By: Haocheng Yang
Haocheng Yang is a distinguished violinist whose artistic journey spans from China to Europe and now to the United States. With a passion for blending Eastern and Western musical traditions, his performances and research have made a significant impact on the classical music world. In this exclusive interview, Haocheng reflects on his musical experiences, his cross-cultural journey, and his unique approach to violin performance and research.
Q. Can you tell us about your early musical experiences in China? How did they shape your passion for music?
Haocheng Yang: I started learning the violin in Wuxi, where my earliest musical experiences came from both my family and the local music education environment. Those early years nurtured my love for music and sparked my passion for classical repertoire. I soon realized that music is not only about technique, it’s also a way to express emotions and culture.
Q. What motivated you to pursue your studies in the UK and the United States? How did these different cultural experiences influence your musical journey?
Haocheng Yang: I first chose to study in the UK because my violin teacher was from there, and I wanted to continue learning under the same tradition and guidance. Later, moving to the United States gave me the chance to experience a more diverse and cross-cultural environment. Together, these journeys broadened my perspective and encouraged me to grow not only as a violinist but also as an artist with an international outlook.
Q. You’ve studied both at Leeds Conservatoire and the Longy School of Music. How did these institutions contribute to your development as a violinist?
Haocheng Yang: At Leeds Conservatoire, I gained a strong professional foundation and valuable stage experience. At Longy, I received rigorous technical training while also developing a deeper understanding of music through intercultural studies and critical reflection. Together, these experiences shaped me into a more well-rounded violinist, aware of both technical mastery and artistic responsibility.
Q. As a violinist, what does music mean to you on a personal level? How do you connect with music beyond just playing it?
Haocheng Yang: To me, music is a language of emotion. It allows me to connect with people across cultures on a very human level. Beyond performing, I stay connected to music through teaching and research. Both give me fresh perspectives and help me appreciate music not only as an art form but also as a way of sharing knowledge and experience.
Q. How has your cross-cultural background shaped your approach to music and your performances?
Haocheng Yang: Living and studying in China, the UK, and the US has taught me to respect and value different musical traditions. In performance, I often blend the delicacy and nuance I associate with Eastern aesthetics with the energy and intensity of Western interpretation. This balance gives my playing a distinctive character.
Q. Could you tell us more about your research on early 20th-century American music, particularly the works of composer Amy Beach?
Haocheng Yang: I am especially drawn to Amy Beach’s music, where she integrates natural imagery and psychological depth. My research focuses on how her works can be reinterpreted today, both in performance and scholarship. By bringing attention to her contributions, I hope to give performers new tools for interpretation and help audiences rediscover a remarkable but often overlooked composer.
Q. How do you incorporate interdisciplinary approaches to performance practice in your work?
Haocheng Yang: I enjoy connecting performance with other fields such as musicology, cultural studies, and even color psychology. For instance, I explore the relationship between sound, color, and natural elements to shape how I design and experience performances. These interdisciplinary approaches allow me to create interpretations that are more immersive and thought-provoking.
Q. What is it about blending Eastern and Western musical traditions that resonates with you? Can you share an example of how this fusion plays out in your performances?
Haocheng Yang: Blending Eastern and Western traditions reflects for me the universal nature of music. For example, when I perform Western repertoire, I sometimes bring in an Eastern-inspired sense of phrasing and subtlety. This creates a dialogue between cultures, allowing audiences to hear something familiar in a new and unexpected way.
Q. What has been one of your most memorable performances or collaborations?
Haocheng Yang: One of the most memorable experiences was performing at the 2025 IMAARTS Festival in Xiamen, where I was both a jury member and a guest performer. I played Amy Beach’s Berceuse and La Captive at the gala concert. It was meaningful because it brought together my identity as both a performer and a researcher in front of an international audience.
Q. Looking ahead, what are some goals or projects you’re excited to pursue in the future?
Haocheng Yang: I want to continue promoting the works of female composers and deepening my cross-cultural approach to performance. I also hope to organize more international concerts and educational projects that bring people together through music and encourage greater cultural understanding.
Summary
Haocheng Yang’s journey through music is a testament to the power of cross-cultural exchange and the profound impact that blending traditions can have on artistic expression. From his early beginnings in China to his studies in the UK and the United States, Haocheng’s experiences have shaped him into a versatile and innovative violinist, combining Eastern and Western musical elements in ways that resonate deeply with audiences. His research on early 20th-century American composers like Amy Beach further enriches his work, offering new insights into classical music and inspiring both performers and scholars alike.
As he continues to grow as an artist, Haocheng remains committed to bridging cultural divides, promoting underrepresented voices in music, and creating meaningful connections through his performances and educational initiatives. His future projects promise to further explore the intersection of music and culture, leaving an indelible mark on the world of classical music.
Published by Joseph T.
