I have performed at numerous
smaller events, including traditional and public
yaji
settings,
community events, arts festivals, and even experimental
multi-media presentations. Here I’ll privilege “major
performances”, which I define as playing to an
audience
of 100 or more. I’m pretty sure that one
of these broke 1000 (possibly with even more viewers on
CCTV), but given the general difficulty of estimating
large audience sizes, I won’t generalize a 1000+
category. It’s interesting to note that while I’ve
played longer pieces (and more of them) at smaller
events, the “major” events tend to force me to play
single short pieces. I guess this is because “major
performances” assume a bimodal distribution—until I am
an artist of some stature (here’s hoping!), the only way
to reach large audiences is in the context of
multiple-performer collages. I probably can’t hope to
play more than bit parts until I can do something like a
full-fledged “solo concert”, or until I begin
collaborating with the right well-established people.
2.07: Chinese Students Club
Lunar Gala, Columbia University: Gu Feng Cao
(Wu Wenguang’s
tradition). This seems to be emerging as my showpiece.
2.07: Ivy League Chinese Lunar New Year Grand Party,
Columbia University: Shuang He Ting
Quan (Wuzhizhai
score; Lingnan
influence). Contrary to popular belief, I did not play two
pieces: the first one was just tuning!! Extra applause is
always welcome, though…
12.06: Sunday Supper, International House, NYC:
Gu Feng
Cao (Wu
Wenguang’s tradition)
10.06: October Salon Night, International House,
NYC: Oulu Wang Ji
(Wuzhizhai/
Ziyuantang tradition)
5.06: Arts First, Harvard; playing in the show “The Musical
Tradition of China”, with the Harvard Chinese Music
Ensemble: Shuang He Ting
Quan (Wuzhizhai
score; Lingnan
influence)
2.05: Chinese New Year Banquet, hosted by the
Harvard-Radcliffe Chinese Students Association:
Dongting Qiu
Si (Zha
Fuxi’s tradition)