1999-2006
Teodoro ANZELLOTTI (Italy/Germany) - ACCORDION (2000) is regarded as among the best classical accordion players in the world. His repertoire ranges from composers of the age of the Baroque, such Girolamo Frescobaldi, Domenico Scarlatti, to new works dedicated to him by contemporary famos composer like Luciano Berio (Sequenza XIII), Vinko Globokar, Heinz Holliger, Mauricio Kagel, György Kurtág, Wolfgang Rihm, Salvatore Sciarrino, Karlheinz Stockhausen. Born 1959 in Candela, Italy and studied in Karlsruhe and Trossingen (Germany). In 1985 he was awarded the first prize at the International Hugo Herrmann Competition. Since 1987 Anzellotti has been a teacher of accordion and Chamber-music at the Hochschule für Musik und Theater Bern - Biel and since 1992 at the Internationale Ferienkurse für neue Musik Darmstadt. As a lecturer he works at international Mastercourses and seminars. Concert all over Europe, USA, Canada and Asia. As a soloist he played with several orchestras like the Symphonieorchester des Bayerischen Rundfunk, Rundfunk Sinfonieorchester Saarbrücken, Rundfunk Sinfonieorchester Freiburg, Kölner-Rundfunk-Sinfonieorchester, Tonhalle-Orchester Zürich, Radio-Simphonie-Orchester Ljublijana, Orquesta Sinfónica del Principado de Asturias, Ensemble Modern, Klangforum Wien, Ensemble Contrechamps Geneve, Collegium Novum Zürich, Münchner Kammerochester, Deutsche Kammerphilarmonie Bremen, Arditti Quartett, ensemble recherche and furthermore at festivals: Wittener Tage für neue Kammermusik, Musik-Biennale Berlin, Ars Musica Brussel, Donaueschinger Musiktage, Biennale Venezia, Archipel Geneve, Schleswig-Holstein Musikfestival, Musiktrienale Köln, Gubelkian Lissabon, Luzerner Festwochen, Mondsee Musiktage, Biennale München, Steirischer Herbst, Festival d´Àutomne Paris, Schwetzinger Festspiele, musica Strasbourg, Pan Music Festival Seoul, Éclat Stuttgart, Wien Modern ect.
Henri BOK (The Netherlands) — bass clarinet (2001) — devoted his life to the bass clarinet, inspired as an adolescent by the great Eric Dolphy. He has been a promotor of the bass clarinet and its repertoire for more than 25 years, both as a performer and a teacher. Since 1981 he is Professor of Bass Clarinet at the Rotterdam (Superior) Conservatoire, where the unique bass clarinet program attracts students from all over the world. 

Henri Bok invented unusual, but very effective new chamber music formations, such as Duo Contemporain (bass clarinet and marimba/vibraphone), Duo Novair (bass clarinet and accordion), Bass Instincts (bass clarinet and bass oboe) and Clarones (with Luis  Afonso "Montanha".

Hundreds of new compositions have been written for and dedicated to Henri Bok by renowned composers from all over the world. He is often invited to give concerts and masterclasses in Europe, North & South America, Australia and Asia. 

Henri Bok has recorded over 20 CDs, has written articles for many important music magazines and is the author of the standard work for his instrument: "New Techniques for the Bass Clarinet".
Phoebe CARRAI (MA) — BAROQUE CELLO (1999) was born in Massachusetts and received her B.M. and M.M. degrees from the New England Conservatory where she studied and played early music with Laurence Lesser. Upon graduation she won a Beebe Grant to study with Niclaus Harnoncourt in Salzburg. She has appeared with the Handel & Haydn Orchestra, Philharmonia Baroque, Arcadian Academy, Concert Royal, Bach Chamber Soloists, and other national and international groups. She has numerous widely acclaimed recordings with Jordi Savall, Jaap Schroeder, Renee Jacobs, etc. . . on Deutsche Grammophon, Decca, Harmonia Mundi Germany, and BMG. For ten years Carrai was a member of Musica Antiqua Köln. She has given master classes in Asia, North America, and Europe. Phoebe Carrai is a founding member of International Baroque Institute at the Longy School of Music in Cambridge, MA, and the Van Swieten Quartet. She also works with the Greater Boston Youth Symphony. Currently she is a faculty member at the Conservatory of the Arts, Berlin, the Longy School of Music, St. Mark's School in Southborough, MA and a former faculty member of Hilversum Conservatory of the Amsterdam School of the Arts.
