已开票！天津茱莉亚管弦乐团音乐会邀您欣赏
更新时间：2025-12-10 14:19 浏览量：1
12月14日，天津茱莉亚管弦乐团将呈现秋季学期最后一场音乐会，驻团指挥林敬基（Ken Lam）将携手乐团带来一场管乐的辉煌庆典。
届时，长号教师李·艾伦（Lee Allen）将执棒演出扬·库采尔最著名的《铜管交响曲》，绽放铜管乐器的金色光芒；随后是莫扎特《降B大调管乐小夜曲》选段，多位木管教师将与学生们并肩演出，展现木管乐器的细腻和温润。下半场乐团将呈现阿尔贝托·吉纳斯特拉融合古典技法与南美民间舞蹈的《协奏变奏曲》，还有勃拉姆斯以古老的圣安东尼主题为基础构筑的《海顿主题变奏曲》。
林敬基，指挥
Ken Lam, Conductor
演出曲目
PROGRAM
扬·库采尔（1911—2006）
铜管交响曲
李·艾伦，指挥
JAN KOETSIER (1911-2006)
Brass Symphony, Op. 80
Lee Allen, Conductor
莫扎特（1756—1791）
降B大调管乐小夜曲，K.361，选段
MOZART (1756-1791)
Selections from Gran Partita, K. 361
中场休息
INTERMISSION
阿尔贝托·吉纳斯特拉（1916—1983）
协奏变奏曲
ALBERTO GINASTERA (1916-1983)
Variaciones concertantes
勃拉姆斯（1833-1897）
海顿主题变奏曲，作品56a
BRAHMS (1833-1897)
Variations on a Theme by Haydn, Op. 56a
演出曲目以现场演奏为准
The program is subject to change
扬·库采尔
铜管交响曲
JAN KOETSIER
荷兰作曲家、指挥家扬·库采尔拥有漫长而多产的音乐生涯。1927年至1934年间，他在柏林学习钢琴、作曲与指挥，自此开启他的音乐之旅；数年后，他于1942年至1948年间受邀担任阿姆斯特丹皇家音乐厅管弦乐团助理音乐总监，辅佐传奇指挥家威廉·门格尔贝格（该乐团1895-1945年间的首席指挥）。1950年，尤金·约胡姆邀请扬·库采尔出任巴伐利亚广播交响乐团首席指挥，在此期间，库采尔录制了大量作品，广泛涉猎了不同时期和风格。1966年，他被任命为慕尼黑音乐学院指挥系教授，开始将毕生所学传授给新生代青年指挥家。
在库采尔的作曲生涯里，他创作了百余部铜管乐器室内乐作品，其作品大多旋律抒情、和声色彩丰富、节奏错综复杂，天马行空地混合着幽默与精巧。他的代表作包括《铜管五重奏小套曲》（作品33号第1首）以及为竖琴与铜管五重奏而作的《斯美塔那〈维谢赫拉德〉主题引子与变奏曲》（作品71号）。
库采尔的《铜管交响曲》（作品80号）由传奇小号演奏家菲利普·琼斯委约创作，于1980年2月首演，1981年由菲利普·琼斯铜管合奏团录制，这部为十位演奏家创作的交响曲充分展现了铜管家族的音色魅力和艺术表现力。第一乐章（快板）以震撼的号角声开场，配上充满能量的对位和节奏，给交响曲建立了恢弘自信的基调。第二乐章（小广板）作为抒情间奏曲与首乐章形成鲜明对比，各声部以赞美诗般悠长旋律轮番咏唱，长号的滑音奏法与小号的弱音器运用增添了一番爵士韵味。终曲（回旋曲）与第一乐章有些许相似之处——再度出现的号角声为交响曲镀上璀璨光泽，但此乐章更显轻快诙谐，乐器间迅捷的旋律交叠彰显出铜管声部的灵动，推动全曲在欢腾热烈的氛围中走向终结。
Dutch composer and conductor Jan Koetsier had a long and prolific musical career. He began his musical journey studying piano, composition, and conducting from 1927 to 1934 in Berlin. Years later, he was invited to be the assistant music director of the Royal Concertgebouw Orchestra in Amsterdam from 1942 until 1948 to support the legendary Willem Mengelberg (conductor of the Royal Concertgebouw Orchestra from 1895 until 1945). Then in 1950, he was invited by Eugen Jochum to become the Principal Conductor of the Bayerische Rundfunk. During this period, Koetsier produced a large body of recordings of music from different styles and eras. In 1966, he was appointed as a professor of conducting at the college of music in Munich and began to pass his knowledge and experience to a generation of young conductors.
