曲目导赏视频｜天津茱莉亚管弦乐团音乐会

今晚7:00，天津茱莉亚学院2023汇聚音乐节将推出天津茱莉亚管弦乐团音乐会，由驻团指挥林敬基执棒。上半场，乐团将演出两部21世纪音乐作品，包括美国作曲家琼·塔娃（Joan Tower）的《美国制造》，并与竹笛演奏家唐俊乔合作呈现中国作曲家郭文景的《第二竹笛协奏曲“野火”》；下半场，学生们则将演绎现代音乐巨匠伊戈尔·斯特拉文斯基（Igor Stravinsky）1919年版的《火鸟：组曲》。林敬基指挥特别录制了曲目导赏，带领大家开启一个现当代音乐之夜。

本场音乐会将通过【TJS Live｜天津茱莉亚现场】在下列平台进行直播：天津茱莉亚学院【官网】【视频号】【微博】【bilibili】、北京音乐广播【视频号】【微博】【抖音】。其中，天津茱莉亚学院【官网】还将独家开通限时回放功能，观众可于演出结束后的24小时内观看回放。

演出曲目｜Program

天津茱莉亚管弦乐团音乐会

林敬基，指挥

琼·塔娃（b. 1938）

美国制造（2004）

JOAN TOWER (b. 1938)

Made in America (2004)

——

郭文景（b. 1956）

第二竹笛协奏曲“野火”（2010）

唐俊乔，竹笛独奏

GUO WENJING (b. 1956)

Zhudi Concerto No. 2, “Ye Huo” (2010)

Tang Junqiao, Bamboo Flute Solo

— 中场休息｜Intermission —

伊戈尔·斯特拉文斯基（1882-1971）

火鸟：组曲（1919版）

        引子

        火鸟之舞

        火鸟变奏曲

        公主之舞

        魔王卡茨之舞

        催眠曲

        终曲

        

IGOR STRAVINSKY (1882-1971)

The Firebird: Suite (1919 version)

        Introduction

        The Firebird and its dance

        The Firebird's variation

        The Princesses' KhorovodInfernal dance of King Kashchei

        Berceuse

        Finale

琼·塔娃

美国制造（2004）

JOAN TOWER

Made in America (2004)

琼·塔娃是格莱美获奖作曲家、钢琴家、指挥家、教育家，同时也是美国最知名的当代艺术家之一。六十多年来，她完成了来自世界各地的委托工作，创作出了无数优秀作品，她的音乐贡献不可磨灭、无人能及。琼·塔娃近年来获得的奖项包括《音乐美国》杂志2020“年度作曲家”奖、美国室内音乐协会2020“理查德·博格莫尔尼国家服务奖”以及美国交响乐团联盟2019“金指挥棒”奖。这些奖项证明了琼·塔娃在其传奇的职业生涯中所取得的令人惊叹的卓越成就。2004年，琼·塔娃成为入选《美国制造》项目的首位作曲家。

不过，与大多数委托作品不同，《美国制造》这部作品是通过全美超过65个交响乐团的共同努力，并由福特汽车公司基金和美国交响乐团联盟等组织赞助完成的。在这样热情的支持下，琼·塔娃的这首室内乐作品作为全国巡演的一部分，在美国50个州成功首演。这首曲子从一个遥远的、单一的音符开始，就仿佛是地平线上那缓缓升起的太阳。紧接着，越来越多的乐器加入进来，纯净的三和弦音在充满希望的期待中涌动。在上升到第一个高峰之后，和声就消散了，曲子又重新回到了一个单一的音符。随后，混乱的颤音以切分节奏和不协和和弦的形式出现，打破了原本平静的气氛，再接着引入了有力的铜管乐器，弦乐与打击乐顿挫跌宕、相互交织。最终，通过再次升高的三和弦，广为传唱的美国爱国歌曲《美丽的阿美利加》片段第一次明显地出现在这首曲子中，这也正是琼·塔娃的灵感来源，任何熟悉《美丽的阿美利加》这首歌的人都能轻易地辨认出来。琼·塔娃为她的曲子编写了一段激动人心的尾声，将爱国主义的火热激情表现得淋漓尽致。