IL-RYUN CHUNG (Germany) — CHANGGU (2005) — was born in Frankfurt/M. in 1964, the child of Korean parents.  From 1967 to 1971 he lived inSeoul/Korea. Chung's acquaintance with the Korean master drummer Kim Duk-Soo introduced Chung to Korean percussion music and made a  lasting impression upon Chung’s rhythmic perception. In 2000-2001 he worked on a concerto for SamulNori and Orchestra. The collaboration between composer and interpreter has been central to the working out of Chung’s compositions, which despite acute concern for idiomatic instrumental writing always place the highest technical demands upon the performers. Concertizing as solo guitarist, chamber musician and drummer for traditional Korean Music remains an integral part of Chung’s musical life. In the year 2001 he founded together with Jocelyn Clark the Ensemble "IIIZ+" for contemporary and classical Asian music.
Roblin Gray DAVIS (Anchorage/Juneau) actor/storyteller (2005) is a performer, director and artisan of innovative, collaborative theatre. An Anchorage native, he teaches physical acting, mask making, mask performance, puppetry, clown theatre and mime/movement theatre with his production company, Theatre Ridiculous. Performance credits include working with Juneau’s Perseverance Theatre in the world premiere of The Wooden Breeks by Glen Berger and Shakespeare's The Winter's Tale. Directing credits include producing, directing and performing in the collaborative Imbecillus, a lunatic journey. Roblin has traveled and studied internationally in pursuit of a dynamic and lively form of physical performance, including programs with the Dell'arte International School of Physical Theatre in Blue Lake, CA, the Ecole de Mime Corporel Dramatique in London, England, and Sue Morrison of the Clown Resource Center in Toronto, Ontario. Roblin is a former student of the Sitka Fine Arts Camp.
STEWART EMERSON (England/Germany) — conductor/vocal coach (2005, 2006, 2007) — Prof. Stewart Emerson was born in London. There he was first a scholar of the Junior Department and then a student of the Royal College of Music. He studied piano with Professor Harry Platts and Professor John Barstow as well as conducting with Professor Christopher Adey and singing with Professor Lyndon van der Pump. He was awarded the Margot Hamilton Prize for piano, the Percy Buck Conducting Prize for Britten's "A Midsummer Night's Dream", the Michael Mudie Prize for opera conducting and the Ruby Hope repetiteur scholarship. During this time he taught music history and theory in the Junior Department and directed the choir and the music theatre department. In the early 1980s, Stewart Emerson was deputy conductor for Abbey Opera and conducted the Apollo Singers, the St. Paul's Festival Orchestra and Enfield Grand Opera. Following his move to Cologne in 1984, he worked first in the opera studio and then with the ensemble as repetiteur with additional conducting responsibilities at the Cologne Opera. At the same time he taught at the Cologne Academy of Music. In 1991 he became head of the opera studio of the Cologne Opera, with whom he conducted performances of "La finta semplice", "Alcina", "Der Leuchtturm", "Riders to the sea" and the premiere of "Der Kinderkreuzzug". In 1995 Stewart Emerson was appointed Professor at the Academy of Music "Hanns Eisler" Berlin, where he is Musical Director of Music Theatre/Opera.