As a composer, Koetsier produced over one hundred chamber works for brass instruments. His music is known for its lyrical melodies, colourful harmonies, intricate rhythms, and an imaginative mixture of humor and sophistication. Some of his more well-known compositions include the Petite Suitefor Brass Quintet Opus 33 No. 1 and the Introduction and Variations on the ‘Vysehrad’ Theme of Friedrich Smetana for Harp and Brass Quintet Opus 71.
Premiered in February 1980, Koetsier’s Brass Symphony Op. 80 was commissioned by the legendary trumpeter, Phillip Jones, and was recorded by the Philip Jones Brass Ensemble in 1981. Composed for 10 instrumentalists, the symphony showcases the brilliance and versatility of the brass family. The first movement (Allegro) opens the symphony with an impactful fanfare and strong counterpoint being presented through energetic rhythms, setting a bold and confident tone for the symphony. The second movement (Larghetto) serves as a lyrical interlude in contrast to the first movement. In this movement, each brass instrument is featured in long and chorale-like lines, allowing each instrument to expressively ‘sing’ with a tinge of jazz flavour, a result of slurred writing for the trombone and the use of cup mutes by the trumpet. The third movement (Rondo) has some similarities to the first. The usage of fanfare figures bookends the symphony with an abundance of brilliance and energy. However, this rondo is also lighter and less serious than the first movement. The fast musical exchange between instruments is a testament to the nimbleness of the brass family and propels the symphony to its jubilant conclusion.
英文版由Jeremy Chuan Kai Ng撰写
2027届管弦乐表演专业研究生
English version by Jeremy Chuan Kai Ng
MM ’27, Instrumental and Orchestral Studies
莫扎特
MOZART
莫扎特的降B大调管乐小夜曲（也叫《大组曲》）的是一首划时代作品，诞生于“和声音乐”繁荣时期，这类作品最初写给管乐演奏的，作为宴饮社交场合的背景音乐。奥地利帝国皇帝约瑟夫二世是“和声音乐”的大力推崇者，他甚至在宫廷中设立专职管乐团，助力了此类音乐的作品积累。这位君主对莫扎特尤为赏识，使其得以调用宫廷乐团的资源，而莫扎特创作的这部作品则完全超越了这种音乐作为“背景板”的实用范畴，七个乐章间流淌着丰富的情感层次。
1784年，《大组曲》的选段在一场宫廷单簧管乐师安东·斯塔德勒组织私人音乐会上首演，《维也纳报》广告栏将其描述为"别具一格的优秀管乐作品"——这暗示着作品已远远不止是传统背景音乐，而要求每位演奏者都展现精湛技艺和艺术造诣。
第一乐章以广板的绵长引子开启，继而转入庆典式的甚快板。有趣的是，其核心动机取自法国作曲家菲利多歌剧《铁匠元帅》第三场的旋律。第三乐章柔板是莫扎特最瑰丽的慢板乐章之一，这也应该是七个乐章中最有名的段落——单簧管独奏流光溢彩，所有声部温暖又富有热情，就像一段歌剧重唱。第四乐章小步舞曲包含两段三声中部，莫扎特在此探索了新的器乐组合：譬如在第二段三声中部中，主题由双簧管与巴塞特管齐奏，辅以低八度巴松管呼应。第六乐章主题与变奏，以典雅主题开场，随后展开一连串创意变奏，分别凸显不同器乐声部——从诙谐的交流发展到技巧精湛的片段，最终温柔结束，一齐汇入末乐章。终章回旋曲，标记为甚快板，以昂扬的节奏开启，轻捷的音型流转，为这部里程碑式的管乐小夜曲划上朝气蓬勃的圆满句点。
The Gran Partitawas an epoch defining work from the boom years of Harmoniemusik, music for winds that was written as background music for dining or social events. Emperor Joseph II, emperor of the Austrian Empire, was a strong advocate of Harmoniemusik, eventually adding a Harmonie (wind ensemble) to the royal court, assuring the cultivation of this repertoire. The emperor was a strong supporter of Mozart’s work, allowing Mozart access to these resources. Mozart’s contribution to the genre completely transcends its utilitarian origins, embracing a substantial number of emotions over its seven movements.
