DOCSLIB.ORG

Of Music PROGRAM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Of Music PROGRAM t ;·2 FACULTY RECITAL ~~ KENNETH GOLDSMITH, Violin with 10 ANNE RITACCA, Piano NORMAN FISCHER, Cello Saturday, September 11, 1993 8:00p.m. Lillian H. Duncan Recital Hall ~~rd RICE UNIVERSITY SchOol Of Music PROGRAM Sonata inC Major, KV296 Wolfgang Amadeus Mozart Allegro vivace ( 1756-1791) Andante sostenuto Rondeau: Allegro Balancing Act ( 1993) (Premiere) Richard Lavenda (b. 1955) Trio in C minor, Op. 66 Felix Mendelssohn Allegro energico e con fuoco ( 1809-1847) Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato In consideration of the pelformers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking of photographs and the use of recording equipment are prohibited. BIOGRAPHIES I" ..., KENNETH GOLDSMITH is violinist of the Mirecourt Trio, an ensemble that enjoys international acclaim through tours, prize-winning recordings, and television and radio broadcasts. He is currently Associate Professor of Music at the Shepherd School of Music. As a recitalist and soloist with orchestra, Mr. Goldsmith has toured the United States, Canada, Mexico, . Europe, Taiwan, and the People's Republic of China. His teachers include William Kroll, Mischa Mischakoff, and Nathan Milstein, and he holds de­ grees from George Peabody College and Stanford University. [ Mr. Goldsmith has given master classes throughout the United States, Europe, and the Orient, and appears frequently in recital with pianist JoAnne Ritacca. His extensive recorded repertoire, both solo and with the Mirecourt Trio and Lyric Art String Quartet, appears on the following record labels: ABC, Genesis, CRI, Innova, Grand Prix, Audax, Gasparo, Bay Cities, and TR Records. With the Mirecourt Trio, he has embarked on a compact disc series for Music and Arts of America featuring new American music and the standard literature for piano trio. In 1962 Mr. Goldsmith won the Young Concert Artists Competition in New York City, and he received a special award at the Kennedy-Rockefeller International Violin Competition in Washington, D.C., in 1980. With the Mirecourt Trio, he was a finalist at the 1976 Naumburg Chamber Music Competition in New York. Mr. Goldsmith has been Concertmaster of several American symphony orchestras and has pe1jormed with virtually every major conductor and soloist. His academic career includes posts at Stanford Uni­ versity, California State University at Fullerton, Grinnell College, University of Iowa, Pomona College, University of California at Irvine, and the Univer­ sity of Houston. Pianist 10 ANNE RITACCA has pe1jormed with singers and chamber musicians throughout the United States and Europe. With a Master of Music degree from the University of Southern California, she has taught at Pomona College, California State University at Fullerton, and Grinnell College. Miss Ritacca is an Assistant Conductor of The Dallas Opera and has also assisted in musical preparation of productions at the Houston Grand Opera, The Boston Opera, and the Florentine Opera of Milwaukee. NORMAN FISCHER is one of this country's foremost champions of the cello. After completing instrumental study with Richard Kapuscinski, Claus Adam, and Bernard Greenhouse, he first graced the international concert stage as cellist with the Concord String Quartet, a group that won the Naumburg Chamber Music Award, an Emmy, and several Grammy nomina­ tions, recorded over 40 works on RCA Red Seal, Vox, Nonesuch, Turnabout, and CRI, and premiered over 50 compositions. In addition to performing the major concerti, Mr. Fischer has premiered and recorded several new scores for cello and orchestra. His chamber music expertise has led to guest ap­ pearances with the lui/liard, Cleveland, and Audubon String Quartets, the Santa Fe Chamber Music Festival, and Da Camera of Houston. He is also a member of the Concord Trio and Ensemble Pierrot. As cellist of the Concord String Quartet, Norman Fischer had a long-standing relationship with George Rochberg, premiering five string quartets, a piano quintet, and a cello quintet, in addition to recording ten works for commercial release on RCA, Nonesuch, Vox, and CRI. A devoted teacher and mentor to younger players, Mr. Fischer taught at Dartmouth College and the Oberlin Conservatory before accepting the position of Professor of Violoncello at the Shepherd School of Music. During the summer he is a faculty member of the Tanglewood Music Center. RICE .
