101. Empyrean Ensemble MeiFang lin Four Movements for Clarinet and Piano An Evening with PianistAmy Dissanayake. Sunday, March 7, 2004. 800 pm Studio Theatre, http://music.ucdavis.edu/empyrean/archives/season03-04.htm

[an error occurred while processing this directive] 2003-04 CONCERT SEASON This, That, and the Other Sunday, November 2, 2003 8:00 p.m. Studio Theatre, Mondavi Center for the Performing Arts, UC Davis Sunday, November 9, 2003 8:00 p.m. Music Recital Hall, Capistrano Hall, California State University, Sacramento Presented by the Festival of New American Music [free admission] Works include: Ross Bauer This, That, and the Other , concerto for soprano saxophone, eight winds, and percussion. Jeffrey Mumford a focused expanse of evolving experience Steve Blumberg Skirr for chamber ensemble and computer animation. Brian Ferneyhough Bone Alphabet for percussion solo. Mei-Fang Lin Four Movements for Clarinet and Piano Dramatic Works with Voice Sunday, February 1, 2004 8:00 p.m. Studio Theatre, Mondavi Center for the Performing Arts, UC Davis [$16/$8] Works include: Judith Weir King Harald's Saga Jennifer Lane , mezzo-soprano. Thea Musgrave Narcissus for flute with digital delay. Benjamin Britten Charm of Lullabies op. 41 Jennifer Lane , mezzo-soprano, Eric Zivian , piano.

102. KAPRALOVA SOCIETY http://www.kapralova.org/REVIEW_0102.htm

music reviews 2001-2002 in chronological order Vitezslava Kapralova. CD-Empfehlung. Unter dem Titel Vitezslava Kapralova: Portrait of a Composer Jenny Lin, piano. Weill Recital Hall at Carnegie Hall. October 25, 2002. The Formosa Chamber Music Society presented a brilliantly impressive recital by the young Taiwanese-born American pianist, Jenny Lin at Weill Hall on October 25. [...] Not only was her recital commandingly played; it was both substantial repertoire-wise, and pianistically daunting as well! April Preludes, Op. 13, a set of four preludes composed in 1937 by the short lived Vitezslava Kapralova [1915-1940], a holdover from Ms. Lin's recital at Miller Theatre, launched the evening in auspicious fashion. These Kapralova pieces again impressed as music of substantial beauty and emotional weight, all the more so when played with such warmth, organic integrity and sincerity. When confronted with unfamiliar music, this writer is always tempted to look for ways to pigeonhole it with more famous fare (I was thinking of a synthesis of Szymanowski and Prokofiev, but had to concede that Kapralova marched to her own drummer). [...] The capacity audience was brilliantly enthusiastic and for very good reason. This was a memorable concert. From a review by Harris Goldsmith, for New York Concert Review, January / February 2003.

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