Biography

I love to listen to the sound of the wind, perhaps whooshing past or floating by, perhaps a punch with gusto or a gentle caress. Though I cannot see the wind, I can feel it singing in my heart, majestic but soft. I love to see the wind everywhere, in the rustling of autumn leaves, in the rumbling of mountains, and even in the dissonance of the city. I often walk with my music, when the weather is just right. Whether it is simply near my home, or on an adventure into some wilderness that I have never explored. It is in times like this that I hear my music the clearest, when its presence is exposed and raw in the overexposed reality of the outside. It is in times like this that music flows from the paper, in times when I can listen to the wind. 

 

Personally, I never believed that music only belonged in the grave and cold stone walls of a concert hall. I believe that music belongs to people and the natural world. It can be Vivald’s vivid and alive paintings of scenery, Handel’s glorious spiritual elation, Mozart’s pinnacle of classical beauty. I want to become the wind and the water. Ever-present and vital, tranquil but also terrifying. I am in solitude, but I am also a tiny piece of cosmos that is constantly in harmony with others. 

 

Over the years of practicing music, I have come to terms with my solitude and loneliness. In place of socializing and playing, I had always been holed up in a practice room, alone with my music. In many ways, I have always believed that to be a musician is to enjoy this solitude, it is our responsibility to endure time after time of turning away invitations from our friends. Gradually, tolerance of being completely alone became enjoyment of being in dialogue with the self and music. 

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Despite coming to terms with accepting the reception of my own performances. I am determined to not be confined in the ever involuting environment of “classical music”. I think while the art of Western Art Music captures eternal beauty and still has many healthy years ahead, the presentation aspect of classical music has been stagnant and stuck in the past. The marketing and public relations of classical musicians and events have been practically non-existent. Having been so consumed in our art, we often ignore the reality of the industry and the ever-dwindling number of filled seats in concert halls. There is so much more that can be done to preserve this culture and it has always been my dream and goal to bring the experience of classical music traditions to more and more people. I have put much thought and effort already into achieving this rather grand goal of mine, and the first step I could think of to reach more audience is through education. In 2020, I created an online education company alongside two of my music colleagues: MTS Music Theory Studio, and our goal is to provide any student anywhere with highly individual and customized music theory, history, and composition courses. I hope that through these courses that are unbound by the internet, classical music is able to reach more people, and that we can cultivate more knowledgeable appreciation for classical music. Even if only one person walks into a concert because of us, I would still consider it a brick to add to this rich tower of culture. 2024, MTS brings our own storytelling concert to local libraries in Vancouver and Chicago.

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Since 2023, I founded the Golden Ears Chamberfest. We are committed to promoting chamber music in Western Canada and collaborating with local charities to bring the beauty of music to communities. We toured British Columbia in the summer of 2023, including performances in North Vancouver, White Rock, and North Surrey. During these performances, we partnered with local charities such as the White Rock Baptist Church, Highland United Church, and Autism Support Network to raise funds to support community services. Our vision is to bring high-quality chamber music performances to communities in Western Canada, promoting the popularity and development of music and the arts. Through the Golden Ears Chamberfest, we hope not only to inject more vitality into Vancouver, but also sharing our friendship with our local audiences.​

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In 2024, I am so excited to start my new chamber group, the Nuages Trío, with Pianist Melody Sham and Cellist Yiyang Xue. We are participating in the AlpenkammerMusik festival to refine our performance skills for our upcoming debut in Vancouver this September. Our ensemble's instrumentation—clarinet, cello, and piano—is often overlooked in the chamber music sphere, prompting us to showcase its unique qualities through captivating compositions. Our exploration of repertoire has uncovered gems by underrepresented composers like the French female composer---Louise Farrenc, inspiring us to delve deeper into the works of marginalized artists throughout history. We aim to introduce audiences to these overlooked musical voices, fostering appreciation for their contributions. Additionally, we aspire to commission new pieces from young Canadian composers, particularly those from diverse backgrounds; such as female, aboriginal, and minority race group, to further enrich the repertoire for our instrumentation. Through this project, we strive to reclaim, preserve, and innovate within the art form, championing inclusivity and artistic exploration.

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Like the wind and like the water, I want to be a constant to the world of music, gentle and compassionate, yet terrific and impactful. I want to do the most possible with my time, to enjoy the world, enjoy music, and enjoy the true connection between people.