Load more

Recommended publications
  • Mahwah Public Library
    Mahwah Public Library Adelphi Chamber Ensemble Alison Brewster Franzetti (piano) Sylvia Rubin (violin), Melissa Macy (violin), Sally Fillmore (viola), Genevieve Jeuck Sallemi (violin) Martha Calhoun (cello ), and Anne Taylor (viola) Sunday February 23, 2014 at 2:00 PM Brahms: Sextet for Strings no 1 in B flat major, Op. 18 Melissa Macy (Violin); Sylvia Rubin (Violin); Sally Fillmore (Viola); Genevieve Jeuck Sallemi (Viola), Martha Calhoun (Cello); Anne Taylor (Cello) Intermission Fauré: Quartet for Piano and Strings no 2 in G minor, Op. 45 Alison Brewster Franzetti (Piano); Sylvia Rubin (Violin); Genevieve Jeuck Sallemi (Viola); Anne Taylor (Cello) MARTHA CALHOUN (CELLO) holds a B.A. and a Masters of Music from the State University of New York at Stony Brook where she was a student of Bernard Greenhouse. She has also studied with Raya Garbousova and Timothy Eddy. She is an avid devotee of contemporary music and has worked with a number of composers including Bulent Arel and Daria Semegen, whose music she has recorded for Opus One. She was a founding member of the Long Island Pro Musica and continues to be a passionate chamber musician. In her other life, she is a Senior Counsel with the New York City Law Department, where she defends the City in class action lawsuits. SALLY FILLMORE (VIOLA) is an active chamber and orchestra musician. She currently plays with the Adelphi Chamber Orchestra of New Jersey. She has recently played with the Park Avenue Chamber Orchestra and Lawyers Orchestra in New York City, the Livingston Symphony Orchestra, and the Metropolitan Orchestra in New Jersey.
    [Show full text]
  • Joseph Kuipers Is One of the Rare Musical Voices of Today: the Fresh Sincerity of His Playing, Combined with Technical Sovereignty Over the Instrument
    “Joseph Kuipers is one of the rare musical voices of today: the fresh sincerity of his playing, combined with technical sovereignty over the instrument. He draws a dark, singing sound out of his Ceruti Cello, and creates lines that seem to float effortlessly.” Berliner Abend Post American cellist Joseph Kuipers is renowned for his creativity and versatility in his captivating performances on both modern and gut strings. Appearing at festivals and music centers around the globe, he has performed at the Ravinia Music Festival, Aspen Music Festival, Les Festival International du Domaine Forget, Kronberg Academy, Ascoli Piceno Festival, Carl Orff Festival, and the World Cello Congress. Equally at home with modern and baroque performance styles, and often juxtaposing them in concert programs, Joseph has worked extensively with living composers, among them Robert Cogan, Heinz Holliger, Helmut Lachenmann and Arvo Part: and has performed with the Ensemble für Neue Musik Basel, Neue Musik Ensemble Mannheim, Second Instrumental Unit, New York, and the Callithumpian Consort of Boston. Joseph is the Artistic Director of the Fredericksburg Music Festival where world renowned European classical musicians gather in historic Fredericksburg TX for a week of music making. In 2010 Joseph founded the Marinus Project an international collective of chamber musicians dedicated to the tradition of classical music in our time. Marinus is the “Ensemble in Residence” at Washington and Lee University and Eastern University. In April 2011 the Marinus Ensemble received a $200,000 unrestricted artist development grant to further the Marinus Project. Joseph completed his undergraduate studies at the New England Conservatory of Music in Boston, where his primary teachers were Paul Katz for cello and Pozzi Escot for composition.
