NSO: Evershining Star in TaiwanBy Mel Yang

As an old Chinese saying goes “The ninety miles is only half of a hundred miles journey,” Taiwan’s symphony orchestras didn’t reach the professional level until the recent decade in spite of their foundation built up during the Japanese Colonial Period. Local symphony orchestras used to be seen as social welfare groups, and now finally they are taken on a par with international orchestras by the Taiwanese musical circles. The National Symphony Orchestra (NSO) undoubtedly has played a critical role in the trial-and-error process.

The NSO was first established in 1986 as the Experimental Symphony Orchestra whose name clearly states its eventful history. Before its establishment, Taiwan’s standing symphony orchestras had rightly existed with governmental support. However, the “experimental” part suggests that the orchestra didn’t take the support for granted. The NSO has endeavored to position itself as the leading symphony orchestra in Taiwan from the aspects of art and administration.

The “experimental” part indicates a hint of subtleness: the Experimental Symphony Orchestra was composed of three school orchestras from the National Taiwan Normal University, the Taipei National University of the Arts and the National Taiwan University of Arts. These three universities with different traditions and musical style are all leaders in Taiwan’s art education, competing against one another. This trinity not only gathered the elite of music in Taiwan, but foreshadowed its volatile path of growth.

This talent-packed symphony orchestra brought its charisma into full play during the trend of art appreciation in the 1990s. Due to their excellent skills and images, many members have been molded into stars and achieved great success in show business and the record market. To name a few, renowned flutist Ellie Lai, trumpeter Shu-Han Yeh, oboist Casper Tsai, harpist

Shannon Chieh and clarinetist Chen-Hua Huang are all stars originating from the Experimental Symphony Orchestra. Meanwhile, the NSO members take the lead in organizing all kinds of performance ensemble including Musica Daphne by the former concert master Gui-Zhu Zhu, and the Taipei Philharmonic Woodwind Quintet, the Golden Woodwind Quintet and Yeh Shu Han Brass Quintet by wind musicians, creating a force of influence in the world of classical music. Strings have always been the NSO’s strength, and its string players are uncommon brilliance. In addition to the current concert masters Ting-Yu Wu and I-Ching Li, many former concert masters and members double as soloists and conductors such as Wei-Ming Huang, Nancy Tsung, Kin-Fung Leung, Hui-Chun Lin and Hao-Tun Teng. The NSO members are all characterized by eliteness, star quality, brilliance, wildness and intractability.

According to my observation, although “experimental” seems like a queer word, this symphony orchestra did obtain high expectations and a sense of freshness from the audience. The establishment of the Experimental Symphony Orchestra was soon followed by the completion of the National Theater and the National Concert Hall, assisting the orchestra to create many historically significant achievements. For instance, the orchestra took the lead in doing a test performance in the National Concert Hall and collaborated with the theater and the concert hall for original programs such as amazing concerts with Plácido Domingo, Luciano Pavarotti and José Carreras. However, being “experimental” suggested that the orchestra had to go through a difficult process in trying to position itself, and the fact that the orchestra changed its name three times, once every eight years, is the best proof.

The Experimental Symphony Orchestra represented a process of trial and error. The key players in this phrase were Principal Conductors Gerard Akoka from France and Urs Schneider from Switzerland who were the first foreign musicians hired by Taiwanese professional orchestras. Although the orchestra has been mostly influenced by the later Chinese conductors, it is undeniable that these two foreign conductors helped build a sound foundation for the NSO. In terms of administration, the orchestra had been traditionally led by the president of the National Taiwan Normal University, but the position of the orchestra leader was then taken

NSO: Evershining Star in TaiwanBy Mel Yang

As an old Chinese saying goes “The ninety miles is only half of a hundred miles journey,” Taiwan’s symphony orchestras didn’t reach the professional level until the recent decade in spite of their foundation built up during the Japanese Colonial Period. Local symphony orchestras used to be seen as social welfare groups, and now finally they are taken on a par with international orchestras by the Taiwanese musical circles. The National Symphony Orchestra (NSO) undoubtedly has played a critical role in the trial-and-error process.

The NSO was first established in 1986 as the Experimental Symphony Orchestra whose name clearly states its eventful history. Before its establishment, Taiwan’s standing symphony orchestras had rightly existed with governmental support. However, the “experimental” part suggests that the orchestra didn’t take the support for granted. The NSO has endeavored to position itself as the leading symphony orchestra in Taiwan from the aspects of art and administration.

The “experimental” part indicates a hint of subtleness: the Experimental Symphony Orchestra was composed of three school orchestras from the National Taiwan Normal University, the Taipei National University of the Arts and the National Taiwan University of Arts. These three universities with different traditions and musical style are all leaders in Taiwan’s art education, competing against one another. This trinity not only gathered the elite of music in Taiwan, but foreshadowed its volatile path of growth.

