The cello’s range overlaps closely with the human voice. Its size, timbre, and resonance make it one of the most human of instruments — intimate, lyrical, and capable of expressing conversations, inner thoughts, growth, and epiphanies. Here are three pieces where the cello doesn’t just play fancy cadenzas: Awakening Back when I was with the Guangzhou Symphony Youth Orchestra, we performed Duo by composer 赵麟. It was a piece commissioned by our orchestra, and we were lucky to have the composer around during some rehearsals, which made the work feel even more alive....

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Here’s two excellent source about the Jazz of Gershwin and his influence on Ravel: An article, Fascinatin’ rhythm: When Ravel met Gershwin December 14, 2021 Jack Zimmerman (CSO link) While in New York, Ravel went to see Gershwin’s new musical Funny Face and declared himself “enchanted.” He expressed interest in meeting Gershwin and hearing him play the Rhapsody in Blue and other jazz-influenced works. … At a party held in his honor by mezzo-soprano Éva Gauthier, Ravel celebrated his 53rd birthday on March 7, 1928....

This fall, I’m starting a new chapter as a PhD student at the Booth School of Business. I finished my undergrad in Shanghai — another windy city. Coincidence, perhaps, that I end up here in Chicago, as if the wind insists on pushing a bit for the chapters of my life. Chicago has its grand, confident skyline, but Hyde Park — where I now live — feels like a world of its own....

Some fun observations when I was opening up Wi-Fi service at my apartment.

Oftentimes, the most beautiful piece is never the most difficult or the flashiest one. Cantabile. Lyrical. Expressive. Jean-Pierre Rampal plays the flute as if he were singing — every phrase shaped like a breath, every note carrying the weight of a spoken word. Camille Saint-Saëns’ Romance, Op. 37 isn’t a technically demanding piece. The notes are simple, the scales predictable, the fingerings familiar. On paper, it looks almost effortless — something any advanced student could easily sight-read....

The movie An American in Paris has almost all of its music based on George Gershwin’s compositions and adjustments. Not only in the grand ballet scene or the famous “I got rhythm” dance. It’s a very luxury, abusive application of all Gershwin’s music. For example. where’s a tiny fleeting moments, when Adam Cook (the pianist) playing improvised Jazz, Henri Baurel (a singer) teased him about Jazz’s ‘randomness’ Da da da da da da… that was how you win your scholarship?...

Classical music are (almost) defined as those scored to be replayed. Jazz, on the other hand, blew this wall open by improvisation. This makes jazz infinitely more adaptable. For example, if you swap the French horn part in Tchaikovsky’s Symphony No. 5 to Oboe, purists might want to put you on a murder list. But in jazz, rewriting, embellishing, and reinventing are celebrated. A pianist can take a popular jazz standard and spin it into a dazzling, virtuosic variation, and nobody bats an eye....

Masterpiece!!!

I’ve listened to enough of Professor Ye’s talks that my Apple Photos automatically organizes pictures of his slides into a “memory” album (by recognizing Prof Ye of course). Interestingly delightful — I always learn so much from them! Professor Ye: Slay. Another refreshing piece of research on applying OR to game theory: The Implicit Barrier of Utility Maximization: An Interior-Point Approach for Market Equilibria Chuwen Zhang, Chang He, Bo Jiang, Yinyu Ye | ArXiv link...