The Gran Partitamade its debut in 1784 when Anton Stadler, a clarinettist in Emperor Joseph’s Harmonie, organised a private concert that featured selections from the Gran Partita. A notice in the Wienerblattchenadvertisement described it as a “great wind piece of a very special kind.” This deion signalled to audiences that this Gran Partita was far more than a typical background Harmoniemusik, but a work which showcases each player’s artistry and demanded true mastery from every musician involved.
The first movement, Largo, begins with an extensive slow introduction that leads into a festive Molto allegro. Interestingly, the principal motif is taken from the third scene of François-André Danican Philidor’s opera Le Maréchal Ferrant.
The third movement, Adagio, is one of Mozart’s most sublime slow movements due to its radiant clarinet solo, and is perhaps the best-known of the seven movements, an absolute operatic ensemble filled with passion and warmth. The fourth movement is a minuet fitted with two trios in which Mozart explores the possibilities of new combinations of instruments. For example, in the second trio, the theme is performed by the first oboe and basset horn in unison with the first bassoon one octave lower.
The sixth movement, a Theme and Variations, comes forth as a graceful theme followed by a series of creative variations, each highlighting a different section of the ensemble. The variations grow from witty exchanges between instruments to more virtuosic and eventually ending with a gentle fading into the final movement. The finale, marked Molto Allegro, starts with high spirits and rhythmic drive. Light and quick figures pass through the ensemble, bringing Mozart’s monumental wind serenade to a spirited and satisfying conclusion.
英文版由Jeremy Chuan Kai Ng撰写
2027届管弦乐表演专业研究生
English version by Jeremy Chuan Kai Ng
MM ’27, Instrumental and Orchestral Studies
阿尔贝托·吉纳斯特拉
协奏变奏曲
ALBERTO GINASTERA
二十世纪初的阿根廷乐坛虽地处拉丁美洲一隅，却焕发着蓬勃生机。阿根廷首都布宜诺斯艾利斯坐拥当时世界顶级歌剧院，各类演出层出不穷——从芭蕾舞剧到国际巡演大师的独奏会，阿图尔·鲁宾斯坦与弗拉基米尔·霍洛维茨等钢琴巨匠都曾在此献艺。正是这些音乐会为作曲家吉纳斯特拉开启了新的艺术视野，成为其创作灵感的源泉。
"民族主义"是作曲家对自身创作三个时期中前两个阶段的定位。一场鲁宾斯坦演绎巴托克作品的音乐使他深受触动，并促使他创作展现阿根廷文化的音乐——巴托克这位匈牙利作曲家对民间舞曲元素的化用让他着迷，正如他所述："这填补了我构建民族音乐理念时的认知空白"。不过两位作曲家的创作路径存在微妙差异：在吉纳斯特拉中期作品（包括本作）中，他采用原创主题而非民间素材，来表现"主观的阿根廷气质"。
《协奏变奏曲》以主题与变奏形式构筑，通过全奏与独奏的对比展开音乐叙事。11段变奏分别献给不同的乐器独奏或组合，每段均用标题来体现作曲家想让乐器做出的效果，如"给长笛：嬉戏的变奏"或"给圆号：田园诗般的变奏"。
作品伊始，聚焦大提琴与竖琴：竖琴的六音动机正好是吉他六根空弦——吉他正是阿根廷草原上牛仔文化的灵魂所在；大提琴平静的动机下暗藏情感涌动，这将在曲终时分完全显现。随后是弦乐怪异的间奏，这被木管组以绚烂的姿态打断，开启长笛的第三变奏，全奏与独奏声部展开欢愉对话。后续两段变奏以中提琴独奏与双簧管二重奏呈现，运用不祥的和声色彩与严谨的卡农技法。第七、八变奏令人振奋：小号和长号的辉煌短曲与"永动的"迷你小提琴协奏曲相映成趣。接着，圆号的田园变奏为终章铺垫宁静，圆号吹奏的五度音程与弦乐空弦音色共同勾勒出作曲家眼中的自然意象。终曲以急促重音为特征，令人想起牛仔传统马兰波舞的炫技舞步，随着音符时值不断紧缩，音乐在密接和应的高潮中达到辉煌顶点。
Despite the geographical isolation of Latin America, the early twentieth century Argentinian music scene was vibrant. Containing one of the world’s leading opera houses at the time, Buenos Aires hosted a wide range of performances from ballet to recitals by international stars who stopped by during their tours, including the pianist Arthur Rubinstein and Vladimir Horowitz. It was these concerts that exposed Ginastera to new musical perspectives that became a source of inspiration for his works.
