Mayflower Art Center (MFAC) presents MusicON – In Bloom: Spotlight on Aspiring Young Composers from MFAC in Review
Artistic director: Yiming Wu; Music Director: Yu-ting Cheng; 3rd MusicON Competition Judges: Wang Lu and Felipe Lara; Tech Director Haibei Wang
Performers & composers from the MusicON International Composition Competition: KaiChen Cheng (flute), Yu-Ting Cheng (clarinet), Yoon Sang Timothy Cho (conductor), Clara Cho (cello), Eva Ding (flute), Shirley Guo (harp), Joanne Kang (piano), Yeji Pyun (violin), Sara Salomon (violin), Tsung-Yu Tsai (cello)
Opera America National Opera Center, Marc A. Scorca Hall, New York, NY
October 24, 2025
This evening’s concert presented at the Opera America National Opera Center, Marc A. Scorca Hall, featured compositions by young and aspiring composers who are all participants and finalists in the 2025 MusicON International Composition Competition. The programming included a variety of chamber works as well as solo piano. Tonight’s concert highlighted the very youngest category of composers in this event – as young as 9-years-old.
Tiger Liu’s composition Kaua’i ‘Ō’Ō, a solo piano piece inspired by Olivier Messiaen, is a portrait of the extinct bird and the Hawaiian landscape. The opening chords arrested the listener’s attention with its rich palate of French sonorities – they were immediately contrasted by an opposing character and sound. The Messiaen-like rhythms were handled well by pianist Joanne Kang, but the chordal passages could have had a wider range of color throughout. Following this opening section, a convincing and captivating second section displayed the emblematic “water music” of the French impressionists – this was handled expertly by Kang. The piece ends with one final bird call, “a haunting echo of loss and hope.”
Second Impression by Brendan Li, a 16-year-old composer from Vancouver, BC, Canada followed. This piece, in the composer’s words, “aims to capture the feeling of exploring the mysterious other side of things.” This piece was performed by Joanne Kang (piano) and Sara Salomon (violin), each in command of every aspect of this work. The piano intro was flowing but the character seemed undefined, and an obtuse melody emerged from the violin. Although the performers were able to execute the score organically, it was unclear what each instrument’s role really was. At points, the violin had some technical passages that didn’t contribute to the storytelling of the work. In general, this piece could have had a clearer point of view.
The piece Beaver by the Water by Edmond Zhuo began somewhat dissonantly. This piece for string quartet was performed by Sara Salomon and Yeji Pyun (violin), Daniel Lamas (viola), and Clara Cho (cello). This reviewer found this programmatic piece to have some charming ideas but wouldn’t have understood the story if it hadn’t been written in the program. A stronger sense of interaction between the instruments could have also cleared up some of the incongruous sounds – for example, violin 1 seemed disconnected from the rest of the group activity at times. It is a lovely piece but could use some refining in its part writing.
Cultivation of a Spirit is said to celebrate “growth & harmony.” This piece by Lucy Fang is for a small ensemble that included Joanne Kang (piano), Yeji Pyun (violin), Tsung-Yu Tsai (cello), KaiChen Cheng (flute) and conductor Yoon Sang Timothy Cho. This piece was quite successful from the opening flute motif, its violin answer/imitation and the entry of the piano. It sets the stage for the narrative of the work. Fang was able to produce an organic blend of the instruments including some extended techniques on the flute. As the piece continued, it was clear that it was being held together well by the ensemble and, particularly, the conductor which resulted in an exciting climax with all the instruments in the group. An interesting work by Lucy Fang!
Duet No. 1 by 11-year-old composer Charles Zhuo was performed by pianist Joanne Kang and violinist Sara Salomon. This serene and reflective work offered a pleasant listening experience, with piano writing that conveyed a gentle, meditative character. However, the violin part at times felt less idiomatic, and the dialogue between the two instruments could have been developed further to enhance the sense of interaction. The conclusion, too, might have benefited from a more vivid or decisive gesture. According to the program note, the piece is inspired by a lively and imaginative narrative, a quality that could be explored more boldly in the writing itself. Nevertheless, it is an impressive accomplishment for such a young composer, and Zhuo’s work shows great promise for future development.
Next on the program were Two Miniatures by 9-year-old Annie Wu. The first piece, The Joy of Summer, opened with a Lisztian passage, lush and shapely. This could communicate the image of the water to the listener. This piece, performed by Joanne Kang, had the listener captivated and the form was clear. It was colorful and scenic. The second piece, The Mysterious Sound of an Insect, began with colorful rolled chords and trills. The melodic material was beautiful, and it eventually transformed into a murky and rumbling piece – the ending was bombastic and strong. A vivid piece!
Twilight Reverie byJohn Liu concluded the program with a sense of tranquility and dreamlike lyricism. Scored for a small ensemble—Yeji Pyun (violin), Daniel Lamas (viola), Eva Ding (flute), Yu-Ting Cheng (clarinet), Tsung-Yu Tsai (cello), and Shirley Guo (harp). The work displayed a strong sense of unity and continuity throughout. Opening with a jaunty, cinematic theme, the piece immediately established a vivid sense of character and motion. Liu demonstrated an impressive command of instrumental color, blending the ensemble’s diverse timbres with sensitivity and skill. The group’s performance was well-balanced and communicative, with particularly noteworthy solo passages from the clarinet and viola. Shifts in mood were handled with clarity and effectiveness, maintaining the listener’s engagement throughout. Overall, Liu’s craftsmanship and refined sense of ensemble writing made Twilight Reverie a compelling and satisfying conclusion to the concert.
It is impressive to hear the work of these young composers – I admire the work of this organization and look forward to the other nights of the festival this weekend.