    [Show full text]
  • Critical Success Factors in Cello Training – a Comparative Study
    Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London.
    [Show full text]
  • A Great Wave in the Evolution of the Modern Cellist: Diran Alexanian and Maurice Eisenberg, Two Master Cello Pedagogues from the Legacy of Pablo Casals
    A GREAT WAVE IN THE EVOLUTION OF THE MODERN CELLIST: DIRAN ALEXANIAN AND MAURICE EISENBERG, TWO MASTER CELLO PEDAGOGUES FROM THE LEGACY OF PABLO CASALS by Oskar Falta B.Mus., Robert Schumann Hochschule, 2014 M.Mus., Royal Academy of Music, 2016 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Orchestral Instrument) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) November 2019 © Oskar Falta, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: A Great Wave in the Evolution of the Modern Cellist: Diran Alexanian and Maurice Eisenberg, Two Master Cello Pedagogues from the Legacy of Pablo Casals submitted by Oskar Falta in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Orchestral Instrument Examining Committee: Eric Wilson, Music Co-supervisor Claudio Vellutini, Music Co-supervisor Michael Zeitlin, English Languages and Literatures University Examiner Corey Hamm, Music University Examiner Jasper Wood, Music Supervisory Committee Member ii Abstract Pablo Casals (1876-1973) ranks amongst the most influential figures in the history of the violoncello. Casals never held a permanent teaching position, neither did he commit his teaching philosophy to paper. This thesis examines three selected aspects of expressive tools: intonation, vibrato, and portamento – as interpreted by Casals – and defines how they are reflected in methods of two cellists with first-hand access to Casals's knowledge: Diran Alexanian (1881-1954) and Maurice Eisenberg (1900-1972). The first chapter presents two extensive biographical accounts of these authors.
    [Show full text]
  • Bernard Greenhouse: a Selected Discography
    Bernard Greenhouse: A Selected Discography Compiled by: Sonia Archer-Capuzzo and Mac Nelson “Bernard Greenhouse: A Selected Discography,” compiled with William “Mac” Nelson, 2011. Available at http://reuningprivatesales.com/stainlein/bernard-greenhouse-discography. Made available courtesy of Elena Delbanco/Reuning & Son Violins: http://reuningprivatesales.com/stainlein/bernard-greenhouse-discography. ***© Elena Delbanco/Reuning & Son Violins. Reprinted with permission. No further reproduction is authorized without written permission from Elena Delbanco/Reuning & Son Violins. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Most numerous among the recordings of Bernard Greenhouse are those he made with the Beaux Arts Trio, the legendary ensemble of which he was the founding cellist in 1955 with pianist Menahem Pressler and violinist Daniel Guilet (later followed by violinist Isidore Cohen). With the Beaux Arts Trio, Greenhouse performed and recorded the entire standard piano trio repertoire before retiring from the group in 1987. However, Greenhouse’s career on the international chamber music stage represents only one dimension of his richly varied musical life. He was also a virtuoso cello soloist, a tireless musical collaborator, and the long-time cellist of New York’s Bach Aria Group. In order to demonstrate the breadth and depth of his recorded legacy, we have organized this discography in three sections: (1) Greenhouse As Soloist and Collaborator;
    [Show full text]
  • Kate Dillingham – Biography
    Cello Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Karrah O’Daniel-Cambry Opera and Marketing Manager [email protected] Contents: Mailing Address: 1000 South Denver Avenue Biography Suite 2104 Reviews Tulsa, OK 74119 Recordings & Publications Website: Concerto Repertoire http://www.pricerubin.com Recital & Contemporary Repertoire Sample Recital Programs Resume Teaching Video/Audio Links Complete artist information including video, audio and interviews are available at www.pricerubin.com Kate Dillingham – Biography Kate Dillingham enjoys a varied career as a soloist and collaborative artist, and is an avid proponent of the music of living composers. She has performed as a soloist in 18th–21st century repertoire with The St. Petersburg Philharmonic, The Moscow Symphony Orchestra, The Salzburg Chamber Philharmonic Orchestra, and the Moscow Chamber Orchestra. She has appeared numerous times at Carnegie Hall, Weill Recital Hall, The Metropolitan Museum of Art, Lincoln Center, Bargemusic, Symphony Space, and The DiMenna Center in New York City. She has performed at the Kimmel Center in Philadelphia, PA, and has been presented twice at the United States Supreme Court in Washington, DC. Ms. Dillingham has toured throughout Europe and the United States. Recent highlights include concerts at the Tseretelli Gallery in Moscow, Russia, and Weill Recital Hall and The DiMenna Center in New York, where she performed a recital of entirely new compositions. Active in the New York freelance scene, she is a regular substitute for Broadway productions of Disney’s The Lion King and Matilda the Musical and has performed with jazz legends Tony Bennett, Clark Terry, Jimmy Heath, and Barry Harris.