Nationalist is the term that Ginastera himself used to categorize the first two of his three periods. One impetus to produce music that expresses Argentinian culture came from a particular concert in which he heard Rubinstein play Bartok. He was fascinated by Bartok’s incorporation of folk-dance elements. As he noted, it “filled in the gaps I felt in my conception of forging a National music”. However, there lies a subtle difference in both composers’ approaches. In Ginastera’s works of the middle period, including the Variaciones Concertantes, the composer uses an original theme rather than those gathered from folklore to represent “a subjective Argentinean character”.
Variaciones Concertantes, as the name suggests, is a theme and variation set that has contrasting tutti and solo passages. Ginastera dedicated each of the 11 variations to different instrumental solos or groups of instruments. In addition, each variation is given its own title that describes the specific effect he aimed to achieve with the instrument, for example, Variazione giacosa per Flauto (a playful variation for flute) or Variazione pastorale per Corno (a pastoral variation for horn).
The first instruments to obtain the spotlight are the cello and harp. It is not by accident that the 6-note opening motif in the harp are the 6 open strings of the guitar, an instrument that is at the core of gaucho culture, the cowboy culture that thrives in the Argentinean grassland. The calm motif presented in the cello has a subtle expressiveness that reveals itself towards the end of the piece. Next is an eerie interlude for strings which is interrupted by the splashy entrance of the winds which marks the beginning of the third variation for flute, featuring a joyous and playful exchange between tutti and solo. The following two variations feature ominous harmonic colors and canonic writing for viola solo and double-reed duo. The seventh and eighth variations are exhilarating: a fanfare for trumpet and trombone and a mini violin concerto, “variation in perpetual motion.” The aforementioned pastoral variation cools down the temperature before the finale. Ginastera’s evocation of nature takes the form of an open fifth in the horn with the underlying sound of open strings. The finale is characterized by fast heavy beats which suggest the virtuosic foot work of Malambo, a traditional gaucho dance. The climax is built upon the smaller note values towards the end of the piece.
英文版由Pan Lertnimitphan撰写
2027届合作钢琴专业研究生
English version by Pan Lertnimitphan
MM ’27, Collaborative Piano
勃拉姆斯
海顿主题变奏曲，作品56a
BRAHMS
Variations on a Theme by Haydn, Op. 56a
主题与变奏这一曲式在勃拉姆斯的艺术生涯中具有特殊意义。在作品56之前，勃拉姆斯创作的数套主题变奏曲均为钢琴独奏作品：包括以罗伯特·舒曼的主题创作的作品9、亨德尔主题变奏曲与赋格作品24，以及根据帕格尼尼著名随想曲创作的作品35。可以说，主题变奏曲对于勃拉姆斯而言既是向先贤致敬，亦展现自身的主题重塑能力。作品56是勃拉姆斯第一次将这一曲式运于交响化创作，其成功甚至盖过了原作双钢琴版本的锋芒。有乐评指出，这部变奏曲的成功首演，促使作曲家获得更多自信并终于在三年后完成了《第一交响曲》——他潜心创作十余年的作品。因此，这部作品堪称勃拉姆斯交响创作生涯的关键转折。
该曲主题的来源存在学术争议。勃拉姆斯在维也纳图书馆发现一部木管八重奏，作曲家署名海顿，作品第二乐章《圣安东尼圣咏》引起他的注意。然而，后世学者考证认为，该作可能实为海顿弟子伊格纳兹·普莱耶尔所作，但借了海顿盛名发表——这一现象在当时颇为常见。
勃拉姆斯保留了大部分原圣咏中的元素，包括对木管的运用，而唯独增加的是大提琴与低音提琴的拨奏，这也为圣咏主题注入庄严气质。主题被划分为两段，两段都有反复：第一段是以两个五小节乐句构成的核心动机，第二段引入对比性乐思，最终核心动机再现并以尾声收束。八个变奏均严格保持此结构，通过各种和声与动机的变幻赋予新意。
第一变奏“稍活跃的”以木管与定音鼓齐奏的进行曲般音型开场，与之对比的是弦乐演奏的大线条，三连音与二连音同时进行。第二变奏“更活泼的”在极端强弱对比间制造戏剧张力，主题中的附点节奏衍生为由单簧管与巴松管演奏的淘气片段。第三变奏“流动的”重现双簧管与巴松管的温润音色，主题被施以粉黛，整个变奏绵延流淌。第四变奏“稍快的行板”化为3/8拍子的庄严舞曲，所有声部横向延展。
第五变奏“活泼的”一扫阴郁，像气泡升腾一般的谐谑曲以轻巧短促的音符与反拍上的重音。第六变奏同样是“活泼的”，以圆号与其他木管的应答开启，这个变奏的第二部分爆发圆号与小提琴的激烈争执，所有乐器都加入了战斗，其宏伟又令人满足的收束几乎可以为整首交响曲画上句点了。第七变奏“优雅的”是贵族的舞曲，长笛与低音乐器交替奏出的附点动机为6/8拍的律动注入高贵的摇曳感，像跳舞时的垫步也像伯爵夫人帽子上的一根羽毛。第八变奏“不过分的急板”氛围诡谲，弦乐低声部的絮语逐渐盘旋至木管声部，迷离之感贯穿始终。
终章为基于主题首句五小节乐句的帕萨卡利亚舞（一种慢速庄严的古代意大利和西班牙舞蹈），实为“变奏中的变奏”——尽管低声部固定音型循环往复，织体却持续变幻。这种通过重复素材积累张力的手法，终将音乐推向辉煌顶点。