This talent-packed symphony orchestra brought its charisma into full play during the trend of art appreciation in the 1990s. Due to their excellent skills and images, many members have been molded into stars and achieved great success in show business and the record market. To name a few, renowned flutist Ellie Lai, trumpeter Shu-Han Yeh, oboist Casper Tsai, harpist

Shannon Chieh and clarinetist Chen-Hua Huang are all stars originating from the Experimental Symphony Orchestra. Meanwhile, the NSO members take the lead in organizing all kinds of performance ensemble including Musica Daphne by the former concert master Gui-Zhu Zhu, and the Taipei Philharmonic Woodwind Quintet, the Golden Woodwind Quintet and Yeh Shu Han Brass Quintet by wind musicians, creating a force of influence in the world of classical music. Strings have always been the NSO’s strength, and its string players are uncommon brilliance. In addition to the current concert masters Ting-Yu Wu and I-Ching Li, many former concert masters and members double as soloists and conductors such as Wei-Ming Huang, Nancy Tsung, Kin-Fung Leung, Hui-Chun Lin and Hao-Tun Teng. The NSO members are all characterized by eliteness, star quality, brilliance, wildness and intractability.

According to my observation, although “experimental” seems like a queer word, this symphony orchestra did obtain high expectations and a sense of freshness from the audience. The establishment of the Experimental Symphony Orchestra was soon followed by the completion of the National Theater and the National Concert Hall, assisting the orchestra to create many historically significant achievements. For instance, the orchestra took the lead in doing a test performance in the National Concert Hall and collaborated with the theater and the concert hall for original programs such as amazing concerts with Plácido Domingo, Luciano Pavarotti and José Carreras. However, being “experimental” suggested that the orchestra had to go through a difficult process in trying to position itself, and the fact that the orchestra changed its name three times, once every eight years, is the best proof.

The Experimental Symphony Orchestra represented a process of trial and error. The key players in this phrase were Principal Conductors Gerard Akoka from France and Urs Schneider from Switzerland who were the first foreign musicians hired by Taiwanese professional orchestras. Although the orchestra has been mostly influenced by the later Chinese conductors, it is undeniable that these two foreign conductors helped build a sound foundation for the NSO. In terms of administration, the orchestra had been traditionally led by the president of the National Taiwan Normal University, but the position of the orchestra leader was then taken

by an appointed Music Director. Nevertheless, Chang-Huei Hsu and Tah-Sheng Chang who were both professors of the National Taiwan Normal University took the post as the first two Music Directors, so the system failed to achieve openness and professionalism. Frustration and controversy, therefore, were expected to accompany the process of refinement and reform.

The next challenge was the phrase of the ambiguously-positioned Symphony Orchestra of the National Concert Hall. The government’s failure to clearly position the orchestra indicated that unlike the situation in the authoritarian era, the government now had multidimensional considerations to the orchestra management, and its role and mission in society. In a changeable and uneasy atmosphere, the orchestra quietly initiated a peaceful revolution of professionalism. The post of the Music Director was taken by the well-known Chinese-American conductor Jahja Ling. Taiwanese-born conductors Shao-Chia Lu: and Wen-Pin Chien and Indonesian born Chinese Kek-Tjiang Lim started to work in full swing. In addition, the majority in the orchestra was local players. All of these suggested that the NSO remained its localness while seeking internationalization. In 2001, Wen-Pin Chien succeeded to the Music Director, the youngest ever. This brave and unprecedented decision was made with the autonomy of the orchestra and the acceptance from music lovers. This decision was not made out of populism but confidence.

In 2002, the title of the National Symphony Orchestra was confirmed and its position was finally made clear. Wen-Pin Chien’s accomplishment in this critical phrase marked an indelible achievement. He is not only an outstanding artist but also a tactician. As an up-and-coming musician, he dared to endure the suspicion and criticism from some conservatives and led the orchestra to participate in adventures, one after another. He was comparable with warlord Genghis Khan in terms of Chien’s speed of expansion in the sphere of art. He acted like a newborn calf which fears no tigers, yet his accomplishments indubitably won recognition and appreciation.

Chien understands western music as well as Taiwan’s unique culture and social customs, but he has no distance and adjustment issues commonly seen in foreign conductors. He was good

at making use of resources to improve the orchestra’s quality, adapted to the ever-changing modern society and walked on the borderline between conservatism and innovation. His comprehensive “Discovery Cycles” include works from Beethoven, Mahler, Shostakovich and Richard Strauss. His “Opera Series” have invited local thearter talent to perform many first-run operas in Taiwan. In addition, the NSO concerts have attracted public participation and become part of the collective memories of local art lovers by means of the NSO’s new productions, collaboration with other arts groups, and participation in promotions, lecture courses and special issues of publications.

For the past score of years, the NSO has had numerous outstanding performances as well as occasional inferior presentations. But generally speaking, the rich results accomplished by all the participants of the NSO are worth our praises and admiration. I cannot describe in detail what every conductor and soloist has contributed to the orchestra, but the fact that the NSO’s music has evolved from being unrefined to exquisite and mature shows that it has indeed gone through a long journey of refinement.