Wilbert GROOTENBOER (The Netherlands)— percussion (2001) — started playing percussion at the age of 8. He studied at the Rotterdam Conservatoire with Robert van Sice and Miguel Bernat, and continued his studies in Amsterdam with Jan Pustjens and Peter Prommel. During his studies at the Amsterdam Conservatoire he also assisted in teaching orchestral repertoire, and attended master classes with Steven Schick, Graham Jones and the Percussion Group of Cincinnati. Wilbert performs as a freelance percussionist with such ensembles as the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic Orchestra, the various Dutch Radio Orchestras, Ask Ensemble, Schönberg Ensemble, Amsterdam Percussion Group and Duo Contemporain, among others.
Mei Han (PRC/Canada) - zheng (2005) — is a groundbreaking virtuoso propelling the Chinese zheng into radical new dimensions of musical expression. Presenting music deeply rooted in Chinese culture, Han transforms the zheng into a powerful tool for the contemporary international concert stage. She is a consummate performer, appearing with leading artists around the world in a multitude of musical genres — from symphonic and new music to traditional and world music, from creative improvisation to electronic. Han studied with China’s top zheng masters Zhang Yan and Gao Zicheng, and performed as a featured soloist for over ten years with the Beijing Zhan You Ensemble. Han holds two Master’s degrees in ethnomusicology, from the Musical Research Institute of the Chinese Arts Academy in Beijing (1995), and from the University of British Columbia (2000). Han wrote the zheng entry for the New Grove Dictionary of Music and Musicians, and has published articles in numerous music journals in both English and Chinese. A dynamic performer and innovator, Han has been exploring new directions for solo zheng and unique combinations of zheng with other instruments in a contemporary experimental aesthetic. Han’s career spans Asia, Africa, Australia, Europe, and North America. Her collaboration with composer and multi-instrumentalist Randy Raine-Reusch "Distant Wind (ZA Discs)," reached #1 on the Canadian College Radio Charts, and was nominated for a Juno Award (Best Global). Han performs with the Orchid Ensemble, performing both traditional Chinese music and contemporary scores by Canadian and Chinese composers; and the Crossing Border Ensemble, which explores European and Asian instruments in a contemporary jazz aesthetic. With passion and vigor, Han’s stunning presentations of contemporary music constantly challenge classical Chinese music, and redefining the zheng as a powerful vehicle of innovation and expression.
Fred HO (NY) - bari sax (2005) — is a composer, activist and creator of large-scale works whose recent pieces include "Journey Beyond the West: The New Adventures of Monkey", the "Warrior Sisters" opera, and "Voice of the Dragon: Once Upon a Time in Chinese America...The Martial Arts Epic". Ho has been based in New York since 1981, where his activism in community and Asian-American issues has influenced and informed his work. Attaining international acclaim for his numerous recordings with his band, the Afro Asian Music Ensemble, Ho has combined jazz-based writing with Asian music. In his theater work, Ho has collaborated with librettists Ann T. Greene and playwright Ruth Margraff, premiering works at the Brooklyn Academy of Music (BAM) Next Wave Festival, The Kitchen, and the Walker Arts Center in Minneapolis. In 2003 “Voice of the Dragon” toured 30 cities throughout the USA. Ho is the founder of Big Red Media, Inc. and co-founder of the Brooklyn Sax Quartet.
 ISHIGURE, Masayo (Japan/NY) - KOTO (2000) began playing the koto and jiuta shamisen at the age of five in Gifu, Japan. After initial studies with Tadao and Kazue Sawai, she became a special research student in 1986 at the Sawai Koto Academy of Music. The aim of the academy was to shed new light on koto music by incorporating everything from Bach to jazz and thus change the koto from being thought of only as a traditional Japanese instrument into an instrument of universal expressiveness. Later Masayo Ishigure became one of a small group of virtuoso disciples of the Sawais and successfully completed the 33rd Ikusei-kai program sponsored by NHK to foster and train aspiring artists in Japanese music. In 1988 she received a degree in Japanese Traditional Music at Takasaki Junior Arts College with a concentration on koto and shamisen. The same year she was recorded on the CD The World of Tadao Sawai. In 1994 she also appeared on the CD entitled Tori no Yoni [Like a Bird]: Tadao Sawai Compositions. Since that time she has performed all over the world, and appeared in such festivals as Bang on a Can (NYC). She has been featured in two public television broadcasts, Music Under New York and World of Music (working title). In 1992 she began teaching koto and shamisen in the music department of Wesleyan University (CT) as an artist in residence where she formed the Wesleyan Koto Ensemble. In December 1997 she performed a classical program of traditional koto music at Carnegie Hall, and in January 1998 she performed at Merkin Hall, NYC as part of the Music from Japan series.