    [Show full text]
  • Beaux Arts Trio to Perform at UCSD on April 21
    Beaux Arts Trio to perform at UCSD on April 21 April 11, 1990 Contact: Ruth Baily, University Events Office, 534-4090 or Alixandra Williams, University Communications, 534-3120 THE BEAUX ARTS TRIO WILL PERFORM AT UCSD ON APRIL 21 The legendary Beaux Arts Trio will perform at the University of California, San Diego at 8 p.m. Saturday, April 21, in the Mandeville Auditorium. The program will be: Haydn: Trio in E Flat Major; Ravel: Trio in A minor and Schubert: Trio in B Flat Major, Op. 99. The trio made its debut in 1955 at the Berkshire Music Festival at Tanglewood, now known as the Tanglewood Festival. Since then, pianist Menahem Pressler, violinist Isadore Cohen and cellist Bernard Greenhouse established themselves as one of the most successful musical collaborations of our time. In more than three decades of travel throughout North America, Europe, Japan, South America, the Middle East, Australia and New Zealand, the Beaux Arts Trio has won the greatest praise from audiences and critics. At a 30th anniversary celebration at Indiana University in September 1985, President Ronald Reagan commended the trio's artistry, awarding each member with a special silver medal. In 1986, the trio experienced a change in personnel, when cellist Bernard Greenhouse retired from the ensemble to expand his teaching career. His position was filled in 1987 by cellist Peter Wiley. The extensive discography of the Beaux Arts Trio on Philips Records encompasses the entire piano trio literature. The ensemble has elevated the status of previously neglected piano trio literature to the level of that for string quartet.
    [Show full text]
  • Beauxartstrio1983.Pdf (639.2Kb)
    JESSE AUDITORIUM SERIES Houston Ballet, The Sleeping Beauty, Thursday, September 29 Andre-Michel Schub, piano, Tuesday, October 25 New York City Opera, La Boheme, Friday, February 3 Saint Louis Symphony Orchestra, Leonard Slatkin, conductor, Wednesday, March 14 Atlanta Symphony Orchestra, Robert Shaw, conductor, UMC Choral Union, Friday, March 30 Czech Philharmonic, Nathaniel Rosen, cello, Tuesday, April 3 CHAMBER MUSIC SERIES Kammergild Chamber Orchestra, Eugene Istomin, piano, Monday, October 10 Beaux Arts Trio, Friday, October 21 . Deller Consort, Monday, October 31 Cleveland Quartet, Saturday, November 12 St. Louis Brass Quintet, Friday, March 2 I Musici, Wednesday, April 25 SPECIAL EVENTS Pilobolus Dance Theatre, Wednesday, November 2 Christmas Choral Concert, Choral Union, UMC Philharmonic and Distinguished Guest Soloists, Friday, December 2 and Saturday, December 3 Kansas City Ballet, Wednesday, February 8 American String Quartet (rescheduled) Sunday, April 1 The UMC Concert Series gratefully acknowledges the sponsorship of BOONE COUNTY BANK of the performance of Beethoven's Ninth Symphony by the Atlanta Symphony and the UMC Choral Union under the direction of Robert Shaw For information phone: Jesse Box Office 882-3781 Concert Series Office 882-3875 ~ ~ sl!/UR,S/ I : ~r-?~ FIRST NATIONAL AND TRUST COMPANY BANK COLUMBIA . MISSOURI Member FDIC •••. Where quality .§1"~~~ 9th &Broadway is not expensive. .::> Ibwntown 0 c.,""' ~ . ~· 0 "HING c~·· 125 North Ninth, Columbia, MO 65201 449-7700 442-0111 Shoes Cosmetics Handbags Ready-To-Wear Since 1935 Hosiery ''Down town'' ''When you care enough to look your very best." Phone 314-449-2459 R. R. Powell, Prop. presents THE BEAUX ARTS TRIO Menahem Pressler, Piano Isidore Cohen, Violin Bernard Greenhouse, Cello Trio in A Major, H.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
