Chiang said that getting beyond those blockages is a little like solving a puzzle: it takes creativity and cleverness. "Patience is big, and so is not being in a hurry," Chiang said. "Give yourself time to think."
Read entire Interview from "Violinist.com," January 2022
The Asheville Chamber Music Series opened its 66th season at the Unitarian Universalist Congregation of Asheville with a riveting program by the Aspen String Trio centered around two Czech "degenerate composers" of Nazi-era Europe. Both Hans Krása and Gideon Klein were Jewish composers whose music was deemed "degenerate" by the officials of the Third Reich. Caught up in Hitler's dragnet, they ultimately died at Nazi hands. Both were deported to Auschwitz where Krása died in a gas chamber two days after arriving. Klein died in a coal-mining camp for men near Katowitz, Poland. To balance the haunting nature of this music, the concert concluded with Mozart's Divertimento in E-flat, K. 563. The performers were violinist David Perry, violist Victoria Chiang, and cellist Michael Mermagen.
Read entire article from "CVNC," Aspen String Trio Plays Dark Remembrances of Holocaust-Era Composers with a Sunny Side of Mozart, September 28, 2018
When I look back at how my career has developed, I feel very fortunate for the many opportunities that I have had. It is a great privilege to be able to make a living in music – something that I love doing and something that has been a central and driving force throughout my entire life.
Read entire article from "VC WEB BLOG," Violist Victoria Chiang – ‘From College Graduate to Teaching Professor’, August 2017
I believe the most successful partnership between student and teacher occurs when the impetus for growth comes from the student. As a teacher, I can then provide guidance, information, ideas, and support.
Read entire article from "Strings Magazine," 7 Teachers Offer Insight on a Successful College-Level String-Study Experience, August 2017
Now Neri is in his fourth summer studying at the AMFS, where he’s a recipient of a Vincent Wilkinson Scholarship and studies with artist-faculty member Victoria Chiang, with whom he also studied while at Peabody. The opportunity to continue studying with Chiang is what brought him to the AMFS for the first time, and a big reason why he’s continued to return. But he’s also drawn by the musical inspiration a summer in Aspen can provide, which he says is even more valuable now that he’s completed his degrees.
Read entire article from "Student Spotlight," Aspen Music Festival Program Book, 2016
Preparing for a competition offers the opportunity to learn a large amount of repertoire and to present it at one’s highest level of artistry. So much is valuable about that process in developing one’s own voice.
Read entire article from "10 Tips and Tricks From Experienced String Musicians About Competing," Strings Magazine, June 2015
Playing chamber music pushes me to contribute fully as a musician. It requires me to come to the rehearsals with a comprehensive understanding of the work and a compelling musical view. Then to engage with colleagues who may fortify or challenge that understanding is inspiring.
Read entire article from "Why I Play Chamber Music," Strings Magazine, February 2015
Searching for good solo viola repertoire may sometimes feel like looking for a vegetarian at a Texas barbeque. It’s true; the viola is often overlooked by composers when it comes to creating good solo music. As a result, alto-clef players frequently have difficulty tracking down compositions that speak to them—musical jewels that are simultaneously beautiful, engaging, and challenging.
To help uncover these hidden gems, we queried eleven well-known violists and asked them to share their all-time favorite viola work, as well as a beloved unknown or overlooked piece. The resulting collection from these accomplished violists includes some music that you’ll undoubtedly recognize … but may introduce you to some lesser-known works as well.
Read entire article from "11 Top Players Pick Best Viola Works of All Time," Strings Magazine, December 2007
One of the greatest musical experiences I have had in my life happened in Aspen, but it was not in a tent or a hall, at a concert or in a lesson. It was walking home from a production of Britten's Midsummer Night's Dream...
Read entire article from "City in the Clouds," Aspen Music Festival Program Book, 2001
Does August find you grinding through studies
or guiltily abandoning your instrument? Sarah Mnatzaganian
looks at novel approaches to staying motivated during the summer.
Read entire article from "School's Out," The Strad, August 2000
Playing in tune is a MUST! The surest way to be eliminated from any playing opportunity, professional or otherwise, is to play out of tune. Some violists are gifted with excellent ears and hands, or, in other words, with a natural propensity for playing in tune. Most violists, however, must think about intonation and work on it intensely before mastering it.
What does playing in tune mean? It means hitting the pitch directly, so that it literally rings true with the pitches surrounding it. The two primary keys to playing in tune consistently are (1) hearing well in tune and (2) having a left hand set-up that allows for consistent finger placement. Do you hear the pitch in tune, and if so, does your left hand set-up allow you to put your fingers down consistently where you hear the pitch?
Read entire article from "One Week to Better Intonation in 20 Minutes a Day,"
Journal of the American Viola Society: Vol.16, No.1, 2000
Team teaching gives viola students at Aspen the wisdom of three very different advisors, performance experience and group support. Barbara L. Sand discovers how it works.
Read entire article from "Triple-stop Teaching," The Strad, December, 1996