用琼·塔娃自己的话说：“当我开始创作这支曲子时，《美丽的阿美利加》的旋律就不断地在我脑中浮现，并最终成为了我的创作主题……我也曾考虑过换用其他更有进取性和创新性的主题，但《美丽的阿美利加》以不同的形式在我心中反复出现，仿佛在告诉我，‘我还在这里，千变万化，却又始终如一。’”

Grammy award-winning composer, pianist, conductor, and educator Joan Tower is one of America’s most celebrated contemporary artists. With over six decades of works and commissions from all over the world, her indelible, musical contributions have remained unmatched. Recent awards include 2020 "Composer of the Year" in Musical America; 2020 "Richard J. Bogomolny National Service Award" in Chamber Music America, and the 2019 "Gold Baton" from the League of American Orchestras. These awards stand testament to the awe-inspiring excellence that Tower has achieved throughout a storied career. It was only natural that she be selected as the first composer for the project Made in America in 2004.

Unlike most commissions, this work was made possible through collective efforts from over 65 symphonies across the United States and sponsored by organizations including Ford Motor Company Fund and the American Symphony Orchestra League. With such enthusiastic support, Tower’s work for chamber orchestra successfully premiered in all 50 states as part of a national tour. The piece opens from a distant, single note, the gentle rising of the sun on the horizon. More and more instruments join in as pure, triadic harmonies swell with hopeful anticipation. Rising just beyond its first peak, the mass of sound dissipates, returning back to a single note. Chaotic chatter in the form of syncopated rhythms and jarring dissonance thwart the once tranquil atmosphere, welcoming in a forceful march of the brass and a race between strings and percussion. Eventually, through ascending triads again, comes the first noticeable appearance of Tower's inspiration in this piece: a fragment of America the Beautiful, clear as day to anyone who recognizes the song. The piece's thrilling coda, assembles the remaining pieces of this theme and throws it all into a gargantuan melting pot of fire and excitement.

In Tower's own words, "When I started composing this piece, the song America the Beautiful kept coming into my consciousness and eventually became the main theme...This theme is challenged by other more aggressive and dissonant ideas that keep interrupting, unsettling it, but America the Beautiful keeps resurfacing in different guises, as if to say, 'I’m still here, ever changing, but holding my own.'"

郭文景

第二竹笛协奏曲“野火”（2010）

GUO WENJING

Zhudi Concerto No. 2, “Ye Huo” (2010)

在大洋彼岸的中国当代作曲家郭文景是一位无畏的先锋人物。他创作的歌剧、电影配乐等大型体裁音乐作品备受赞誉。不仅如此，他还将中西方乐器巧妙地融合进自己创作的协奏曲中，赢得了评论界的一致好评。郭文景于1978年进入位于北京的中央音乐学院学习，他在中国完成了他所有的音乐训练，同时在世界各地演出自己的作品。他的音乐风格有力地融合了中国文化的精神和西方现代主义的精髓。他创作的第二竹笛协奏曲《野火》正是对其独特音乐风格恰如其分的诠释。