In the post-Chien period, the orchestra received a new international title, Philharmonia Taiwan, which represents a breakthrough stage for the NSO. In a certain respect, the new title implies greater confidence and ambition. An orchestra is like an instrument: the more you play it, the better it sounds. But the biggest difference between these two is that after all, an orchestra is still an organism which ages with time. A new orchestra may grab an opportunity and become acclaimed while an old orchestra may collapse overnight. Although the NSO just celebrated its 20th anniversary, it has already possessed what it takes to compete with internationally-renowned orchestras. Taiwan used to be a follower of western music, but it won’t always be the case in the future. The NSO has gradully found its unique ways to interpret new and old symphonies. It depends on the leader’s vision and wisdom to make the NSO the representative of Taiwan’s music culture and develop its character and style. Therefore, the successive Music Directors and administrators will be shouldering great responsibilities. We are looking forward to seeing a new NSO to step out of Taiwan and reach the world.

by an appointed Music Director. Nevertheless, Chang-Huei Hsu and Tah-Sheng Chang who were both professors of the National Taiwan Normal University took the post as the first two Music Directors, so the system failed to achieve openness and professionalism. Frustration and controversy, therefore, were expected to accompany the process of refinement and reform.

The next challenge was the phrase of the ambiguously-positioned Symphony Orchestra of the National Concert Hall. The government’s failure to clearly position the orchestra indicated that unlike the situation in the authoritarian era, the government now had multidimensional considerations to the orchestra management, and its role and mission in society. In a changeable and uneasy atmosphere, the orchestra quietly initiated a peaceful revolution of professionalism. The post of the Music Director was taken by the well-known Chinese-American conductor Jahja Ling. Taiwanese-born conductors Shao-Chia Lu: and Wen-Pin Chien and Indonesian born Chinese Kek-Tjiang Lim started to work in full swing. In addition, the majority in the orchestra was local players. All of these suggested that the NSO remained its localness while seeking internationalization. In 2001, Wen-Pin Chien succeeded to the Music Director, the youngest ever. This brave and unprecedented decision was made with the autonomy of the orchestra and the acceptance from music lovers. This decision was not made out of populism but confidence.

In 2002, the title of the National Symphony Orchestra was confirmed and its position was finally made clear. Wen-Pin Chien’s accomplishment in this critical phrase marked an indelible achievement. He is not only an outstanding artist but also a tactician. As an up-and-coming musician, he dared to endure the suspicion and criticism from some conservatives and led the orchestra to participate in adventures, one after another. He was comparable with warlord Genghis Khan in terms of Chien’s speed of expansion in the sphere of art. He acted like a newborn calf which fears no tigers, yet his accomplishments indubitably won recognition and appreciation.

Chien understands western music as well as Taiwan’s unique culture and social customs, but he has no distance and adjustment issues commonly seen in foreign conductors. He was good

at making use of resources to improve the orchestra’s quality, adapted to the ever-changing modern society and walked on the borderline between conservatism and innovation. His comprehensive “Discovery Cycles” include works from Beethoven, Mahler, Shostakovich and Richard Strauss. His “Opera Series” have invited local thearter talent to perform many first-run operas in Taiwan. In addition, the NSO concerts have attracted public participation and become part of the collective memories of local art lovers by means of the NSO’s new productions, collaboration with other arts groups, and participation in promotions, lecture courses and special issues of publications.

For the past score of years, the NSO has had numerous outstanding performances as well as occasional inferior presentations. But generally speaking, the rich results accomplished by all the participants of the NSO are worth our praises and admiration. I cannot describe in detail what every conductor and soloist has contributed to the orchestra, but the fact that the NSO’s music has evolved from being unrefined to exquisite and mature shows that it has indeed gone through a long journey of refinement.

In the post-Chien period, the orchestra received a new international title, Philharmonia Taiwan, which represents a breakthrough stage for the NSO. In a certain respect, the new title implies greater confidence and ambition. An orchestra is like an instrument: the more you play it, the better it sounds. But the biggest difference between these two is that after all, an orchestra is still an organism which ages with time. A new orchestra may grab an opportunity and become acclaimed while an old orchestra may collapse overnight. Although the NSO just celebrated its 20th anniversary, it has already possessed what it takes to compete with internationally-renowned orchestras. Taiwan used to be a follower of western music, but it won’t always be the case in the future. The NSO has gradully found its unique ways to interpret new and old symphonies. It depends on the leader’s vision and wisdom to make the NSO the representative of Taiwan’s music culture and develop its character and style. Therefore, the successive Music Directors and administrators will be shouldering great responsibilities. We are looking forward to seeing a new NSO to step out of Taiwan and reach the world.

A maestro's legacyBy Bradley Winterton CONTRIBUTING REPORTER Friday, Jun 29, 2007, Page 14

When I interviewed NSO Music Director Chien Wen-pin (簡文彬) some years ago he smoked heavily and drank strong black coffee. Here, I thought, is a musical genius, a stellar student from an extremely young age, who's now in a position of considerable responsibility, and the pressure shows.