Theme and variations form served a special purpose in Brahms’s life. Prior to Op. 56, Brahms wrote a few theme and variation sets, all of which were for solo piano, including Op. 9, on a theme by Robert Schumann, Variations and Fugue on a Theme by Handel Op. 24, and Op. 35 on Paganini’s celebrated caprice. Considering these, the form seems to be his way of paying homage to the masters of the past while proving his skill in transforming the themes. Op. 56 was the first time Brahms used the form in symphonic composition, a success that overshadowed its original two-piano version. Some critics suggest that the successful premiere of these variations helped him to gain the confidence to finally complete his first symphony three years later, which he had been working on for over a decade. Therefore, this piece might be considered a critical point in Brahms’ trajectory as a symphonic composer.
The theme itself comes with a dispute over its true authorship. Brahms came across a wind octet attributed to Haydn in a Viennese library, in which the second movement, titled “Chorale St. Anthoni” had caught his attention. However, later researchers found it possible that this was composed by Haydn’s student, Ignaz Pleyel, and published under Haydn’s famous name, a common occurrence at the time.
Brahms kept most of the elements from the original hymn including the use of winds. The only additions are the pizzicato in the cello and bass which add a noble touch to the chorale. The theme itself is divided into two sections, the first one, a main idea consisting of two-five bar phrases, a second introducing a contrasting idea, and finally a return of the main idea ending with a coda. Each section is repeated. For all 8 variations, this phrase structure remains unchanged with varied harmonies and motives.
The first variation “poco più animato” opens with march-like figures in the winds and timpani in unison contrasting with interweaving lines in simultaneous triplets and duplets. The second variation “più vivace” plays with sudden changes between dynamic extremes. The dotted rhythm from the theme is expanded into a mischievous passage for clarinets and bassoons. Brahms brings back the tender sound of the oboe and bassoon in the third variation “con moto” presenting an embellished version of the theme which flows seamlessly throughout. The fourth variation “andante con moto” is a solemn dance in 3/8 in which everything moves horizontally. Brahms washes away the somber mood with the fifth variation, “vivace”, a bubbly scherzo which features light short articulations with surprising off-beat accents.
The sixth variation also marked “vivace” opens with a horn call and a response from the other winds. In the second section, the music bursts into a forceful quarrel between the horn and violins. The ending sounds satisfyingly grand enough to be the conclusion of the entire piece. The seventh variation “grazioso” is noble dance in which the dotted motif exchanged between the flute and bass imparts a lofty delightful lilt to the 6/8 pulse. The eighth variation “presto non troppo” is eerie in atmosphere, a whispering swirling passage that grows from the low strings up to woodwinds. The feeling remains constant for the entire variation, even in the middle section.
The finale is a passacaglia based on the first five-bar phrase of the theme. It is in effect a “variations within a variation” where the texture keeps changing despite the repeated ostinato bass line. This is a reliably effective way to push the music towards a climax through the accumulated tension which results from repeating material.