第一乐章的开场就像一柄游刃有余的剑，劈开混沌的天日。随着短小而沉闷的乐句，铙钹和锣的敲击声渐强，竹笛也加入进来。充满焦虑的竹笛声在低音区内浮动，与连绵不断、节奏感极强的管弦乐交相呼应。在中间的华彩乐段里，竹笛声敏捷而快速地掠过，却足以给听众留下深刻的印象。在第一乐章中，竹笛声与管弦乐始终各自为政，而在最后一小节，它们终于正面碰撞在一起。第二乐章一开始较为轻松，加入了巴松管、西洋长笛等其他独奏乐器演奏的长乐句，竹笛声则暂时停顿。在一串蝉鸣般的颤音之后，竹笛声再次出现，好似在对月吟唱。大提琴和西洋长笛轮番与竹笛合奏，气氛顿时活跃起来。不一会儿，蝉鸣般的颤音也消失了，乐曲声渐渐沉寂下去。接下来的部分具有明显的京剧风格，用竹笛与管弦乐进行了夸张的编排，与之前的部分形成鲜明的对比。随着竹笛和西洋长笛齐奏，再同时沉寂，第二乐章就此终结。轰轰烈烈、野性十足的第三乐章在竹笛和管弦乐的相互冲撞中开始，以戏剧性和节奏感点燃了激情。短暂的停顿之后，竹笛和西洋长笛又展开了一段追逐式的对话，让人想起了第二乐章中这两种乐器的和鸣，而在激情迸发的第三乐章尾声中，竹笛不停歇地奏出十六分音符，与抑扬顿挫的管弦乐相映成趣，令人目不暇接、耳不暇闻。

Separated by an ocean's distance, contemporary Chinese composer Guo Wenjing is a fearless pioneer in his own right. In addition to his highly-regarded, large-scale genres including operas and film scores, Guo's particular expertise in the concerto medium – namely his masterful mingling of Chinese and Western instruments – has drawn critical acclaim. As part of the historic 1978 class of students who were admitted to the Central Conservatory of Music in Beijing, Guo completed all of his training in China, while traveling the world for premieres of his works. Likewise, his musical style powerfully blends the spirit of Chinese culture with the "grit" of Western modernism. Aptly so, his Second Concerto for Bamboo Flute entitled, "Wildfire", is a quintessential introduction to Guo's music.

The first movement opens like a swashbuckling sword, slicing every which way into the sky. With truncated and stifling phrases, a searing crescendo of the cymbals and gong signal the entrance of the zhudi, or bamboo flute. With great angst, the soloist flutters low into its register, giving off a venomous response to the orchestra's continuous barrage of punctuated attacks. The zhudi's speed and agility at its middle-section cadenza give the audience the impression of unmitigated flight, swift and compelling. While barely in this movement are the soloist and orchestra in agreement, they finally collide head on in the last bars. The second movement relaxes with deep breaths and longer phrases for other solo instruments like the bassoon and Western flute. After a string tremolo the likes of a swarm of cicadas, the zhudi appears again, howling at the moon. The atmosphere livens up with celli and flute taking turns dancing around the zhudi. Moments later the buzzing cicadas disappear and the piece recedes back into the darkness. A Peking Opera-like contrasting section follows with exaggerated choreography as the zhudi pleads with the orchestra. The movement ends again in darkness, as both the zhudi and Western flute howl together. Bombastic and wild, the third movement catches fire with drama and rhythm as the zhudi and the orchestra lunge at each other. The chase-like dialogue ensues after a momentary pause – a fleeting memory of the second movement howls – while the sizzling coda, featuring the zhudi's nonstop 16th-notes against the orchestra's romping and stomping, bursts into flames in the most dazzling way imaginable.

伊戈尔·斯特拉文斯基

火鸟：组曲（1919年版）

IGOR STRAVINSKY

The Firebird: Suite (1919 version)

接下来，将为大家带来今晚的重头戏，来自伊戈尔·斯特拉文斯基的《火鸟：组曲》。这部作品将斯特拉文斯基推向了国际舞台，轰动一时。它既是斯特拉文斯基和俄罗斯芭蕾舞团经理兼舞剧编导谢尔盖·佳吉列夫的首次合作，也是他第一次制作芭蕾舞剧。其实早在数年前，斯特拉文斯基就已经在俄罗斯著名作曲家尼古拉·里姆斯基-科萨科夫的指导下，打磨自己的作曲本领。但直到在圣彼得堡碰巧听到了《幻想谐谑曲》和《烟火》的首演，佳吉列夫才对这位作曲家留下深刻的印象。命运的齿轮再次转动，让两人建立了实际的联系。1910年，佳吉列夫创办的世界级芭蕾舞团——俄罗斯芭蕾舞团，正在为即将到来的舞蹈演出季准备新项目《火鸟》。佳吉列夫曾偏爱里亚多夫、切列普宁、格拉祖诺夫等五位作曲家，但最终并未达成合作。最后，这个项目交给了斯特拉文斯基，而他在几个月内便完成了总谱。这次机缘巧合之下达成的合作虽然有着平淡无奇的开始，但后续却惊喜不断。两位大师的合作给我们留下了许多杰作，甚至改变了我们艺术世界的历史。今晚的演出将带来斯特拉文斯基在1919年，为他的朋友瑞士指挥家恩奈斯特·安塞美创作的管弦乐组曲版本的《火鸟》。