But the reverse is probably the truth. With his youthfully fashionable haircuts and quiet manner, Chien has always been an approachable figure showing no visible signs of the stress that might have come from his demanding schedule, jetting back and forth between Taiwan and Germany on an almost monthly basis.

Clearly he works enormously hard. He constantly has new scores to learn, both here and in Europe. Yet the last time I saw him he was backstage at Taipei's National Concert Hall helping to move a large cupboard.

When Chien was appointed the NSO's Music Director in July 2001, while still in his early 30s, he must have been a largely unknown figure to Taipei audiences. He'd graduated summa cum laude from the National Academy of Arts in piano at the astonishingly young age of 20, and then gone on to take the highest honors in a Master's in conducting in Vienna, learning basic German in only a month in the process. Now after six years he's leaving, and the NSO's management is finding it embarrassingly difficult to find his equal.

A maestro's legacyBy Bradley Winterton CONTRIBUTING REPORTER Friday, Jun 29, 2007, Page 14

When I interviewed NSO Music Director Chien Wen-pin (簡文彬) some years ago he smoked heavily and drank strong black coffee. Here, I thought, is a musical genius, a stellar student from an extremely young age, who's now in a position of considerable responsibility, and the pressure shows.

But the reverse is probably the truth. With his youthfully fashionable haircuts and quiet manner, Chien has always been an approachable figure showing no visible signs of the stress that might have come from his demanding schedule, jetting back and forth between Taiwan and Germany on an almost monthly basis.

Clearly he works enormously hard. He constantly has new scores to learn, both here and in Europe. Yet the last time I saw him he was backstage at Taipei's National Concert Hall helping to move a large cupboard.

When Chien was appointed the NSO's Music Director in July 2001, while still in his early 30s, he must have been a largely unknown figure to Taipei audiences. He'd graduated summa cum laude from the National Academy of Arts in piano at the astonishingly young age of 20, and then gone on to take the highest honors in a Master's in conducting in Vienna, learning basic German in only a month in the process. Now after six years he's leaving, and the NSO's management is finding it embarrassingly difficult to find his equal.

Chien told me earlier this week that he plans to continue his work at the Deutsche Oper am Rhein in Dusseldorf, Germany, where he's worked since August 1996. No further details were forthcoming.

At rehearsals Chien commands total attention, but invariably proceeds in a soft-spoken, modest manner, making the occasional quiet joke, but swiftly moving on with the task in hand. He's also proved himself willing to take personal risks, such as when he allowed the director of Verdi's Falstaff to dress him, as the conductor, in a sequence of absurd costumes. And if something doesn't work, as on the whole that didn't, he quickly moves on to something else.

But things almost always have worked. It would be tiresome to list again his achievements - the Beethoven, Mahler, Shostakovich and Strauss subscription concerts, the mounting of 13 operas, many of them Taiwan firsts, the commissioning of new works by Taiwanese composers, and the securing of appearances in Taiwan of a whole string of international soloists from Mstislav Rostropovich and Lorin Maazel to Jose Carreras and Placido Domingo.

When he departs later this summer after six years at the helm, many will be wondering what the priorities of Taiwan's most prestigious classical line-up will now be. But Chien himself is in no doubt. They should travel abroad more, he told me, and they should increase their efforts in the educational field at home.

"The NSO was featured as a front page story in Germany's Orchester magazine in April," he said. "More than 10,000 people will have read this, but they shouldn't only know about the orchestra on paper. They should also have the chance to experience it live."

As for musical education, Chien is clearly concerned about maintaining and increasing audience numbers. "There's nothing more important than building up our educational programs," he said. "We have some things, but not enough. There ought to be a specific program for every age group." Taiwan leads Asia in its training of young instrumentalists, and today is the undisputed regional leader in the field. The NSO's average age of only 37 testifies to this accomplishment. Getting non-specialists to attend classical concerts is, however, clearly a

different matter.

Most concert-goers will agree that Chien has raised his orchestra's profile in spectacular fashion. He told me that if he had to choose only one success to be proud of it would be the NSO's having "found its position in Taiwan." Reading between the lines, this can only mean that it's now recognized as the nation's premier orchestra.

Leading the NSO hasn't been all plain sailing. There was a contentious interlude in the middle of Chien's tenure when some musicians had their contracts terminated following a re-auditioning process, and they called a widely-reported press conference in protest. But Chien's time on the rostrum has nonetheless been largely a success story.

Perhaps what's most interesting is what Chien didn't say about his future. He may be leaving to work full-time with a famous European opera company, but the freedom he had in Taipei to stage anything he chose whenever he liked won't be duplicated there. He'll be part of an organization that has most of the great classics already in its repertoire, rather than the leader of a pioneering band presenting major works for the first time in what is in many ways still virgin territory. His successor at the NSO will still be in the enviable position of having a huge amount of work new to Taiwan, including new operas, to offer.