    Theatre - Concert Hall Tanglewood EIGHT CONCERTS OF CHAMBER MUSIC Tuesday Evenings at 8:00 July 28 THE BEAUX ARTS TRIO OF NEW YORK BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director ,y BERKSHIRE FESTIVAL 1964 BALDWIN PIANO RCA VICTOR RECORDS DIVERTIMENTO (TRIO) IN B FLAT, K. 254 By Wolfgang Amadeus Mozart (1756-1791) "Ein Terzett" was Mozart's title for each of his trios for piano, violin and cello, except for this early one in B flat, which he called a "diverti- mento," a strange designation, since it differs in no way from the pattern of the rest. Since the bass function is fulfilled by the pianist's left hand, and is merely doubled by the cello, this trio could perfectly well be played as a violin sonata. This does not mean that it would be as beautiful, for the gentle permeation of the cello bass and its chords with the violin add con- siderably to the charm of the whole. First and last, this is a polite work, but warm and appealing in the melodies of the allegro assai, the development of the rondo in minuet style. The Adagio in the middle is a particularly fine one, with a long breathed opening melody conceived for the violin, another suited to the piano, and a mating of the two. PIANO TRIO By Maurice Ravel (1875-1937) Ravel was working upon this his only trio at Saint-Jean-de-Luz in 1914 when the World War began. Roland-Manuel, who was one of his circle, quotes the composer as saying that "he would exchange without too much regret the savoir of this product of his maturity for the pouvoir ingenu of the Quartet of his youth." (He had composed his only string quartet in 1902-1903.) Roland-Manuel believes that he was intrigued by the problem of overcoming the tonal incompatabilities of blending the piano with the strings, a problem Saint-Saens had so adroitly overcome.
    [Show full text]
  • Robert and Clara Schumann Complete Piano Trios
    “Robert & Clara Schumann Complete Piano Trios”-- The Beaux Arts Trio (1972) Added to the National Registry: 2015 Essay by Robert Greenberg (guest post)* Robert and Clara Schumann: Complete Piano Trios The Beaux Arts Trio was founded in 1955 by the pianist Menahem Pressler, the violinist David Giulet, and the cellist Bernard Greenhouse. The trio played its first concert at Tanglewood on July 13, 1955 and their final concert in Lucerne, Switzerland, on September 6, 2008, completing an unprecedented 53-year run as the premiere, gold-standard piano trio. Over the years, various violinists and cellists came and went, though the founding pianist--the extraordinary Menahem Pressler--remained the rock and anchor of the group from its inception to its end. Of the founding members, Pressler is the only one still with us at the time of this writing (September 2019); he will celebrate his 96th birthday on December 16 (Beethoven’s birthday as well), 2019. He was still performing as recently as 2016, making him--at the time-- the eldest living performing pianist. (For our information, in January 2014, at the age of 90, he made his debut with the Berlin Philharmonic under the baton of Simon Rattle. Better late than never!) The Robert and Clara Schumann piano trios on this album were recorded at La Chaux-de-Fonds, Switzerland, in August 1971. The personnel in the trio at the time of the recording was, arguably, the greatest permutation of the Beaux Arts: Menahem Pressler, piano; Isadore Cohen, violin; and Bernard Greenhouse, cello. Until the late 18th century, a keyboard trio (a musical composition for a keyboard instrument, a violin, and a cello; what was known at the time as an “accompanied sonata”) was a technically undemanding work intended for amateur performers.
