We recently connected with Sydney Wang and have shared our conversation below.
Sydney, thanks for joining us, excited to have you contributing your stories and insights. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
When I first arrived at UCLA in September 2021 to begin my undergraduate studies in music composition, never in my wildest dreams did I imagine that just over three years later, I would be preparing to travel to Wichita as répétiteur in a production of Don Giovanni.
In retrospect, many stars in my life had been gradually aligning over the years for this moment to happen. I’d studied piano since I was four, and had played in chamber groups for over a decade. At UCLA, I quickly discovered an interest in new and contemporary music, and became a frequent performer of new works by UCLA composers. Simultaneously, I’d found great enjoyment in accompanying my performance major friends, and began doing it whenever I had the chance. I found particular joy in accompanying singers.
The catalyst in my journey came when I auditioned successfully to become a staff collaborative pianist at UCLA. Though I had never had any formal training in collaborative piano or accompanying, I knew it was something I was passionate about and wanted to explore in my career. I dove headfirst into collaborative piano and never looked back.
So began my whirlwind journey as a collaborative pianist. I jumped eagerly on every opportunity that presented itself – to play, to listen, to learn. In March 2024, I became a rehearsal pianist with the Santa Monica-based Verdi Chorus. In May 2024, I performed at the International Trumpet Guild Conference. In June 2024, I performed in the West Coast premiere of William Averitt’s oratorio Easter, 1906 alongside pianist Dr. James Lent and the UCLA Chamber Singers. I found a particular passion in vocal, choral, and operatic accompaniment, but also branched out into accompanying musicians of all areas. I have accompanied singers and instrumentalists at graduate and undergraduate degree recitals, competitions, auditions, studio classes, recording sessions, and dozens of lessons and rehearsals. I have accompanied rehearsals with the UCLA Chamber Singers and UCLA Chorale.
In June 2024, at the recommendation of a dear mentor and vocal coach, I auditioned for a répétiteur position at the Wichita-based opera company Music On Site. To my delight, I was offered the position in their upcoming production of Don Giovanni. Over the past three months, I have been completely immersed in the opera – studying the language and the libretto, learning singing techniques, and honing my skills in vocal accompaniment. It’s been a delightful adventure for both the composer and performer in me, and made me even more certain about pursuing a career not only in composition, but in collaborative piano as well.
Sydney, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
As a composer, I have experience working in various different genres: classical, electronic, and film scoring, to name just a few. But I have an enduring love for concert music, which I attribute to my extensive background as a performer. The spontaneous nature of live performance and the magic of watching and hearing my music come to life on stage is an experience that I simply cannot put into words. There is no feeling quite like it. Recent highlights include performances by Salastina, the Carpe Diem String Quartet, New Thread Quartet, and Orchestra Senzaspine, as well as an upcoming premiere by Salastina as a part of their 2023-24 Sounds Promising Young Composers Program. I incorporate influences and styles from different genres and cultures into my music. At its core, my work is narrative; I draw inspiration from stories, especially surrounding heritage and the underrepresented. I have a deep interest in composing vocal music, and often write my own text. In June 2024, members of the UCLA Chamber Singers recorded a new choral work of mine, which will be released soon.
Though my studies center on composition, I maintain an active schedule as a performer of both classical and new music. In the past year alone, I have performed at over 30 concerts and premiered 18 new works. I am constantly in search of ways to challenge and explore my abilities as a pianist. In March 2024, with special permission from the Bernstein estate and Indiana University, I recorded and co-produced a full-length album of Leonard Bernstein’s music on the composer’s own piano with a team of Indiana University’s musicians and engineers. Learning and recording the music of one of my biggest musical idols was among the most challenging but most rewarding experiences of my career. As a collaborative pianist, I have a particular passion for accompanying vocalists; I work primarily with the voice department at UCLA, though I love playing with musicians of all mediums. I have also accompanied rehearsals with the UCLA choral ensembles, and am currently a rehearsal pianist with the Verdi Chorus in Santa Monica. In May 2024, I had the opportunity to perform at the 2024 International Trumpet Guild Conference, and in June 2024, I performed in the West Coast premiere of William Averitt’s oratorio “Easter, 1906” alongside pianist James Lent and the UCLA Chamber Singers. In December 2024, I served as répétiteur of Music On Site, Inc.’s production of Don Giovanni. My dual identity as both composer and performer is one of my greatest strengths. I have a first-hand understanding of what works best from the perspective of both the person writing the music and the person playing it.
As a producer, I am involved in the organization of composers concerts in and outside of UCLA. I have helped produce and present concerts in Los Angeles, San Diego, and Italy. My fellow composers and performers are a constant source of inspiration and motivation, and growing up in the vibrant new music scene in Los Angeles exposed me to so many diverse and innovative contemporary works. Inspired by the influences of new music on my own life, I wanted to do my part to help ensure that such impactful music can be heard and enjoyed by audiences everywhere. The community aspect of music-making is one of the biggest reasons why I am passionate about doing what I do, and I would not be the musician I am today without the wonderful people who have supported, uplifted, and believed in me every step of the way.
I am in love with every aspect of music-making: composing, performing, producing. Rather than seeing each of these facets as its own separate entity, I view all as one continuous process, one stage flowing into the next. Each phase changes the music in a beautiful way as it transforms from page to sound, and I am, thankfully, uniquely set up to accompany my works for their entire journey.
What’s the most rewarding aspect of being a creative in your experience?
As both composer and performer, the community and collaborative aspect of music-making has always brought me immense joy and fulfillment. I believe that music has the ability to change the world for the better. It has the power to bring us together, to cross cultural and political barriers, to inspire and uplift. When a listener or a performer tells me that my music resonated with them or inspired them, I feel that I have done my job well.
Light – in all its forms – is a cornerstone of every work I composed. Sometimes, it’s explicit – a triumphant fanfare, a presto finale, a whimsical waltz. Other times, it’s depicted in a more subtle way – the journey toward light, the overcoming of darkness by light, the holding on to light when all hope seems lost. I am constantly seeking new sounds, mediums, and techniques to convey this story of light.
Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?
Early on, I became aware that as an artist, my livelihood inherently depends on whether or not my work connects with my audience. Finding that balance of staying true to my own artistic vision while composing music that speaks to others is an ongoing journey that I have learned to embrace. Furthermore, as composers, much of the creative aspect of our work is done in solitude, outside of the normal “working hours.” I seldom struggle with having the motivation to work hard, but on the flip side, it is easy for me to work myself into the ground. It took me a long time to learn that while passion and a solid work ethic are important to being a good musician, so is a healthy lifestyle, patience, and the willingness to slow down and take a longer view of things. Rather than viewing the unpredictability of a musical career as something to fear, I now see it as a blessing: there are no limits to where my artistic journey can take me, which is exciting to think about!
Contact Info:
- Website: https://www.sydneywangmusic.com
- Instagram: https://www.instagram.com/sydney.s.wang
- Soundcloud: https://soundcloud.com/sydney-wang-121354980
Image Credits
Erica Hou