Chen Zuohuang was born in Shanghai, China, on April 2, 1947. Although his father was once himself a composer, Chen’s inspiration in his path of music the came more from his own exploration.[i] Chen’s affairs with conducting were not initiated until he enrolled in the Affiliated High School of Central Conservatory of music, China, where he was exposed to an orchestral research at the school the first time of his life. The amzing coordination between different sounds into a singular musical bliss has attracted the young talent deeply,[ii] which has inspired him to devote his life to conducting. Chen was admitted to the China Central Conservatory of Music first as a composition major, but later was changed to conducting, a field of his lifelong beloved.[iii] Leaving the school with accelerated graduation, Chen later came to the U.S. where he studied at the Tanglewood Music Center and the School of Music at the University of Michigan. Chen earned his Doctor of Musical Arts (DMA) in Orchestral Conducting in 1985, the very first one that was issued to a Chinese Citizen in the school’s history.[iv] After his graduation, Chen has been the Artistic Director and Conductor of the Chinese National Symphony Orchestra since 1996. At the same time, he accepted numerous positions overseas, such as the music director of the Rhode Island Philharmonic Orchestra from 1992 to 1996 and an associate professor of conducting at the University of Kansas, Lawrence, from 1985 to 1987.[v]

Chen is the first Chinese citizen to receive a DMA degree from the University of Michigan, also the first person to hold that degree in the People’s Republic of China’s history.[vi] Chen is known for his persistent enthusiasm for introducing and promoting Chinese symphonic music at the global level. During his post as the Artistic Director of the Chinese National Symphony Orchestra, he led many tours that over the United States, Europe, and Asia, which has greatly promoted the professional and reputation internationally.[vii]

He has also conducted for records such as Yundi Li’s The Red Piano, Morton Gould’s adaptation of John La Montaine’s Flute Concerto, Erling Blondal Bengtsson’s CD, and performances of Jaques Ibert’s concerto for flute and orchestra. Among which, The Red Piano contains typical examples of the music Chen is known for promoting, such as the “Yellow River Concerto” trilogy, and “Why are the Flowers So Red,” which enrich with Chinese culture.