John Winzenburg is a professor of music at Hong Kong Baptist University, where he conducts the Cantoría Hong Kong. He and the Cantoría have actively promoted Chinese choral music in dialogue with international repertoire since they first earned a Gold Medal at the Czech 2010 Festival of Songs Olomouc and they presented a Weekend Concert at the National Centre for Performing Arts in Beijing in 2012. Winzenburg performed as Choral Director of the premiere of Hong Kong Odyssey at the 2017 Hong Kong Arts Festival and served as Chorus Master of The Suppliant Women in collaboration with the Actors Touring Company (UK) and the Royal Lyceum Theatre Edinburgh at the 2018 Hong Kong Arts Festival. He has appeared regularly in vocal and instrumental performances with the Hong Kong New Music Ensemble. Since 2015, he has conducted the National Youth Choir of Great Britain and the Choir of Royal Holloway, and has appeared on the BBC Radio 3 program In Tune. He has also collaborated with the New Zealand Secondary Students Choir, the National Youth Chamber Choir of Great Britain, and the King’s Voices at King’s College Chapel, Cambridge University.


Winzenburg is active as a clinician, presenter, and adjudicator at international choral events worldwide, including Argentina, Hong Kong, India, Korea, Singapore, Switzerland, the United Kingdom, and the United States. Winzenburg has premiered numerous Chinese works, including Hong Kong Odyssey and a special Colla Voce 2019 喜粵! concert of all newly composed Cantonese pieces, as well as a wide range of contemporary music that includes the U.S. premiere of Karura by Japanese composer Akira Nishimura with renowned oboist Thomas Indermühle, “Aurora” by Joyce Tang (Ablaze Records Millenium Masters series), the cantata Anesti by James Boznos, and new compositions for Indonesian gamelan, percussion, and piano with the Hong Kong New Music Ensemble.


Scholastically, Winzenburg’s international publications have appeared in the Journal of Musicological Research, Perspectives of New Music, Palgrave Macmillan, The University of Michigan Press, Twentieth-Century China, Asian Music, CHIME, and the Journal of the Central Conservatory of Music. His recent research has focused on musical experimentation by Aaron Avshalomov in pre-1949 Shanghai, hybridization and hybridity in Chinese-Western “fusion concertos,” and new Chinese choral music. Winzenburg is the editor of the anthology Half Moon Rising: Choral Music from Mainland China, Hong Kong, Singapore and Taiwan (Edition Peters, February 2015).

Cantoría Hong Kong is a mixed choir of select students from the HKBU Department of Music. The group was established in September 2009 and traveled to the Czech Republic in June of the following year to participate in the 2010 Festival of Songs Olomouc, where it was awarded a Gold Medal in the category for chamber choirs. It has performed concerts in Tianjin, Beijing, Shenzhen, Taipei, and Kaohsiung, including a feature concert at the main Concert Hall of the National Centre for the Performing Arts in Beijing in 2012. It has hosted five Chamber Choir Showcase events with guest choirs and artists at Hong Kong City Hall Concert Hall since April 2011. It recently collaborated with the acclaimed Philippine Madrigal Singers and The 24 from the University of York, as well renowned conductor Chen Yun Hung, conductor/composers Ko Matsushita and Ben Parry, and countertenor Robin Tyson (King’s Singers).


The ensemble was featured on Radio Television Hong Kong (RTHK) Radio 4 “University Voices” in 2013 and on RTHK TV Arts On Air: World Youth & Children’s Choir Festival 2015.  It was awarded the WYCCF-Jebsen Choral Arts Youth Scholarship in recognition of its contribution to Hong Kong choral music in 2015.  The Cantoría was also featured on the 2015 Edition Peters CD and website Half Moon Rising: Choral Music from Mainland China, Hong Kong, Singapore and Taiwan. In June 2016, the choir successfully completed its United Kingdom Tour, where it performed at King’s College Chapel of Cambridge University, the Chapel of Royal Holloway University of London, the Gresham Centre, and on the BBC Radio 3 programme In Tune. It then performed a joint concert with the National Youth Choir of Great Britain during the NYCGB tour in Hong Kong in August 2016, which was aired on RTHK Radio 4 in Fall 2016.  In February 2017, the Cantoría performed as the featured choir for the newly composed Hong Kong Odyssey, which was premiered at Hong Kong City Hall Concert Hall as part of the 2017 Hong Kong Arts Festival. The group then performed a leading role for the production of The Suppliant Women by Aeschylus in March 2018 at the 2018 Hong Kong Arts Festival in collaboration with the Actors Touring Company (UK) and the Royal Lyceum Theatre Edinburgh. The Cantoría collaborated with the national New Zealand Secondary Students Choir in a joint concert in July 2018, which was later aired on RTHK Radio 4. Also in the summer of 2018, the ensemble recorded its first CD Quotation of Queries: Choral Encounters of Hong Kong, China, and the Distant West at Studio 28 in Bangkok.ía.html

Ben Burton (left) Callum Armstrong (right). Photo provided by the Hong Kong Arts Festival -- Cantoría performing in “The Suppliant Women,” an Actors Touring Company and Royal Lyceum Theatre Edinburgh production presented by the Hong Kong Arts Festival in 2018

Ben Burton — Percussionist

Ben Burton trained at the Royal Academy of Music in London and, since 2016, he has toured regularly as percussionist with the Actors Touring Company’s revival of The Suppliant Women. Burton has also performed and recorded with renowned ensembles at major venues in the United Kingdom, and he has worked with many acclaimed conductors, including Sir Mark Elder, Marin Alsop, and Edward Gardner.


