Orchestra's towering ambitions

On Monday, the Tianjin Juilliard Orchestra will bring an exciting new dimension to the ninth China Orchestra Festival at Beijing's National Centre for the Performing Arts, with Tower Ascending by American composer Wayne Oquin.

Inspired by the dynamic New York skyline and the universal human ambition to rise, the piece will kick off the concert at the NCPA.

A faculty member at the Juilliard School in New York, Oquin lived in Manhattan for over 20 years, where, as he puts it, he saw "the steel scaffolding of high-rise construction almost daily".

"This process — gradual, continuous, at times loud and clangorous — and the symbolism of upward human aspiration were both on my mind in 2008 when the University of Georgia commissioned me to write a new concert piece on an urban theme," he explains.

"Tower Ascending has since become one of my most frequently performed compositions."

Oquin adds that for centuries, cultures around the world have measured their significance partly by the height of their architecture — from the Parthenon in Athens and the Colosseum in Rome, to the Egyptian pyramids, French cathedrals and Chinese pagodas, these monumental structures symbolize civilizations reaching for the sky.

"Whenever I arrange one of my pieces for different instruments, the music takes unexpected turns. Once a new color is added, it affects everything that's already there," Oquin says.

The composition sounds like a continuous crescendo. Just as a skyscraper is built beam by beam, floor by floor, the music layers successive phrases and rises in pitch and intensity, accelerating in tempo and harmonic rhythm, gradually growing more dissonant. The 8-minute piece is divided into two parts — slow and fast — each culminating in an extended clarinet solo.

"I would be hard-pressed to name just one particular high-rise that inspired me," Oquin says.

"But more than the style or features of any one structure, it's the symbolic strength and drive for achievement that I most want to convey."

Tower Ascending is dedicated to Joseph W. Polisi, the sixth president of the Juilliard School, who, during his 34-year presidency, led the school to new heights, including founding its first overseas campus in China.

Opened in 2020, the Tianjin Juilliard Orchestra is a relatively young ensemble made up of graduate students from the school's orchestral performance, chamber music and collaborative piano programs.

As the orchestra's resident conductor, Ken Lam says that Tower Ascending presents a significant challenge for the ensemble, as it calls for intricate orchestral techniques and a deep understanding of its sonic landscape.

"The piece requires a nuanced approach," Lam says.

"It's not just about playing louder or faster, but about creating structure within the music — building it up and breaking it down in a way that reflects the energy and beauty of the world's great buildings."

Following Oquin's contemporary piece, the orchestra will turn to the classical tradition with Mozart's Sinfonia Concertante in E-flat Major, K 364, for solo violin and viola with orchestra.

Composed in 1779, the piece will feature two resident faculty members from the Tianjin Juilliard School, violinist Li Weigang and violist Li Honggang — brothers and soloists — who will be performing together in the symphonic concerto form. Both are also members of the renowned Shanghai Quartet.

"This piece combines the intimacy of chamber music with the grandeur of a symphony. It's a perfect fit for the ensemble-focused approach we emphasize at Tianjin Juilliard. I'm excited to collaborate with my brother and our students on this special work," Li Weigang says, expressing his enthusiasm.

The concert will culminate with one of the 20th century's most explosive pieces: Stravinsky's The Rite of Spring.

Known for its riotous premiere in 1913, The Rite of Spring remains a monumental piece of modern music, one that redefined orchestration, rhythm and the very concept of musical expression.

"The musicians bring an energy to the piece that's electrifying," says Lam.

"It's as if we're experiencing it through the lens of their youthful enthusiasm. There's a special kind of excitement in the air."

Lau Hui Ping, a Malaysian student currently studying at the Tianjin school and a member of the orchestra, says that playing the trumpet in The Rite of Spring was incredibly challenging.

"The passages Stravinsky wrote are not only technically demanding but also require deep musical expression — sharp timbres, changing rhythms and sustained high registers. These aspects are a tremendous test of breath control, pitch accuracy and endurance," she says.

"My teacher, Sergey Tyuteykin, told me that playing this part might be a once-in-a-lifetime opportunity because its uniqueness and difficulty are so rare in orchestral works."

Despite being one of the youngest orchestras in China, the Tianjin Juilliard Orchestra has already made a name for itself through its ambitious performances, and ability to tackle both classic and contemporary compositions.

The orchestra, primarily comprising graduate students with an average age of just 25, undergoes significant renewal each year, with roughly 50 percent of its members being replaced. This dynamic structure ensures the ensemble remains young, fresh, and full of energy.

In the 2024-25 season, in addition to performances in Tianjin, the orchestra has embarked on its inaugural tours to Beijing and Hong Kong.

He Wei, CEO and artistic director of the Tianjin Juilliard School, says that the opportunity to perform alongside over 20 professional orchestras from across the country at the ninth China Orchestra Festival is a testament to the young orchestra's growth.

"Our students are the next generation of musicians, and by working with our faculty and engaging with international peers, they are developing the skills needed to take their place on the global stage," he says.