"To achieve something is hard," Chien said. "But to maintain that achievement is even more difficult. I hope the NSO will continue developing, moving on from what it has achieved in the first 20 years of its history."

But the management's hesitation in making a decision about his successor is indicative at a deep level. Appointing an untried young Taiwanese back in 2001 was an obvious gamble. That time it paid off, and Chien proved a winner. To bring off a comparable move this time round, however, will be no easy matter. Chien stretched the wings of the NSO even as he stretched his own, and in the process enormously enriched the nation's musical life. When comes such another?

Chien told me earlier this week that he plans to continue his work at the Deutsche Oper am Rhein in Dusseldorf, Germany, where he's worked since August 1996. No further details were forthcoming.

At rehearsals Chien commands total attention, but invariably proceeds in a soft-spoken, modest manner, making the occasional quiet joke, but swiftly moving on with the task in hand. He's also proved himself willing to take personal risks, such as when he allowed the director of Verdi's Falstaff to dress him, as the conductor, in a sequence of absurd costumes. And if something doesn't work, as on the whole that didn't, he quickly moves on to something else.

But things almost always have worked. It would be tiresome to list again his achievements - the Beethoven, Mahler, Shostakovich and Strauss subscription concerts, the mounting of 13 operas, many of them Taiwan firsts, the commissioning of new works by Taiwanese composers, and the securing of appearances in Taiwan of a whole string of international soloists from Mstislav Rostropovich and Lorin Maazel to Jose Carreras and Placido Domingo.

When he departs later this summer after six years at the helm, many will be wondering what the priorities of Taiwan's most prestigious classical line-up will now be. But Chien himself is in no doubt. They should travel abroad more, he told me, and they should increase their efforts in the educational field at home.

"The NSO was featured as a front page story in Germany's Orchester magazine in April," he said. "More than 10,000 people will have read this, but they shouldn't only know about the orchestra on paper. They should also have the chance to experience it live."

As for musical education, Chien is clearly concerned about maintaining and increasing audience numbers. "There's nothing more important than building up our educational programs," he said. "We have some things, but not enough. There ought to be a specific program for every age group." Taiwan leads Asia in its training of young instrumentalists, and today is the undisputed regional leader in the field. The NSO's average age of only 37 testifies to this accomplishment. Getting non-specialists to attend classical concerts is, however, clearly a

different matter.

Most concert-goers will agree that Chien has raised his orchestra's profile in spectacular fashion. He told me that if he had to choose only one success to be proud of it would be the NSO's having "found its position in Taiwan." Reading between the lines, this can only mean that it's now recognized as the nation's premier orchestra.

Leading the NSO hasn't been all plain sailing. There was a contentious interlude in the middle of Chien's tenure when some musicians had their contracts terminated following a re-auditioning process, and they called a widely-reported press conference in protest. But Chien's time on the rostrum has nonetheless been largely a success story.

Perhaps what's most interesting is what Chien didn't say about his future. He may be leaving to work full-time with a famous European opera company, but the freedom he had in Taipei to stage anything he chose whenever he liked won't be duplicated there. He'll be part of an organization that has most of the great classics already in its repertoire, rather than the leader of a pioneering band presenting major works for the first time in what is in many ways still virgin territory. His successor at the NSO will still be in the enviable position of having a huge amount of work new to Taiwan, including new operas, to offer.

"To achieve something is hard," Chien said. "But to maintain that achievement is even more difficult. I hope the NSO will continue developing, moving on from what it has achieved in the first 20 years of its history."

But the management's hesitation in making a decision about his successor is indicative at a deep level. Appointing an untried young Taiwanese back in 2001 was an obvious gamble. That time it paid off, and Chien proved a winner. To bring off a comparable move this time round, however, will be no easy matter. Chien stretched the wings of the NSO even as he stretched his own, and in the process enormously enriched the nation's musical life. When comes such another?

Wen-Pin Chien, conductor

Appointed to the Music Director of the National Symphony Orchestra (NSO) in 2001, Wen-Pin Chien was the central artistic force behind the recent innovative seasons. Under his direction, the orchestra has successfully created the annual Subscription Concerts and celebrated it’s 20th anniversary with Richard Wagner’s Der Ring des Nibelungen, first-ever presented in the Chinese speaking areas and received highly praise from international press and critics. Leaving as the Music Director of NSO in June 2007, he has been asked to be orchestra’s Principal Guest Conductor. His other position includes Resident Conductor of the Deutsche Oper am Rhein since 1996/1997 season.

Born in Taipei in 1967, Wen-Pin Chien began to study violin, piano and composition at an early age. In 1988 he graduated from the National Taiwan Academy of Arts summa cum laude with major in piano, and moving on to complete his master’s degree in conducting a the National University for Music and Performing Arts in Vienna, 1990-1994.

