In the esteemed setting of Stanford University's Bing Concert Hall, a symphony of talent unfolded on May 19, 2024. The Stanford Symphony Chorus, accompanied by a professional orchestra, under the baton of Stephen M. Sano, presented "A Mozart Celebration," paying homage to the timeless genius of the iconic composer.
The Bing Concert Hall, with its architectural grandeur and acoustical perfection, provided an ideal backdrop for an afternoon of enchantment. As the lights dimmed and Mozart's melodies filled the air, 842 audience members were transported to a realm of sublime beauty.
Among the concert's highlights was Mozart's Concerto for Flute and Harp, a work revered for its delicate interplay between two instruments. Composed in Paris in 1778 for the Duke de Guines and his daughter, Mozart noted in a letter to his father that the Duke's daughter "plays the harp magnificently." This masterpiece, and the only piece Mozart wrote for the harp, stands as a testament to the instrument's unique allure. Its graceful melodies and intricate harmonies have captivated audiences for centuries.
Renée Qin, a young Canadian harpist, infused Mozart's concerto with grace and finesse. Her fingers danced across the strings, weaving a tapestry of sound that was both pure and spirited, like a stream of clear water rippling by the audience's ears. One of the highlights was the cadenza, composed by Carl Reinecke (1824-1910) and edited by Carlos Salzedo (1885-1961). While elevating from a traditional Classical form, the cadenza unfolded with a romantic flair, emphasizing harp techniques and enhancing its prominent voice in the duet.
The event was further distinguished by the presence of several notable guests who came to celebrate Qin's achievements. Among them were Economics Nobel Prize laureate Paul Milgrom, digital animation pioneer and two-time Oscar winner Richard Chuang, and esteemed conductor of the Stanford Symphony Orchestra, Paul Phillips. Their attendance highlighted the significance of the occasion and affirmed Qin's exceptional talents, as recognized by luminaries from diverse fields.
Qin's journey in music and academics extends far beyond the concert stage. Raised in Vancouver, Canada, her passion for music was nurtured by her harp teacher, Elizabeth Volpé Bligh, then principal harpist of the Vancouver Symphony Orchestra. In 2019, Qin further honed her skills at the Curtis Institute of Music Summerfest Harp Colony, studying under renowned harpists Elizabeth Hainen and Judy Loman. After landing in California in 2021, Qin enrolled at Stanford University. She briefly studied with Douglas Rioth until his retirement from the San Francisco Conservatory and is currently under the instruction of Dan Levitan at Stanford. Driven by intellectual curiosity, Qin is pursuing a double major in Economics and Music at Stanford, seamlessly blending her passions to forge a symphony of achievement.
Throughout her career, Qin has garnered numerous recognitions, including First Prizes at the Canadian Music Competition and the American Protégé International Competition in Romantic Music in 2018, as well as winning a concerto competition at the Canadian International Music Society in 2019. She was also awarded the West Coast Harp Society Scholarship in 2018 and the Chappell Lougee Scholarship in 2022.
As a soloist, Qin has been featured with multiple orchestras, such as the Stanford Philharmonia, Vancouver Philharmonic Orchestra, and Harmonia Chamber Orchestra. Her talent has been showcased in some of the world's most prestigious venues, including New York City's Carnegie Hall, the Field Concert Hall at the Curtis Institute of Music in Philadelphia, and the Orpheum Theatre in Vancouver.
Beyond her performance achievements, Qin's academic accomplishments have been equally notable, highlighted by the recent completion of her Economics Honor Thesis under B. Douglas Bernheim, the Edward Ames Edmonds Professor of Economics at Stanford. In addition, she is actively contributing as a research assistant at the Stanford Institute for Economic Policy Research, working under Professor Bernheim. Qin also serves as a teaching assistant for Paul Milgrom, the Shirley and Leonard Ely Professor of Humanities and Sciences, a world-renowned auction designer and Nobel Prize laureate in Economics. These roles underscore her commitment to excellence in economics, paralleling her mastery of the harp.
Her story serves as a testament to the transformative power of education and the boundless potential of young talent. It becomes a common trend at top-tier universities, where talented young musicians have the opportunity to weave together careers in music and other demanding fields challenging the traditional boundaries of career and discipline.
To understand this phenomenon, we look at other musicians who have walked this path in history. For instance, historical figures like Albert Schweitzer and Alexander Borodin excelled in music while making significant contributions to fields outside of music. Modern-day figures, such as Philip H. Dybvig, Nobel laureate and pianist, and Brian May, the lead guitarist of Queen and an astrophysicist, both examples excellently illustrate how rich interactions between seemingly disparate disciplines can lead to profound and balanced achievements. Today, many young musicians are following in their footsteps, finding that the skills they develop in music—discipline, creativity, and emotional intelligence—enrich their capabilities in other areas.
In a broader context, the trend of maintaining dual careers poses significant questions regarding its benefits and challenges. Institutions like Stanford, recognized for their rigorous academic standards and culture of intellectual curiosity, attract some of the world's brightest and most talented young musicians. These universities facilitate dual-career paths by offering flexible program structures and interdisciplinary opportunities that enable students to explore a variety of interests. Musicians like Qin exemplify this trend, as they pursue their varied passions with unwavering dedication, seamlessly integrating their musical talents with their academic pursuits.
As they advance in their academic and musical endeavors, these young musicians exemplify the boundless opportunities that arise from pursuing their passions with relentless dedication and a commitment to personal and intellectual development. For them, achieving excellence in both music and academics transcends mere ambition—it becomes a way of life, encapsulating the spirit of innovation, exploration, and accomplishment that characterizes their educational journey.
By Maria Williams
