

Drs. Hsing & Rose Kung (Mr. George Lee)

李敏翔

先生

李昌霖

先生及夫人

劉明剛 盛莉君 先生及夫人 (Mr./Mrs. Frank & Cindy Liu) 蔡炅廷

先生及夫人

Dr./Mrs. Chenming & Margaret Hu

Mr./Mrs. Bob & Jill Lin Drs. Po-Jen Lin & Grace Yeung Lin (In Loving Memory of Edward Lin) 載啓智 張美惠 先生及夫人 (Mr./Mrs. William & Jessica Chang Tai) Team Research Inc. Mr. Peter Zen

王敦正 洪明月 先生及夫人 (Mr./Mrs. Don Wang)

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($1-999)

美南中國大專院校聯合校友會 (JCCAA) 幸安國小校友會音樂獎學金

Ms. Huey Song

TMAF Scholarship Fund

($3500)

國立臺北藝術大學音樂學院 (Taipei National University of the Arts, School of Music)

戴家鯤 陳逸玲 先生及夫人 (Mr./Mrs. David & Elaine Tao Day)

美國萊斯大學雪珀音樂學院 (Rice University, Shepherd School of Music)

黃碧英

Mr./Mrs. Andy & Michelle Lee

美國休士頓康博士音樂學院 (Campbell Learning Center)

劉志忠 邱佩冠 先生及夫人 (Mr./Mrs. Paul & Peggy Chiu Liou)

美加 孔斯尕爾酒莊 (Koongsgaard Wine)

羅其華 吳慧英 先生及夫人 (Mr./Mrs. Steve & Faye Lo)

Alexander’s Steakhouse, SoMa, San Francisco

宋明麗

女士

女士

TA I P E I M U S I C A C A D E M Y & F E S T I VA L

TMAF Friends

(Ms. Minly Sung)

鍾淑貞 醫師 & Dr. Charles Trinh (為紀念鍾蕭素卿女士) 嚴杰 何怡中 先生及夫人 (Mr./Mrs. Roger & Annie Yen)

Special Thanks

Holiday Inn San Francisco-Golden Gateway Fantasia Coffee & Tea

TMAF Scholarship Committee Dr. Amy Coburn Prof. Ching-Hwa Kiang

駐舊金山台北經濟文化辦事處

Dr. Deborah H. Lin

駐休士頓台北經濟文化辦事處

戴東原

醫師

舊金山台北姐妹市委員會 (San Francisco Taipei Sister City Committee)

湯月碧

醫師

蔡淩蕙

教授

休士頓台北協會 (Houston Taipei Society)

宗緒嫻

教授

THE PROGRAM BOOK IS PRINTED ON FSC-CERTIFIED PAPER.

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TA I P E I M U S I C A C A D E M Y & F E S T I VA L

TA I P E I M U S I C A C A D E M Y & F E S T I VA L

TMAF ORCHESTRA, 2020, TAIPEI Photo: Tat Keng Tey

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t h e b a y a r e a’ s premier dining d e s t i n at i o n s Alexander’s Group features amazing restaurant experiences.

From baked goods at our Patisserie to fine dining at one of our steakhouses.

PERFECTED DISHES & UNFORGETTABLE EXPERIENCES VOT E D # 1 ST E A K H O U S E I N T H E S I L I CO N VA L L E Y

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CUPERTINO • SAN FRANCISCO • PASADENA

SAN FRANCISCO

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PALO ALTO