Stella Chen
Gramophone Young Artist of the Year

The combination of her gleaming tone and staggering technique makes for music that commands attention at every moment… there’s no shortage of chills-engendering playing on this auspicious debut

- Textura Reviews

Read Textura Review of Stella x Schubert

My love for Schubert blossomed unexpectedly during a performance analysis class with Robert Levin, a brilliant musician I knew as the phenom who completed Mozart’s Requiem for his undergraduate thesis. Known as he is for his encyclopedic knowledge of Mozart, Levin surprised me when he revealed that his favorite piece was Schubert’s G major Quartet, D.887. He spoke about the music in a way that brought tears to my eyes, despite having never heard the piece myself. Thus began my deep and unwavering love affair with Schubert. For me, no composer conceives of more beautiful melodies than Schubert’s, in large part due to his extraordinary ability to translate vulnerability into music. Exposed, devastatingly fragile, almost otherworldly, his music teeters precariously on the brink of life and death. Rightfully wide-eyed but inevitably futile attempts to reproduce or quantify the magic of Schubert have preoccupied performers and scholars for the last two centuries. Having approached his music from both of those perspectives myself, I can only say: Schubert transports us to another world.

I asked to start playing the violin after being captivated by the sheer beauty of its tone; the endless search for that shiver-inducing sound is still the reason I reach for the violin every day, and nothing inspires me more than Schubert’s music to continue that aural adventure. Working on this project has been a gift. There is no better music to remind us to appreciate the most delicate and fragile beauty in the world.

Biography

Her graceful, singing line, gleaming tone, and breathtaking use of pianissimo made the Tully Hall crowd sit bolt upright.

- Musical America

Gramophone 2023 Young Artist of the Year Stella Chen garnered worldwide attention with her first-prize win at the 2019 Queen Elizabeth International Violin Competition, followed by the 2020 Avery Fisher Career Grant and 2020 Lincoln Center Emerging Artist Award.

Since then, Stella has appeared across North America, Europe, and Asia in concerto, recital, and chamber music performances. She recently made debuts with the New York Philharmonic, Chicago Symphony, Minnesota Orchestra, Israel Philharmonic, Chamber Orchestra of Europe, Baltimore Symphony, Belgian National Orchestra, and many others and appeared at the Vienna Musikverein and Berlin Philharmonie. In recital, recent appearances include Lincoln Center, Carnegie Hall, the Phillips Collection, Rockport Music Festival, and Nume Festival in Italy. She appears frequently with Chamber Music Society of Lincoln Center both in New York and on tour.

Stella has appeared as a chamber musician in festivals including the Ravinia, Seattle Chamber Music, Perlman Music Program, Music@Menlo, Bridgehampton, Rockport, Kronberg Academy, and Sarasota. Chamber music partners include Itzhak Perlman, James Ehnes, and Matthew Lipman.

She is the inaugural recipient of the Robert Levin Award from Harvard University, where she was inspired by Robert Levin himself. Teachers and mentors have included Donald Weilerstein, Itzhak Perlman, Miriam Fried, and Catherine Cho. She received her doctorate from the Juilliard School where she serves as teaching assistant to her longtime mentor Li Lin.

Stella plays the 1720 General Kyd Stradivarius, on generous loan from Dr. Ryuji Ueno and Rare Violins In Consortium, Artists and Benefactors Collaborative and the 1708 Huggins Stradivarius courtesy of the Nippon Music Foundation.

Link to Bio

中文个人简历