故事的开端，主角伊万王子徘徊于魔王凯斯齐的魔法庭园里。大提琴、低音提琴营造出阴冷可怖的氛围，中提琴则模拟一片安静的环境，而在那里，可闻小动物的叫声。突然，弦乐器以一连串急促的颤音和滑音宣告迷人的火鸟即将首次亮相。虽然有赏金的激励，但猎人们仍然无法抓到这敏捷、易怒的鸟儿——通过弦乐和木管的华丽演奏，这一切生动地呈现在观众眼前。轻快的节奏最终演变成轻佻的舞曲，华丽、复杂的韵律表现出王子折服于火鸟那威严之下时的神态。放走火鸟后，伊万王子偶然发现了被魔王囚禁的公主们正在跳着古老的圆舞曲。一扫之前的阴郁，这段抒情旋律让人倍感温暖。但就在这时，管弦乐器传来波涛汹涌的急切旋律——火鸟现身，跳起舞蹈抵抗魔王的“恶魔之舞”，粉碎了美丽公主们创造的迷人幻境。斯特拉文斯基用长号、木琴等乐器，让整段乐曲笼罩在令人惊颤的氛围之中。紧接着是一段催眠曲，让怪物陷入昏迷，伊万王子借机摧毁魔王的金蛋——一劳永逸地解决故事里的所有矛盾。这段乐曲充分展示了斯特拉文斯基娴熟的管弦乐编曲技巧，其中丰富的色彩和细节变化令人无比陶醉。魔王被打败了，他的王国缓慢瓦解了，胜利终于到来——乐声逐渐增强，形成了一飞冲天的磅礴气势。响亮的铜管吹出喧闹的颤音，火鸟最后一次出现，在伊万王子和公主们的注视下，振翅高飞而去。

And here it is, tonight’s pièce de résistance from the inimitable Igor Stravinsky. The work responsible for catapulting his career onto the international stage, l'Oiseau de feu, was as much a spectacular sensation, as it was a fateful, first collaboration between Stravinsky, famed impresario Serge Diaghilev, and the ballet genre itself. Some years before this trinity came to fruition, however, Stravinsky had been honing his craft under the tutelage of renowned Russian composer, Nikolai Rimsky-Korsakov. And, it was hearing some of Stravinsky’s first premieres, Scherzo fantastique Op. 3, and Feu d’artifice Op. 4 in St. Petersburg, that left a lasting impression on Diaghilev, who happened to be in the audience. At Fate’s next intervention, the Ballet Russe, Diaghilev’s world-class ballet troupe, was gearing up for its upcoming season with a new project, the Firebird in 1910. After unsuccessfully contacting five composers — among them Lyadov, Tcherepnin, and potentially Glazunov — Stravinsky was called in for action. Elated, he finished the score within a few months. This happenstance collaboration, so ordinary at the onset, proved utterly extraordinary by the end with a long list of masterpieces that changed the world. Tonight’s performance will be Stravinsky’s orchestral suite from 1919, prepared for Swiss conductor and friend, Ernest Ansermet.