JI, Aeri (Korea) - KAYAGUM (1999) — "is the new star that the kayagûm community has so long awaited. I want to recommend her recording not just to everyone who loves Korean traditions, but to all those who genuinely love the art of music," writes composer Hwang Byung-ki. Bringing this music to the rest of the world is indeed Ji Aeri's own dream. Ji Aeri was born in Seoul in 1965 and began studying traditional dance at the age of five. She performed in Europe and North America with the Little Angels national children's dance troupe touring extensively before entering high school. She graduated from Seoul National University with a major in Korean traditional music and became a principal member of the National Classical Music Institute in Seoul. She has won many awards including the President's Gold Award for Traditional Music in 1994. In 1996 she completed a M. A. in performance at Ehwa University where she is currently finishing her Ph.D., and began teaching at Chuyi Arts University. Recently she has been working on her solo career with widely acclaimed performances in Europe and Japan, as well as in the United States where she debuted at the Kennedy Center in 1996. She has recorded three disks of sanjo and other works.
KIM Woong-Sik (Korea) - CH'ANGGU (1999) — Graduated from the Traditional Music High School and the Department of Korean Music at Dankuk University. Currently he lecturers both at Hanyang University and Pusan University where he is a member of the percussion ensemble Puri. He is also a memebr of the Korean Traditional Culture Service, Wolhwa. Mr. Kim made his debut in the United States in 1990 as a member of the Korean Broadcasting Service's (KBS) traditional music orchestra tour and has returned for performances three times since. In 1997 he joined the Ministry of Culture's Voices of Korea Tour. Kim Woong-Sik has also toured widely in Europe and Asia.
LIU, Jing (PRChina) - ERHU (2000) — was born in Nanjing, Jiangsu Province, China in 1964. At the age of four she began studying traditional Chinese dance, joining a tour to Romania. In 1972, she began studying the erhu, first under the famous Professor Gan Tao, and then under Professor Zhang Rui. Under the tutelage of Professor Gan, Liu Jing specialized in the Jiangnan sizu style of playing, particular to the region south of the Yangtze River. In 1987, Ms. Liu entered the Nanjing College of Art, graduating in 1990 with honors. Since that time, Ms. Liu has performed dedicatedly and energetically, as both a soloist and an ensemble player. In 1995, she placed second for her solo performance in the Third Jiangsu Instrumental Music and Dance Competition. In 1996, Ms Liu participated in a highly successful tour of Taiwan, out of which came two CDs. Then, in 1997, Ms. Liu took second place in the acclaimed Jiangsu Erhu Competition, capping her achievements in 1999 in a highly prestigious performance to celebrate the hand-over of Macao to China, playing a duet with her old teacher, Professor Zhang Rui. She began the new millennium with performances in Mauritius and France to celebrate the Chinese New Year, joined by musicians and dancers from across the country.
LIU Xiangyun (PRChina) - pipa (2001) — a member of Musician Association of Jiangsu Province, and first chair pipa of the Traditional Orchestra of the Jiangsu Dance and Opera Theatre, was born in Nanjing, Jiangsu Province in 1973. At the age of seven, she began studying pipa under her father and entered Nanjing Primary School of Arts at age ten, joining a tour to Japan during the following year. In 1987, as a delegate of Nanjing Middle School Art Group, she toured Japan again.