2027届合作钢琴专业研究生
English version by Pan Lertnimitphan
MM ’27, Collaborative Piano
中文版均由刘子华翻译
2026届合作钢琴专业研究生
All Chinese version translated by Lyra Zihua Liu
MM ’26, Collaborative Piano
林敬基
KEN LAM
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林敬基，现任天津茱莉亚学院管弦乐表演专业总监、天津茱莉亚管弦乐团驻团指挥，同时担任伊利诺伊州交响乐团艺术顾问、北卡罗莱纳州布里瓦德音乐中心驻场指挥以及香港和声艺术总监。
2015至2022年，林敬基任查尔斯顿交响乐团音乐总监；并于2017至2022年，担任伊利诺伊州交响乐团音乐总监。此前，他还担任过巴尔的摩交响乐团教学项目副指挥、辛辛那提交响乐团助理指挥和香港室内乐团首席指挥。
2011年，林敬基荣获孟菲斯国际指挥大赛的冠军，并于2009年在美国交响乐团联盟举办的华尔特指挥预演中指挥纳什维尔交响乐团。2008年，他与另外三位指挥被莱昂纳多·斯拉特金选中，在肯尼迪中心指挥美国国家交响乐团，这是他在美国的正式首演。近年间，他还曾指挥辛辛那提交响乐团、辛辛那提流行管弦乐团和巴尔的摩、底特律、布法罗、孟菲斯、夏威夷、布里瓦德、莫里迪恩等地的交响乐团，以及香港小交响乐团、香港管弦乐团、韩国城南市立交响乐团、贵阳交响乐团和台北市立交响乐团等。
在歌剧方面，他曾为布里瓦德音乐中心珍尼克歌剧院的多个制作执棒，并在辛辛那提歌剧院、巴尔的摩抒情歌剧院和卡斯尔顿音乐节担任助理指挥。近年来，他在美国斯波莱托艺术节、纽约林肯中心艺术节以及多伦多光影艺术节指挥过多部歌剧作品，广受赞誉。2010年，他在皮博迪音乐学院指挥马斯奈的《曼侬》，被《巴尔的摩太阳报》评为华盛顿及巴尔的摩地区十大古典音乐节目。
林敬基曾于美国皮博迪音乐学院跟随古斯塔夫·迈尔和马坎德·塔卡学习指挥、于阿斯本的美国指挥学院随大卫·津曼和穆里·西德林学习，并于美国国家指挥学院随莱昂纳多·斯拉特金学习。在成为职业指挥之前，林敬基在英国剑桥大学圣约翰学院修读经济，并当过十年执业律师，从事国际金融业务。
2015年，美国约翰·霍普金斯大学校友会为林敬基颁发全球成就奖，以表彰他对该校优良传统的传承，并肯定他为学校及其专业领域作出的卓越贡献。
Ken Lam is director of orchestral studies at The Tianjin Juilliard School and resident conductor of the Tianjin Juilliard Orchestra. He is artistic adviser of the Illinois Symphony Orchestra, resident conductor of the Brevard Music Center in North Carolina and serves as artistic director of Hong Kong Voices.
Lam was music director of the Charleston Symphony Orchestra from 2015 to 2022 and music director of Illinois Symphony Orchestra from 2017 to 2022. Previously, Lam also held positions as associate conductor for education of the Baltimore Symphony Orchestra, assistant conductor of the Cincinnati Symphony Orchestra, and principal conductor of the Hong Kong Chamber Orchestra.
In 2011, Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra's 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008, as one of four conductors selected by Leonard Slatkin. In recent seasons, he led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Buffalo, Memphis, Hawaii, Brevard and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Seongnam Philharmonic, Guiyang Symphony, and the Taipei Symphony Orchestra.
In opera, he directed numerous productions of the Janiec Opera Company at Brevard and was assistant conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival. In recent seasons, Lam led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada. His run of Massenet's Manon at Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington D.C/Baltimore area in 2010.
Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. He read economics at St. John's College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.
Lam is the 2015 recipient of the John Hopkins University Alumni Association’s Global Achievement Award, given to individuals who exemplify the Johns Hopkins tradition of excellence and have brought credit to the University and their profession in the international arena.
天津茱莉亚管弦乐团
TIANJIN JUILLIARD ORCHESTRA
天津茱莉亚管弦乐团在每个音乐季中献上约十场音乐会。从巴洛克时期曲目到当代作品，天津茱莉亚管弦乐团会为我们带来风格丰富的演绎，其中也包含了与中国传统乐器合作演奏的佳作。常驻教师与客座教师将指导乐队声部排练，并与他们一同练习和演出。在驻团指挥带领的音乐会之外，乐团还曾与多位著名的客座指挥合作。
The Tianjin Juilliard Orchestra presents up to 10 concerts each season, performing a diverse repertoire ranging from baroque to contemporary orchestral works, as well as pieces using traditional Chinese instruments. Resident faculty and visiting artists lead discussions, coach sectionals, and play side-by-side with students in rehearsals and performances. In addition to concerts led by the resident conductor, in recent seasons the orchestra also works with renowned guest conductors.