Chien won the first prize at the International La Bottega Conducting Competition in Treviso, Italy, 1992, the second prize in Douai, France, 1994, and was awarded the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition in Israel, 1995. He participated in the Pacific Music Festival (PMF) in Sapporo, Japan as an assistant to artistic directors Michael Tilson Thomas and Christoph Eschenbach. In the following year he conducted the PMF Orchestra on tour and made his debut with the Sapporo Symphony

Orchestra in 1997. From 1998 to 2004, Chien was the Resident Conductor of the PMF Orchestra.

Chien has worked with Orchestra Filarmonia Veneta, Moravian Philharmonic Orchestra, State Symphony Orchestra in Moscow, Orchestre des Concerts Lamoureux as well as the Taipei City Symphony and the National Taiwan Symphony Orchestras. In April 2000, he made his debut with the Yomiuri Nippon Symphony Orchestra and NHK Symphony Orchestra in Tokyo.

Already in his late teens by the invitation of the Taipei Music Festival, Chien took part in its opera performances. He also conducted the Wiener Kammeroper in 1995-1996. Recent highlights with the Deutsche Oper am Rhein have included the world premiere of Beuys by Franz Hummel (performances also in the Wiener Festwochen in June 1998), the German premiere of Drei Schwestern by Peter Eötvös, Richard III by Giorgio Battistelli and the world premiere of Eleni Karaindrou’s ballet Phaedra, as well as many revived productions, especially Alban Berg’s Wozzeck, the same piece he also conducted at De Nederlandse Opera in Amsterdam in April 1998. In June 2007, he conducted the tour production of Der Rosenkavalier of the Deutsche Oper am Rhein in Taipei. He also appeared as a guest conductor at the Hamburgische Staatsoper and Komische Oper Berlin.

Wen-Pin Chien, conductor

Appointed to the Music Director of the National Symphony Orchestra (NSO) in 2001, Wen-Pin Chien was the central artistic force behind the recent innovative seasons. Under his direction, the orchestra has successfully created the annual Subscription Concerts and celebrated it’s 20th anniversary with Richard Wagner’s Der Ring des Nibelungen, first-ever presented in the Chinese speaking areas and received highly praise from international press and critics. Leaving as the Music Director of NSO in June 2007, he has been asked to be orchestra’s Principal Guest Conductor. His other position includes Resident Conductor of the Deutsche Oper am Rhein since 1996/1997 season.

Born in Taipei in 1967, Wen-Pin Chien began to study violin, piano and composition at an early age. In 1988 he graduated from the National Taiwan Academy of Arts summa cum laude with major in piano, and moving on to complete his master’s degree in conducting a the National University for Music and Performing Arts in Vienna, 1990-1994.

Chien won the first prize at the International La Bottega Conducting Competition in Treviso, Italy, 1992, the second prize in Douai, France, 1994, and was awarded the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition in Israel, 1995. He participated in the Pacific Music Festival (PMF) in Sapporo, Japan as an assistant to artistic directors Michael Tilson Thomas and Christoph Eschenbach. In the following year he conducted the PMF Orchestra on tour and made his debut with the Sapporo Symphony

Orchestra in 1997. From 1998 to 2004, Chien was the Resident Conductor of the PMF Orchestra.

Chien has worked with Orchestra Filarmonia Veneta, Moravian Philharmonic Orchestra, State Symphony Orchestra in Moscow, Orchestre des Concerts Lamoureux as well as the Taipei City Symphony and the National Taiwan Symphony Orchestras. In April 2000, he made his debut with the Yomiuri Nippon Symphony Orchestra and NHK Symphony Orchestra in Tokyo.

Already in his late teens by the invitation of the Taipei Music Festival, Chien took part in its opera performances. He also conducted the Wiener Kammeroper in 1995-1996. Recent highlights with the Deutsche Oper am Rhein have included the world premiere of Beuys by Franz Hummel (performances also in the Wiener Festwochen in June 1998), the German premiere of Drei Schwestern by Peter Eötvös, Richard III by Giorgio Battistelli and the world premiere of Eleni Karaindrou’s ballet Phaedra, as well as many revived productions, especially Alban Berg’s Wozzeck, the same piece he also conducted at De Nederlandse Opera in Amsterdam in April 1998. In June 2007, he conducted the tour production of Der Rosenkavalier of the Deutsche Oper am Rhein in Taipei. He also appeared as a guest conductor at the Hamburgische Staatsoper and Komische Oper Berlin.

Mahler: Symphony No. 4 in G majorWritten by Irene Wang

Gustav Mahler was born in Kalischt, Bohemia on July 7, 1860. Throughout his life, he was better known for his conducting than for his composing, although he had begun setting German Folk poetry to music from the youthful age of 26. Mahler’s Symphony No. 4 arose from such origins, centered around the song “Heavenly Life”. He originally had intended for “Heavenly Life” to be incorporated as the last movement for his third symphony, but that caused Symphony No. 3 to have seven movements instead of six. Mahler abandoned that idea and, instead, began searching for other ways to present the song. His fourth symphony was created from “Heavenly Life” in the sixth movement and developed from there.