In 1991, Ms. Liu entered Nanjing College of Art where she studied under master pipa player Liu Shi. After graduating with honors, she joined Traditional Orchestra of the Jiangsu Dance and Opera Theatre. The following year, Ms Liu took part in a highly successful tour of Taiwan and recorded two CDs. In 1997, she placed third in the Jiangsu Traditional Instrument Competition. In the year 2000, she participated in a large-scale recording of Chinese folk songs and dances. The result, What Nice Jasmine, won the gold award at the Sixth China Art Festival.

In addition to regular performance, she devotes herself to teaching and promoting Chinese music, performing at number of different university campuses and student orchestras. Invited by the International Student Education Center of Nanjing University as a guest lecturer in 1999, she began to introduce the students from all over world to Chinese traditional music and instruments. In addition to the pipa she also plays two other traditional instruments, the zhong ruan and the liu qin.
Dimitris MARINOS (Greece) - mandolin (2006) — Dimitris Marinos has been hailed by critics around the world as the leading mandolinist performing today. He quickly established himself as a leading interpreter of contemporary music with his recordings on the CBS label at the early age of 23. Recent performances include those at Tanglewood, Harvard University, Carnegie Hall, Merkin Hall, Orchestra Hall Chicago, the University of Chicago, Oberlin Conservatory, World Music Days England, Gaida Baltic Music Festival, and the national festivals of the Society of Composers, National Association of Composers USA, and the Society for Electro-Acoustic Music in the United States. He has performed with the Chicago Symphony, the Lithuanian National Philharmonic, the Chicago 20th Century Music Ensemble, the University of Chicago Contemporary Chamber Players, and other notable performers and ensembles. In addition to his recordings for CBS, Marinos has recorded a film score for Nikos Mamangakis on the Milan label in Paris, and has appeared as a soloist on the Capstone label. 

As opposed to the flat-backed mandolin popular in North American folk music — the mandolin of Bill Monroe — Mr. Marinos plays the older European style bowl-backed instrument that was see in the popular movie Captain Corelli's Mandolin. See below. 
Chan E. PARK (Korea/OH) —p'ansori story singer (2005) received her Ph.D. from University of Hawaii, and is currently associate professor of Korean language, literature, and performance studies at The Ohio State University. Her specialization is research and performance of p’ansori, Korean story-singing, its performance in transnational context in particular, related oral narrative/lyrical/dramatic traditions, and their places in the shaping of modern Korean drama. She has published extensively on the theory and practice of oral narratology and its interdisciplinary connection with arts and humanities as a whole, including her recent monograph, Voices from the Straw Mat: Toward an Ethnography of Korean Story Singing (University of Hawaii Press, 2003). Park has given numerous lectures, seminars, workshops and performances of p’ansori locally, nationally, and internationally.
SAITOH, Tetsu (Japan) - bass (2006) — Saitoh Tetsu has made a career of fusing traditional Asian folk and classical aesthetics with contemporary Western technique and free jazz sensibility. An improviser, he is drawn to highly rhythmic styles, and has been influenced by genres as diverse as Argentine tango and Korean instrumental music.

Saitoh is known in Japan and beyond for a unique musical sensibility that combines the instruments and forms of Asian music with a contemporary improviser's love of texture and unexplored sounds. He describes his aesthetic in a 1992 interview in Jazz Hiyo magazine: "there's a kind of noise that's different from the noise you hear at a construction site or the sound of cars. I think of it as the noise of acoustic sound, or a noise that emerges in a location where you have a view of the vastness of the Chinese or Eurasian continent. The background is immense. This is the kind of sound you produce to identify your tiny self in the universe. If you were in the middle of a vast plain, I don't think you'd make beautiful belcanto-type sound. When you're in darkness, or facing the sea, or looking at a big blaze, you shout to confirm your own existence and produce a weighty noise."