The journey begins with the main character, Prince Ivan, exploring the fantastical realm of Kastchei the Immortal, the wizard-like villain of the story. The atmosphere is cool and ominous with the swirling of celli, double bass, and violas amidst the quiet awakening of small creatures. In no time at all, the illusive Firebird makes its first appearance, marked by hushed tremolos and glissandos in the strings. The hunt to capture the prized bird proves difficult as the creature flies with agility and fury, marked by rapid flourishes in the strings and woodwinds. The darting rhythms eventually erupt into a frivolous dance with a Stravinskian orchestration so ornate and intricate that the prince invariably stands in awe of the Firebird's radiance and majesty. After the spirited episode comes a moment of reprise as Prince Ivan stumbles upon Kastchei's captive princesses performing the Khorovod, an ancient circle dance symbolizing unity. As the intruments gently pass the melody back and forth, feelings of warmth and compassion replace the once, eerie surroundings. Suddenly catching ablaze, the infamous "Infernal Dance," the Firebird's magical dance to fend off Kastchei's monsters, shatters the mesmerizing beauty of the princesses as sudden blasts from the orchestra cut through waves of frenetic rhythms. Stravinsky keeps things unflinchingly thrilling with virtuosic writing everywhere from the trombone to the xylophone and more. Following the white-hot excitement is the berceuse, which lulls the monsters into a deep slumber and gives Prince Ivan enough time to destroy Kastchei's golden egg — the solution to all the story's conflicts. Here, Stravinsky's lush orchestration and knack for color and nuance shine with magnificence. A triumphant finale awaits as the defeated Kastchei and his realm's slow disintegration herald a dramatic and climactic crescendo towards the open skies. Making its final appearance behind resounding brass and rip-roaring tremolos, the Firebird takes flight once more as Prince Ivan and the freed princesses look to a brighter future.

曲目介绍由朱傲文博士撰写

Program Notes by Dr. Alvin Zhu

林敬基

Ken Lam

林敬基，现任天津茱莉亚学院管弦乐表演专业总监、天津茱莉亚管弦乐团驻团指挥，同时担任伊利诺伊州交响乐团艺术顾问、北卡罗莱纳州布里瓦德音乐中心驻场指挥以及香港和声艺术总监。

2015至2022年，林敬基任查尔斯顿交响乐团音乐总监；并于2017至2022年，担任伊利诺伊州交响乐团音乐总监。此前，他还担任过巴尔的摩交响乐团教学项目副指挥、辛辛那提交响乐团助理指挥和香港室内乐团首席指挥。

2011年，林敬基荣获孟菲斯国际指挥大赛的冠军，并于2009年在美国交响乐团联盟举办的华尔特指挥预演中指挥纳什维尔交响乐团。2008年，他与另外三位指挥被莱昂纳多·斯拉特金选中，在肯尼迪中心指挥美国国家交响乐团，这是他在美国的正式首演。近年间，他还曾指挥辛辛那提交响乐团、辛辛那提流行管弦乐团和巴尔的摩、底特律、布法罗、孟菲斯、夏威夷、布里瓦德、莫里迪恩等地的交响乐团，以及香港小交响乐团、香港管弦乐团、韩国城南市立交响乐团、贵阳交响乐团和台北市立交响乐团等。

在歌剧方面，他曾为布里瓦德音乐中心珍尼克歌剧院的多个制作执棒，并在辛辛那提歌剧院、巴尔的摩抒情歌剧院和卡斯尔顿音乐节担任助理指挥。近年来，他在美国斯波莱托艺术节、纽约林肯中心艺术节以及多伦多光影艺术节指挥过多部歌剧作品，广受赞誉。2010年，他在皮博迪音乐学院指挥马斯奈的《曼侬》，被《巴尔的摩太阳报》评为华盛顿及巴尔的摩地区十大古典音乐节目。

林敬基曾于美国皮博迪音乐学院跟随古斯塔夫·迈尔和马坎德·塔卡学习指挥、于阿斯本的美国指挥学院随大卫·津曼和穆里·西德林学习，并于美国国家指挥学院随莱昂纳多·斯拉特金学习。在成为职业指挥之前，林敬基在英国剑桥大学圣约翰学院修读经济，并当过十年执业律师，从事国际金融业务。

2015年，美国约翰·霍普金斯大学校友会为林敬基颁发全球成就奖，以表彰他对该校优良传统的传承，并肯定他为学校及其专业领域作出的卓越贡献。

Ken Lam is director of orchestral studies at The Tianjin Juilliard School and resident conductor of the Tianjin Juilliard Orchestra. He is artistic adviser of the Illinois Symphony Orchestra, resident conductor of the Brevard Music Center in North Carolina and serves as artistic director of Hong Kong Voices. 

