Lin Zhaoliang

Lin Zhaoliang

Taiwan born American violinist, one of today's most outstanding violinists, performs with major orchestras from five continents every year and holds a series of recitals and indoor concerts. His wonderful performance was highly praised. In 2000, Lin Zhaoliang was selected as "instrumental performer of the year" by Music America.

Profile

Lin Zhaoliang, a Chinese American violinist, was born on January 29, 1960 in Hsinchu City, Taiwan, China. He began to learn violin at the age of 5. He performed for the first time two years later and won the champion of Taiwan youth competition when he was 10 years old. At the age of 12, he was sent to Australia to study piano under Robert pikler at the New South Wales Conservatory of music in Sydney.

In Sydney, inspired by Itzhak Perlman, he went to New York to apply for the Juilliard Conservatory of music in 1975 and studied with Perlman's teacher Dorothy delay for six years. During the school period, he has held concerts in cooperation with the Philadelphia Symphony Orchestra conducted by omandi and the London Symphony Orchestra conducted by Priven.

In 1977, she won the international competition of Queen Sophia in Madrid. He made his debut at the Mozart Festival in New York at the age of 19, and then began his professional playing career with the New York Philharmonic Orchestra. As a soloist, the Chicago Symphony Orchestra, Cleveland Orchestra, Royal Philharmonic Orchestra, Bavaria Radio Symphony Orchestra and other world-famous orchestras performed on the same stage. And held chamber music performances with many famous soloists.

In 1981, Lin Zhaoliang, as the first Taiwanese musician invited by the mainland, visited Shanghai and Beijing to perform. In 1984, he visited China again, both of which were successful and left a deep impression on the Chinese audience.

He became an American in 1987 and taught at his alma mater, JULIARD School of music, in 1991.

In 2000, he was named "instrumentalist of the year" by Music America magazine.

In 2007, he was employed as a tenured professor at Rice University's shepherd School of music. The violin he played on was "Titian" made by Stradivari in 1715.

In 1997, Lin Zhaoliang returned to Asia to establish the Taipei International Chamber Music Festival and became the music director.

Since 2001, Lin Zhaoliang has been the music director of the "midsummer Music Festival" of the La HOA Music Association. He has developed from a purely chamber music performance to a diversified music festival including dance, jazz and new music programs. He has commissioned many composers to create new music, including Chick Corea, Stewart Copeland and Lee Leon Kirchner, Christopher rouse, Wayne shore, kaija saariaho and Gunther Schuller, etc. Since 2012, Lin Zhaoliang will be the music director of Hong Kong Chamber Music Festival.

honor

Like Yo Yo Ma, Lin Zhaoliang is an internationally renowned Chinese string player. His voice and style have gone beyond regional restrictions and have the common features of contemporary international popularity. In 2000, he was named "instrumentalist of the year" by Music America magazine. Generally speaking, most Chinese people play string instruments with a special feeling or charm. We Chinese or experts can hear it as soon as we hear it. It's like a Chinese who speaks English so well that foreigners mistook him for a local in New York, but we can identify his origin. It's a wonderful sense of national identity. Lin Zhaoliang's Chinese background is hidden in his soul. He is an international performer. He is different from palman and Zheng Jinghe in personal style. This can be seen from his collection of Stravinsky's works.

Stravinsky

Stravinsky wrote a duet Concerto for his traveling performance with the violinist Dushkin at that time, and selected several pieces from his dance drama Petrushka and pulchenella to be adapted into "the divertimento" and "the Italian suite". These are all the works he wrote for this musical instrument group. These pieces of music pay homage to the ancient Italian violin school. Blend the harmony and rhythm of the 20th century into the spirit of the 18th century. In style, it is typical Stravinsky's wit, humor and banter, with strong rhythm power and a kind of fascinating feeling of expecting climax. Lin Zhaoliang's piano sound is smooth and delicate, and his bow movement is very refined. He makes these beautiful music full of ancient flavor. Compared with palman's records of the same track, they are somewhat rough, and their emotional delicacy is also slightly inferior.

Best Concerto record

Lin Zhaoliang's Violin Concerto record of Sibelius and Danish composer Nielsen (1865-1931), released in 1988, won the acclaim of the critics and was awarded the best Concerto record of 1989 by the British phonograph magazine.

Sibelius

When he was young, Sibelius had plans to pursue a violin solo career. He was the second violinist in a string quartet and played solo in concerts. When he went out to play, he would stand on the bow of the boat and play his violin in the wind. However, we should be glad that he finally devoted his energy to composing.

In 1903, Sibelius wrote the first draft of Violin Concerto in D minor. By this time, he was the author of two mature symphonies. Despite his technical assurance, Sibelius humbly consulted several violinists. Burmest was the man Sibelius had intended to present and premiere. Wechsler is the ultimate contributor. The premiere, which was finalized in 1903, fell to Harrier, the chief of the Berlin Philharmonic Orchestra. On October 19, 1905, in Berlin, Richard Strauss conducted the concerto of the Berlin Philharmonic Orchestra. There was a strong response from the critics, but Joachim, who was sitting in the audience at the time, didn't like the new work, calling it shocking and boring. Today, the concerto has firmly established its classic status. It is one of the most popular works of Sibelius. Lin Zhaoliang's performance is pure and beautiful, with relaxed skills and keen artistic sense. The sweet and clear voice he played at the beginning of the music must be exactly what Sibelius had in mind. The movement of rouji is soft, warm and temperate, which is not overflowing with excessive faint and hot emotions that we often hear. Lin Zhaoliang does not regard this work as a display of pure strength, but focuses on the elegant noble temperament of Sibelius. His skill is very good, but the points strong support hard efforts, the use of reasonable and natural. On the point of conforming to nature, Lin Zhaoliang embodies the typical Chinese aesthetic ideal.

Nelson

Nelson is the same age of Sibelius, a representative of the national music school, and also a good violinist. Apart from that, they no longer have much in common. Their music styles are quite different. In the late 19th century, Sibelius could not let go of his romantic and sentimental feelings, and his works had a great international influence; Nelson was rooted in the future, and his original progressive tonality and stubborn and powerful music language were not understood at that time; his development was limited to a domestic corner. Both of them draw nourishment from the folk music of their respective countries. Nelson tends to be tired and hard. His feelings are cordial and severe. He is not as sentimental as Sibelius. Just because of this, his gentle moment can often bring people a particularly deep impression, as his violin concerto shows.

Nielsen's violin concerto was written in 1911, which is his most ambitious work in the field of concerto. It was premiered by Danish violinist Muller in Copenhagen on February 28, 1912. Its style directly inherits Brahms's "Violin and Cello Duet Concerto" in his later years, which is a state of discarding the complexity. The whole piece consists of three movements. The huge first movement consists of a slow passage followed by a fast passage, and the second and third movements form two equal parts in hearing. Critics have objected to the great difference in style between the two parts. Nelson's reply is as follows: we may say that the first movement is more active and exciting, but is it better music? I don't think so. In the Rondo of the final movement, I strongly emphasize that the music environment has changed. At the end, it abandons the things that can surprise and move the audience. For me, this is very clear. It's easy to write a brilliant ending, but in that case, I'm not too stupid. The first movement leads to a lyric theme with a dramatic violin solo. It has a cordial and solemn flavor, and it should stop when it develops into an extremely warm melody. In the Allegro section of the turn Sonata, the masculine swagger theme contrasts with the smooth and soothing Lyric theme. There are many interesting interludes in the middle, one of which has a melody like that of the chicken dance in Mussorgsky's picture exhibition. The second movement is a quiet half

Chinese PinYin : Lin Zhao Liang