HengChing Fang (Viola), Dan Gordon (Piano)
Programme includes
Treeness by Nigel Morgan (World Premiere)
Ciaccona by Tommaso Antonio Vitali, arranged by Louis Bailly & Benjamin Dale's Romance
Monday 14 July 2008
Sunday 8 June 2008
Who is HengChing?
She is a solo, chamber music, and orchestra player. She is a currently a PhD candidate from School of Music at the University of Leeds with an interest in academic research and translation.
Recently, Ching and pianist and organist, Daniel Gordon, have been invited by composer, Mr. Nigel Morgan to record his new composition, Treeness for Viola and Chamber Organ. Nigel Morgan has been a co-developer of the Symbolic Composer software for Macintosh since 1990 and has recently joined the research team of the Future Music Lab at Plymouth University's Interdisciplinary Centre for Computer Music Research.The recording of Treeness is going to be published by A-R Editions, Inc in 2009.
This new composition, Treeness, was composed for the Taiwanese viola player HengChing Fang and the English organist and pianist Daniel Gordon.
Recently, Ching and pianist and organist, Daniel Gordon, have been invited by composer, Mr. Nigel Morgan to record his new composition, Treeness for Viola and Chamber Organ. Nigel Morgan has been a co-developer of the Symbolic Composer software for Macintosh since 1990 and has recently joined the research team of the Future Music Lab at Plymouth University's Interdisciplinary Centre for Computer Music Research.The recording of Treeness is going to be published by A-R Editions, Inc in 2009.
This new composition, Treeness, was composed for the Taiwanese viola player HengChing Fang and the English organist and pianist Daniel Gordon.
Biography
Taiwanese violist HengChing Fang. She started to learn piano from age 5, and viola from age 10. She is the prize winner of the Leeds Chamber Orchestra Soloist Competition, finalist and the only string player in the Ludlow Philharmonic Competition, the First Prize in the Taipei West District Viola Competition and third-prize winner of the National Viola Competitionthe. As a viola soloist, she played the William Walton’s Viola Concerto with the Leeds Chamber Orchestra received positive review.
She has been awarded a Postgraduate Diploma at the Birmingham Conservatoire (studied viola with Rivka Golani) with International Scholarship and a Master of Music Degree at the Guildhall School of Music & Drama with postgraduate bursary (studied with David Takeno and Jack Glickman). She is currently undertaking a Doctor of Philosophy Degree at the University of Leeds under the supervision of Prof. Clive Brown. Her PhD project is sponsored by British Woman Foundation Fund.
HengChing has been invited to play with the Macau Symphony Orchestra, Chiemi Philharmonic Symphony Orchestra, Leeds Baroque Orchestra, Pacific Music Festival, Schleswig Holstein Music Festival, London Charity Orchestra, Asian Young Orchestra and toured in United Kingdom, China, Taiwan, Germany, France, Hong Kong and Japan with conductors Christoph Eschenbach, Valery Gergiev, Benard Haitink, Semyon Bychkov, Jaap van Zweden, Edo de wart, Krzyszt of Penderecki, Ween Pin Chen and Bright Sheng. As a chamber music player, HengChing enjoys working with musicians and experience different forms of chamber group. She also plays regularly with the LUCHIP String Quartet giving concert in Leeds, and Sheffield.
She has been awarded a Postgraduate Diploma at the Birmingham Conservatoire (studied viola with Rivka Golani) with International Scholarship and a Master of Music Degree at the Guildhall School of Music & Drama with postgraduate bursary (studied with David Takeno and Jack Glickman). She is currently undertaking a Doctor of Philosophy Degree at the University of Leeds under the supervision of Prof. Clive Brown. Her PhD project is sponsored by British Woman Foundation Fund.