Lam was music director of the Charleston Symphony Orchestra from 2015 to 2022 and music director of Illinois Symphony Orchestra from 2017 to 2022. Previously, Lam also held positions as associate conductor for education of the Baltimore Symphony Orchestra, assistant conductor of the Cincinnati Symphony Orchestra, and principal conductor of the Hong Kong Chamber Orchestra.

In 2011, Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra's 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008, as one of four conductors selected by Leonard Slatkin. In recent seasons, he led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Buffalo, Memphis, Hawaii, Brevard and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Seungnam Philharmonic, Guiyang Symphony, and the Taipei Symphony Orchestra.

In opera, he directed numerous productions of the Janiec Opera Company at Brevard and was assistant conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival. In recent seasons, Lam led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada. His run of Massenet's Manon at Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington D.C/Baltimore area in 2010.

Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. He read economics at St. John's College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

Lam is the 2015 recipient of the John Hopkins University Alumni Association’s Global Achievement Award, given to individuals who exemplify the Johns Hopkins tradition of excellence and have brought credit to the University and their profession in the international arena.

唐俊乔

Tang Junqiao

著名竹笛演奏家，上海音乐学院教授，博士生导师，中国音乐家协会理事，上海领军人才，上音高研院中国竹笛艺术中心主任，上音竹笛乐团团长兼艺术总监，上海音乐家协会竹笛专业委员会会长，中国音乐家协会竹笛学会副会长，中国民族管弦乐学会竹笛专业委员会副会长，国家艺术基金评审委员，国家教育部论文评阅中心特聘专家。

作为中国民族音乐领军人物之一，她是当代国乐领域标杆式的演奏家和教育家，经她首演的新作品24部，出版教学论著及演奏专辑27部，2018年由她主持并主演的大型国家艺术基金原创项目——民族器乐剧《笛韵天籁》其无言无词仅用音乐表达剧情的方式，为我国器乐舞台创新表演形式开创先河，并于全国十余城市巡演34场大获赞誉好评，其创建的“上海音乐学院竹笛乐团”也因该剧的成功演出，获评文化旅游部“中国十大优秀民族乐团”。

作为演奏家她是中国唯一一位受邀带着多部竹笛协奏曲与纽约爱乐、英国BBC、德国班贝格等世界名团进行常年合作演出的民乐独奏家，并曾为三十多位国家元首演奏过中国传统乐曲，演出足迹遍布世界各地。

作为教育工作者，她的教学成就令人瞩目，她为上海音乐学院先后培养出金奖学生20余名，在权威国内外赛事中囊获金奖39次，业界誉之为“中国竹笛梦之队”。2019与2020年她作为寻乐人两度受邀电视国乐热播节目《国乐大典》，其专业耿直的点评风格深受大众喜爱，所带队上音、央音、国音等音乐学府青春乐手们组建打造的“唐家军”乐团，也以高超的演奏技艺和多样的音乐风格，最终登顶《国乐大典》总冠军宝座，成为“冠军导师”吸粉无数，好评如潮。

由于突出的演奏与教学成果，她曾五次获得上海市文化艺术人才优秀教师称号、九次荣获贺绿汀基金奖以及上海音乐学院院长奖、国家级教育教学成果奖、国家教育部“霍英东教育基金奖”等。

Tang Junqiao is a renowned Chinese bamboo flute player. She is a professor and doctoral supervisor at the Shanghai Conservatory of Music, a member of the China Musicians Association, and a leading figure in Shanghai. Tang serves as the Director of the China Bamboo Flute Art Center of the He Lvting Advanced Research Institute for Chinese Music, the Head and Artistic Director of the Chinese Bamboo Flute Orchestra of the Shanghai Conservatory of Music, the President of the Chinese Bamboo Flute Special Committee of the Shanghai Musician Association, the Vice President of the Chinese Bamboo Flute Society of the China Musicians Association, the Vice President of the Chinese Bamboo Flute Special Committee of the China Nationalities Orchestra Society, a member of the China National Arts Fund's review committee, and a specially-invited expert of the Thesis Review Center of the Ministry of Education of the People's Republic of China.