    [Show full text]
  • Buffalo Chamber Music Society 1924-2019 Ensembles – Artists
    BUFFALO CHAMBER MUSIC SOCIETY 1924-2019 ENSEMBLES – ARTISTS ACADEMY OF ST. MARTIN IN THE FIELDS, IONA BROWN, Director and violin soloist ACADEMY OF ST. MARTIN IN THE FIELDS OCTET Kenneth Sillito, violin, leader; Harvey de Souza, violin; Mark Butler, violin; Paul Ezergailis, violin Robert Smissen, viola; Duncan Ferguson, viola; Stephen Orton, cello; John Heley, cello AIZURI QUARTET Emma Frucht & Miho Saegusa, violins; Ayane Kozasa, viola; Karen Ouzounian, cello ; ALBENERI TRIO Alexander Schneider, violin; Benar Heifetz, cello; Erich Itor Kahn, piano – 1945, 1948 Giorgio Ciompi, violin; Benar Heifetz, cello; Erich Itor Kahn, piano 1951, 1952,1955 Giorgio Ciompi, violin; Benar Heifetz, cello, Ward Davenny, piano 1956, 1958 Giorgio Ciompi, violn; Benar Heifetz, cello; Arthur Balsam, piano 1961 ALEXANDER SCHNEIDER AND FRIENDS Alexander Schneider, violin; Ruth Laredo, piano; Walter Trampler, viola, Leslie Parnas, cello 1973 Alexander Schneider, violin; Walter Trampler, viola; Laurence Lesser, cello; Lee Luvisi, piano 1980 ALEXANDER STRING QUARTET Eric Pritchard, violin; Frederick Lifsitz, violin; Paul Yarbrough, viola; Sandy Wilson, cello 1988 Ge-Fang Yang, violin; Frederick Lifsitz, violin; Paul Yarbrough, viola; Sandy Wilson, cello 1994 Zakarias Grafilo, violin; Frederick Lifsitz, violin; Paul Yarbrough, viola; Sandy Wilson, cello 2006 ALMA TRIO Andor Toth, violin; Gabor Rejto, cello; Adolph Baller, piano 1967 Andor Toth, violin; Gabor Rejto, cello; William Corbett Jones, piano 1970 ALTENBERG TRIO Claus-Christian Schuster, piano; Amiram Ganz,
    [Show full text]
  • A Concert Program
    Chamber Music ART Foundation Presents a Chamber Music concert On Santuit Pond MEET the MUSICIANS Ying-Jun Wei was born in China where her family lived in a small suburban town where the cost of living was lower. She began learning cello at the age of 10. For transportation they used an old bicycle that Ying-Jun grandpa had given their family. Every week her dad would put her on the front of the bike, her mom would carry the cello and sit at the back, and her dad would ride for an hour to get in town to her music teacher. They would ride through rain and snow and once even hail, sometimes on the icy roads, where they would fall many times but nothing stopped them and she never missed a lesson. At 11 Ying-Jun enrolled at the Wu Han Conservatory of Music and at 13, she won the 3d China Cello Competition and was invited to Beijing for a solo concert. There in the audience was Mr. Curtis Price, the Principle of UK Royal Academy of Music. After hearing Ying- Jun performance he got very excited and invited her to come to UK to study. He arranged for Ying-Jun to be admitted to Purcell School of Music, UK best music school patroned by Prince Charles with a full scholarship. In 2000, Ying-Jun won the Purcell School Concerto Competition and in 2001, she became a student at the Royal Academy of Music with a full scholarship, where she studied with world famous cellist Colin Carr.
    [Show full text]