In July 1899, Mahler began working on the actual symphony at a small spa in the Salzkammergut. He was, however, discouraged by the dismal weather and external noses from the local bandstand. It was during the final weeks of his vacation that inspiration came to him and began working feverishly during those last days. As the fateful hour approached, his ideas increased and he hurriedly outlined all his designs in a sketchbook. Once he returned to Vienna, he placed them in a drawer and disregarded them until the next summer.

During the summer of 1900, Mahler retreated to an already-prepared studio in the middle of a forest. However, he arrived there completely worn-out by the strain of the recent conducting he had done with the Vienna Philharmonic. Once again, he spent several days in distress and inactivity. He began working in this gloomy state of mind, complaining about the tiniest noise from outside. But as soon as he resumed his work and looked over the sketches he had created the previous year, he realized the he had unconsciously already been laboring in his mind.

Thus, he finished the Fourth Symphony in a little over three weeks; Mahler put the finishing touches on August 6, 1900. Unable to contain his satisfaction and joy, he could not restrain his tongue and constantly talked about his work to his friends.

His expectations that this piece of work would be received with admiration and praise were shattered. Critics were anticipating something dramatic and of gargantuan proportions. When they heard the charming melodies and gentle bells, they described it as naïve and childishly unrealistic.

The symphony opens with the carefree jingling of sleigh bells and a melody reminiscent of a folksong. Mahler thoroughly explores this tune and style before bringing in a majestically warm theme on the cellos. A decidedly grim fanfare breaks in, but just as abruptly dissolves into the opening melody, the nightmare shadows disappearing and forgotten in the light of day again. The second movement consists of a solo violin tuned to a tone higher than normal leading the rest of the orchestra in a disjointed melody. Twice, though, a trio section appears to offer a gayer perspective of what a country-dance should really be like. The adagio movement begins with the loveliest music, debatably, that Mahler had ever written. The variations are skillfully handled and so are not obvious to the ears of the audience. A magnificent climax ends this section and leads into the finale, where the soprano solo begins the song “Heavenly Life”. The atmosphere is tranquil and hides all the previous nightmarish darkness beneath the calm surface.

Mahler: Symphony No. 4 in G majorWritten by Irene Wang

Gustav Mahler was born in Kalischt, Bohemia on July 7, 1860. Throughout his life, he was better known for his conducting than for his composing, although he had begun setting German Folk poetry to music from the youthful age of 26. Mahler’s Symphony No. 4 arose from such origins, centered around the song “Heavenly Life”. He originally had intended for “Heavenly Life” to be incorporated as the last movement for his third symphony, but that caused Symphony No. 3 to have seven movements instead of six. Mahler abandoned that idea and, instead, began searching for other ways to present the song. His fourth symphony was created from “Heavenly Life” in the sixth movement and developed from there.

In July 1899, Mahler began working on the actual symphony at a small spa in the Salzkammergut. He was, however, discouraged by the dismal weather and external noses from the local bandstand. It was during the final weeks of his vacation that inspiration came to him and began working feverishly during those last days. As the fateful hour approached, his ideas increased and he hurriedly outlined all his designs in a sketchbook. Once he returned to Vienna, he placed them in a drawer and disregarded them until the next summer.

During the summer of 1900, Mahler retreated to an already-prepared studio in the middle of a forest. However, he arrived there completely worn-out by the strain of the recent conducting he had done with the Vienna Philharmonic. Once again, he spent several days in distress and inactivity. He began working in this gloomy state of mind, complaining about the tiniest noise from outside. But as soon as he resumed his work and looked over the sketches he had created the previous year, he realized the he had unconsciously already been laboring in his mind.

Thus, he finished the Fourth Symphony in a little over three weeks; Mahler put the finishing touches on August 6, 1900. Unable to contain his satisfaction and joy, he could not restrain his tongue and constantly talked about his work to his friends.

His expectations that this piece of work would be received with admiration and praise were shattered. Critics were anticipating something dramatic and of gargantuan proportions. When they heard the charming melodies and gentle bells, they described it as naïve and childishly unrealistic.

The symphony opens with the carefree jingling of sleigh bells and a melody reminiscent of a folksong. Mahler thoroughly explores this tune and style before bringing in a majestically warm theme on the cellos. A decidedly grim fanfare breaks in, but just as abruptly dissolves into the opening melody, the nightmare shadows disappearing and forgotten in the light of day again. The second movement consists of a solo violin tuned to a tone higher than normal leading the rest of the orchestra in a disjointed melody. Twice, though, a trio section appears to offer a gayer perspective of what a country-dance should really be like. The adagio movement begins with the loveliest music, debatably, that Mahler had ever written. The variations are skillfully handled and so are not obvious to the ears of the audience. A magnificent climax ends this section and leads into the finale, where the soprano solo begins the song “Heavenly Life”. The atmosphere is tranquil and hides all the previous nightmarish darkness beneath the calm surface.