As a leading figure in Chinese national music, Tang is a model performer and educator in contemporary Chinese music. She premiered 24 brand- new works and has published 27 teaching materials and albums. In 2018, the national musical instrumental drama Di Yun Tian Lai (Heavenly Music of Chinese Bamboo Flute), a large original project sponsored by the National Arts Fund was led and performed by her. The project is a pioneer in innovative Chinese instrumental performances as it merely adopts the music of instruments without performers' lines. Besides, it has won popularity and praise from audiences in 34 performances in over ten domestic cities. Additionally, the Chinese Bamboo Flute Orchestra of the Shanghai Conservatory of Music established by her also received the honorable title Top Ten Excellent Chinese Folk Music Orchestra from the Ministry of Culture and Tourism of the People's Republic of China after finishing its project performances nationwide.

As a performer, Tang is the only soloist of Chinese instrument who has been invited to carry out regular performances with world-famous orchestras such as New York Philharmonic, BBC Symphony Orchestra, and Bamberg Symphony for years with Chinese bamboo flute concertos. She played traditional Chinese music for over 30 leaders of different countries and has brought excellent Chinese music to the globe.

As an educator, Tang makes remarkable achievements in teaching and training students. More than 20 students from the Shanghai Conservatory of Music won gold awards 39 times in major competitions at home and abroad after her training. Thus, her team is praised as a Dream Team of Chinese Bamboo Flute in the music world. In 2019 and 2020, Tang was invited as a music mentor in two sessions of Guo Yue Da Dian (Chinese Music Ceremony), a popular TV program of Chinese folk music. In the TV program, she was popular among all for her professional and straightforward comments. Tang's team consisting of young musicians from music schools, including the Shanghai Conservatory of Music, the Central Conservatory of Music, and the China Conservatory of Music, won first place in the TV program with its outstanding performance skills and diverse styles of music. Hence, Tang became a champion mentor and was welcomed by a large number of followers with praise.

Based on her prominent achievements in performance and teaching, Tang Junqiao has been awarded the Excellent Teacher of Shanghai Culture and Art Talented Minds five times and won the He Lvting Fund Award nine times. She also received awards such as the President’s Award of the Shanghai Conservatory of Music, the National Education and Teaching Achievement Award, and the Fok Ying Tung Education Foundation Award of the Ministry of Education of the People's Republic of China.

天津茱莉亚管弦乐团

Tianjin Juilliard Orchestra

天津茱莉亚管弦乐团在每个音乐季中献上约十场音乐会。从巴洛克时期曲目到当代作品，天津茱莉亚管弦乐团会为我们带来风格丰富的演绎，其中也包含了与中国传统乐器合作演奏的佳作。常驻教师与客座教师将指导乐队声部排练，并与他们一同练习和演出。在驻团指挥带领的音乐会之外，乐团最近几个乐季还与著名的客座指挥合作，其中包括陈琳、邵恩、张洁敏、林大叶、余隆、景焕和水蓝。

The Tianjin Juilliard Orchestra presents up to 10 concerts each season, performing a diverse repertoire ranging from baroque to contemporary orchestral works, as well as pieces using traditional Chinese instruments. Resident faculty and visiting artists lead discussions, coach sectionals, and play side-by-side with students in rehearsals and performances. In addition to concerts led by the resident conductor, in recent seasons the orchestra has also worked with renowned guest conductors such as Chen Lin, Shao En, Rachel Zhang, Daye Lin, Long Yu, Huan Jing and Lan Shui.