For more than 20 years the bassist, composer and bandleader has brought his music to venues around the world, performing throughout Asia, Europe, Latin America and the United States. Saitoh Tetsu is the musical director of the theater group TAO in Tokyo, Japan, and has collaborated with Korean shamans, Argentine tango virtuosi, free jazz superstars, koto players, and the cream of Europe's crop of new music improvisers, including fellow bassists Jolle Landre and Barre Phillips. He lives and works in Tokyo, Japan.
Susanne SERFLING (Hungary/Germany) - SOPRANO (2000) — grew up in Budapest, Hungary and Gera, Germany. She studied voice at the Hochschule für Musik "Hans Eisler" and completed her education with classical ballet training. As a singer she has worked extensively at the Neuköllner Oper in Neukölln, Germany and at the Schloßparktheater in Steglitz, Germany (Serpetta/Sandrina). Most of her appearances have been in Berlin at "Konzerthaus Berlin" (Blondchen, Pamina), "Offenbach Theater Berlin," "Staatsoper Unter den Linden" (Papagena), and "Komische Oper" (Minerva, Brautjungfer in "Der Freischütz") where she worked among others with directors Klaus Everding, Harry Kupfer, and George Tabori. This year she appears in the world premiere of "Rheinsberger Maskerade" by Theodor Bürkholz at the "Musikakademie Schloß Rheinsberg" and she was a winner at the "International Lotte-Lenya Singing Competition 2000" of the Kurt-Weill-Foundation New York/Dessau. Ms. Serfling has toured the United States twice already, in 1998 with a program called "Brecht in Lied und Text" and in 1999 with "Goethe in Lied und Text."
Keith SMITH (Ketchikan) — storyteller (2005) —received a B.A. from Oberlin College (1982) and an M.F.A in poetry from the University of Virginia (1988). He has extensive experience teaching creative writing workshops, and since moving to Ketchikan in 1996 after four years in Pernambuco, Brasil and Tarija, Bolivia, he has worked as an actor and director of productions of A Midsummer Night's Dream, The Music Man, House of Blue Leaves, Fish Pirate's Daughter, Chicago, etc. Keith has edited a number of literary magazines and journals, including the S.E. Alaska publication Inside Passages, and he co-hosts "The Poetry Lounge," a weekly radio show on KRBD. He is a founding member of The Writer’s Forum, a group that promotes the literary arts in Ketchikan, and has additionally organized and worked as a panelist for The Humanities Conference in Ketchikan, now in its sixth year. Mr. Smith was the full time Executive Director of the Ketchikan Area Arts & Humanities Council from 1998 – 2002, and the project coordinator for the new Ketchikan Art Center building project from 2002 -2004. His most recent publications include poems in the American Anthropologist and the Journal for Anthropology and the Humanities.
Janet UNDERHILL (Canada/MA) - bassoon (2005) — a native of British Columbia, Canada, is a bassoonist, teacher and arts administrator in the Boston area. For her ten years of managing and developing the chamber music program for Greater Boston Youth Symphony Orchestras (GBYSO), Janet was the recipient of the 2001 Kay Logan Award, a national award for excellence in chamber music teaching, Currently she is the Director of Chamber Music and Private Lessons for St. Mark's School of Southborough, Massachusetts as well as serving as a bassoon instructor at the South Shore Conservatory, Community Music Center and New England Conservatory, Prep Division. Janet is a founding member of Arcadian Winds, a woodwind quintet specializing in contemporary music, that has commissioned and premiered more than 40 works. Solo performances include concertos with The Pittsburgh Symphony, Harvard University Mozart Society Orchestra, Greater Boston Youth Symphony Orchestras and the Little Orchestra of Victoria, as well as solo performances at the International Double Reed Conference in Minneapolis, the Gaudeamus Competition in Rotterdam, Holland, The WomenÕs Avant Festival in Chicago, The Outoftowners series in New York City and Soundwaves in St. Petersburg, Russia. She is a member of Alea III, with whom she has been on four Greek tours and most recently St. Petersburg, Russia. Solo works written for Ms. Underhill are included on CDs of composers John Holland, Timothy Melbinger and Neil Leonard. Also interested in archival projects, she has developed a cataloguing system for ethnic recordings with composer Martin Bartlett, and has organized Gunther Schuller's personal collection.