Callum Armstrong — Aulos Player

Callum Armstrong trained at Trinity Laban Conservatoire of Music and Dance in London and in 2016 became involved in the Actors Touring Company production of The Suppliant Women, in which he played the ancient double-reed, double-pipe aulos. Armstrong has won numerous piping and recorder prizes, and he has performed as soloist with the London Philharmonic Orchestra and in Steven Spielberg’s film Warhorse.






John Browne


John Browne trained at University College Cork with Gerald Barry and at the Manhattan School of Music in New York on a Fulbright Award. His opera credits include Babette’s Feast, Demon Juice (Royal Opera House); Early Earth Operas, Midnight’s Children (English National Opera); and A Nightingale Sang (Southbank Centre). His choral music includes Small Selves, Out of Suffering (Westminster Abbey), and arrangements for the band Elbow. His film work includes The Itch of the Golden Nit (Aardman) and theatre credits include The Events (Actors Touring Company) and Die Töchter Des Danaus (Konzert Theater Bern). Browne has been composer-in-residence at Kings College London, served as adjudicator for BBC Young Musician of the Year, and is a Cultural Fellow of Glasgow Caledonian University.


Chan Hing-Yan


Chan Hing-Yan is currently James Chen and Yuen-Han Chan Professor in Music at the University of Hong Kong. Lauded for their subtle mediation between Chinese elements and Western idioms, Chan’s compositions have been heard around the world at prestigious festivals. Recent works include three chamber operas (2018, 2015, 2013). The first two were commissioned by the Hong Kong Arts Festival, who also entrusted Chan as the composer and Music Director of an extravaganza staged cantata to commemorate the 20th anniversary of Hong Kong’s handover in 2017. Chan served as Artist Associate 2016-18 of the Hong Kong Sinfonietta. Over the years, the orchestra has commissioned and presented his works at home and abroad in Europe (2005), South America (2010), Canada and New York (2012), Taiwan (2016), Beijing (2010), and Shanghai (2007). Chan received the “Best Artist Award (Music)” at the Hong Kong Arts Development Awards in 2013. His three collaborations with the City Contemporary Dance Company (2009, 2007, 2005) won him much acclaim as well as a Hong Kong Dance Award in 2008, when he also received commendation for “Persons with Outstanding Contributions to the Development of Arts and Culture” in the Secretary for Home Affairs’ Commendation Scheme.



Chan Kai-Young


Chan Kai-Young often assimilates various Asian cultural traditions into his music, and he is particularly drawn to the musicality of Chinese literature expressed through the tonal Cantonese language. His music is performed in various continents by the Pittsburgh Symphony Orchestra, Albany Symphony, Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, PRISM Quartet, Daedalus Quartet, and Mivos Quartet, among other prominent performers. His selected works are released on Ablaze Records, PARMA Recordings, and Innova Recordings, and scores of his works are published by Edition Peters (London), Central Conservatory of Music Press (Beijing), and Hong Kong Children’s Choir.  Chan is part of the first artist delegation of the American Composers Forum to the Havana Festival for Contemporary Music in Cuba, a historic tour documented by the National Public Radio. His music is also presented on such international stages as ISCM World Music Days, International Rostrum of Composers, June in Buffalo, Valencia International Performance Academy and Festival, Internationalen Ferienkurse Darmstadt, among others. After completing his Ph.D. in Music Composition with the Benjamin Franklin Fellowship at the University of Pennsylvania, where he studied with Jay Reise, James Primosch, and Anna Weesner, he joined the composition faculty at the Chinese University of Hong Kong, where he is currently an assistant professor of music.



Ronaldo Miranda


Ronaldo Miranda was born in 1948 in Rio de Janeiro, Brazil. He holds graduate and undergraduate degrees in Piano and Composition from the Universidade Federal do Rio de Janeiro and the Universidade de São Paulo. In 1974, Miranda started his professional career as a music critic for the Jornal do Brasil, a well-known newspaper from Rio. It wasn’t until 1977 that he decided to dedicate himself more intensely to composing. He has since produced a significant group of works for various instruments and voices, in many different genres and forms—including solo and choral works, cantatas, and the opera Dom Casmurro, premiered in 1992 at the Teatro Municipal de São Paulo. Among his well-known choral works are Belo, Belo (1978), Noite (1980), Aleluia (1985), and Liberdade (1986). His works have been published in Brazil and internationally and have been performed in Denmark, Sweden, Germany, Hungary, Italy, England, Switzerland, Argentina, the United States, and elsewhere. In 1999, he composed Sinfonia 2000, commissioned by the Ministério da Cultura do Brasil to celebrate the 500th anniversary of Brazil’s discovery. He has since composed numerous large-scale works on commissions from major ensembles. Miranda has also been active as a music critic, professor, and musical administrator, including his position on the Composition faculty at the Music Department in the School of Communication and Arts of the São Paulo University.



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