HengChing has been invited to play with the Macau Symphony Orchestra, Chiemi Philharmonic Symphony Orchestra, Leeds Baroque Orchestra, Pacific Music Festival, Schleswig Holstein Music Festival, London Charity Orchestra, Asian Young Orchestra and toured in United Kingdom, China, Taiwan, Germany, France, Hong Kong and Japan with conductors Christoph Eschenbach, Valery Gergiev, Benard Haitink, Semyon Bychkov, Jaap van Zweden, Edo de wart, Krzyszt of Penderecki, Ween Pin Chen and Bright Sheng. As a chamber music player, HengChing enjoys working with musicians and experience different forms of chamber group. She also plays regularly with the LUCHIP String Quartet giving concert in Leeds, and Sheffield.
Research
HengChing Fang is currently a PhD candidate at the University of Leeds under the head of school, Prof. Clive Brown. As a violist of the LUCHIP String Quartet, her area of research is performing practices of string instruments from late nineteenth century to the present, and focuses particularly on the analysis of performing styles of Joseph Joachim, Lionel Tertis and William Primrose. Her first academic translation book, “Classical and Romantic Performing Practices 1750-1900”, by Clive Brown published by Oxford University Press (OUP), will be published in 2008 by Continental Book Ltd. Other professional Activities include participating in Art and Humanities Research Council (AHRC) Research Project with Dr. David Milsom, and collaborating with Interdisciplinary Centre for Computer Music Research (ICCMR) with composer Mr. Nigel Morgan.
Selected conference papers are as followed:
“Lionel Tertis’ Interpretation Aesthetics: A Discussion of Bax’s Sonata for Viola and Piano,” The 35th International Viola Congress, University of Adelaide. Australia, July- Aug 2007.
“Sound of the Early Twentieth-Century Viola Music: Revelation of Lionel Tertis Interpretation Aesthetics,” MARS Study Day, University of Leeds, UK, May 2007.
“String Performing Practices in the Twentieth Century,”Music Institutions with Doctoral Arts Studies (M.I.D.A.S) workshop, Royal College of Music, UK, April 2007.
“Transition of Audible Perception: Revelation of Tertis’ Interpretation Aesthetics,” Music Archival Research Skills (MARS) Study Day, University of Leeds, UK, March 2007.
“Revelation of Lionel Tertis’ Interpretation Aesthetic,” Royal Musical Association Research Student’s Conference (RMA), University of Bristol, UK, Jan. 2007.
“Performing Practices in the Twentieth Century,” Progress Conference, University of Manchester, UK, June 2006.
“Historical Performance with Modern Players,” Research Study Day, University of Leeds, UK, May 2004.
Recently, she has been invited by the International Viola congress to give seminar with sponsorship from The Aidan Woodcock Charity and Kathleen & Margery Elliott Scholarship Trust.
Selected conference papers are as followed:
“Lionel Tertis’ Interpretation Aesthetics: A Discussion of Bax’s Sonata for Viola and Piano,” The 35th International Viola Congress, University of Adelaide. Australia, July- Aug 2007.
“Sound of the Early Twentieth-Century Viola Music: Revelation of Lionel Tertis Interpretation Aesthetics,” MARS Study Day, University of Leeds, UK, May 2007.
“String Performing Practices in the Twentieth Century,”Music Institutions with Doctoral Arts Studies (M.I.D.A.S) workshop, Royal College of Music, UK, April 2007.
“Transition of Audible Perception: Revelation of Tertis’ Interpretation Aesthetics,” Music Archival Research Skills (MARS) Study Day, University of Leeds, UK, March 2007.
“Revelation of Lionel Tertis’ Interpretation Aesthetic,” Royal Musical Association Research Student’s Conference (RMA), University of Bristol, UK, Jan. 2007.
“Performing Practices in the Twentieth Century,” Progress Conference, University of Manchester, UK, June 2006.
“Historical Performance with Modern Players,” Research Study Day, University of Leeds, UK, May 2004.
Recently, she has been invited by the International Viola congress to give seminar with sponsorship from The Aidan Woodcock Charity and Kathleen & Margery Elliott Scholarship Trust.
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