Shostakovich: Symphony No. 8written by Irene Wang

Dmitri Shostakovich was born on September 25, 1906, in St. Petersburg. He began working on his Eighth Symphony during his mid-thirties in the summer of 1943. Despite many interruptions such as a competition for the national anthem of the USSR and volleyball games, Shostakovich managed to finish one of his largest works in two months. On November 4, 1943, the piece was performed for the first time in Moscow. If the composer expected a medley of praises in response to the performance, he was sadly mistaken. The public reacted to the work with cool indifference. Its gloomy outlook on the war irritated critics. Stalin had just defeated the Nazis earlier that year and people expected the symphony to be a military fanfare of rally as the previous one had been. Their anticipation of a celebratory piece rendered the people unable to comprehend this bleak atmosphere overhanging the 8th Symphony. Predictably, it was removed from the public viewing and would only be revived during the 1960s.

Shostakovich’s Symphony No. 8 is a daring masterpiece. The composer dared to follow his own ideas instead of conforming to public opinion and want, even daring to hope that his defiant ideas might be embraced by the general public. He hoped for too much from his peers. However, though its first performance shocked the audience and subsequently led to its suppression, it is now a desired item by internationally varied audiences today.

The symphony begins with an adagio section that is sharply contrasted moments later by the

savage allegro that follows on its heels. In the introduction, Shostakovich, as well as presenting the central motif of the work, plays with the theme of opposites, the difference between light and darkness. The allegro builds up to a climax of percussion crescendi that deafens the ear. Inserted almost haphazardly are more tender melodies carried by the English horn and the violins over the steady, pulsing accompaniment. The second movement contains elements of a discordant march and is a variation of the beginning theme, but with sharp and shrill instrumentation added to it. One can almost imagine Shostakovich mocking his critics with their desire for the victorious battle-march by producing this twisted and dark version of it. The next section also disturbs the ear as a machine-like air is created by the pounding motor rhythm. As in the previous movement, harsh instrumentations play out a dance of death. The fourth movement, in quieter tones, laments in a more subdued fashion pensively and wearily. The music increases in hope and the mood grows slightly lighter as the song’s main climax approaches and the symphony ends—not on the note of triumph critics then were hoping for—but on one of quiet peace. Through the darkness and gloominess of war that Shostakovich laments throughout his symphony, there is light at the end of the tunnel, a faint glimmer of tranquil hope. And this does not just apply to that war, but to every struggle and battle we fight through in our daily lives.

Shostakovich: Symphony No. 8written by Irene Wang

Dmitri Shostakovich was born on September 25, 1906, in St. Petersburg. He began working on his Eighth Symphony during his mid-thirties in the summer of 1943. Despite many interruptions such as a competition for the national anthem of the USSR and volleyball games, Shostakovich managed to finish one of his largest works in two months. On November 4, 1943, the piece was performed for the first time in Moscow. If the composer expected a medley of praises in response to the performance, he was sadly mistaken. The public reacted to the work with cool indifference. Its gloomy outlook on the war irritated critics. Stalin had just defeated the Nazis earlier that year and people expected the symphony to be a military fanfare of rally as the previous one had been. Their anticipation of a celebratory piece rendered the people unable to comprehend this bleak atmosphere overhanging the 8th Symphony. Predictably, it was removed from the public viewing and would only be revived during the 1960s.

Shostakovich’s Symphony No. 8 is a daring masterpiece. The composer dared to follow his own ideas instead of conforming to public opinion and want, even daring to hope that his defiant ideas might be embraced by the general public. He hoped for too much from his peers. However, though its first performance shocked the audience and subsequently led to its suppression, it is now a desired item by internationally varied audiences today.

The symphony begins with an adagio section that is sharply contrasted moments later by the

savage allegro that follows on its heels. In the introduction, Shostakovich, as well as presenting the central motif of the work, plays with the theme of opposites, the difference between light and darkness. The allegro builds up to a climax of percussion crescendi that deafens the ear. Inserted almost haphazardly are more tender melodies carried by the English horn and the violins over the steady, pulsing accompaniment. The second movement contains elements of a discordant march and is a variation of the beginning theme, but with sharp and shrill instrumentation added to it. One can almost imagine Shostakovich mocking his critics with their desire for the victorious battle-march by producing this twisted and dark version of it. The next section also disturbs the ear as a machine-like air is created by the pounding motor rhythm. As in the previous movement, harsh instrumentations play out a dance of death. The fourth movement, in quieter tones, laments in a more subdued fashion pensively and wearily. The music increases in hope and the mood grows slightly lighter as the song’s main climax approaches and the symphony ends—not on the note of triumph critics then were hoping for—but on one of quiet peace. Through the darkness and gloominess of war that Shostakovich laments throughout his symphony, there is light at the end of the tunnel, a faint glimmer of tranquil hope. And this does not just apply to that war, but to every struggle and battle we fight through in our daily lives.