WU Wei (PRChina) - SHENG (2005)— born in 1970 in Jiangsu Province China, started studying the mouth-organ, or sheng, at the Art Academy of Nanjing at age 15. Continuing his studies from 1989 to 1993 at the internationally renowned Conservatory of Shanghai, he went on to win prestigious national and international competitions for traditional Chinese music. In 1993 Wu Wei joined the Chinese Music Orchestra of Shanghai with which he recorded several CDs and toured throughout China, Japan, USA and Europe, opening his ears to non-Chinese musical traditions. His first projects with European musicians in Shanghai acquainted him with the practice of jazz und new music.
 
In 1995, Wu Wei arrived at Academy of Music Hans Eisler Berlin, Germany, on an national German artist-scholarship (DAAD), where he broadened his music horizons by studying western jazz-traditions and colaborating with musicians of various cultures and musical styles. Scholarships and awards in Germany include a scholarship of the Berlin Senate in 1999, a scholarship of the F.N.S. (1998-2000), first price in the music-competitions „Musica Vitale" in 1996 and 2002, and the German Folk Prize "Global Root" in 2004.

Having appeared in important festivals all over the world as a soloist, including as a guest-soloist with the Berlin Philharmonic Orchestra under Kent Nagano, the New Philharmonie Westfalen under GMD Samuel Bächli, and the Munich Symphony under Heiko Mathias Foersterthe, since 2002 Wu Wei has had several important premiers of new works by composers including the concerto for sheng and chamber orchestra by Helmut Zapf, and in 2003, another concerto for sheng and orchestra by Enjott Schneider. All together, from 1998 to 2004 he took part in more than 50 premieres of contemporary compositions with, e.g. John Cage, Aton Josef Riedl,Enjott Schneider, Helmut Zapf, Jörg Widmann, Chico Mello, Gunter Baby Sommer, Fabio Nieder, Jörg Herchet, Daniel Ott, Xiao Yongchen, Qu Xiaosong, Tan Dun, Qin Wenchen, Chen Yi,Tomi Raisanen ,Artjom Kim, Ryota Mikami,Toshiya Wantanabe,Wolfgang Heisig, Volk Staub, Gern Colemann, Christian Utz etc.

In addition to the music of others, Mr. Wu also creates his own music, developing a new sound-language for Chinese instruments, which reciprocally has opened new dimensions in new music.  For years he has searched for his own musical language. Experimenting on Chinese instruments with a history of three-thousand-yearshe has found hidden sounds out of which he has tried to create new sound-worlds with his own musical expressions and sound-colours. 
Martin ZEHN (Germany) — PIANO (2003) was born in Berlin. At the age of fourteen, he became a young student of Professor Gediga at the Cologne Musikhochschule, where he also eventually studied composition with Bojidar Bimov. After matriculation he was awarded a German People’s scholarship. In 1984, he began twin courses in Munich: composition with Wilhelm Kilmayer, and piano, first with Alfons Kontarsky and later with Karl-Hermann Mrongovius. Later, he completed his keyboard studies in Dresden as a master-class pupil of Amadeus Webersinke. Martin Zehn has won numerous prizes in international competitions, including the first prize in the national German university competition in 1990, the first prize in the Carl Maria von Weber Competition in Munich, and the Premio Jan in Spain. He was awarded scholarships from the German Music Council and from the cities of Munich and Dresden. In Vienna he was awarded the second prize in the 1993 Beethoven Competition, together with an extra prize for the best interpretation of contemporary music. With concert agencies in Germany, Italy and Spain he has built a career both as a soloist and in chamber music.