Last month, a piano solo concert titled “The Power of Music by Female Composers” was held at the Marc Scorca Hall of the National Opera Center in New York. The concert, led by Chinese-American pianist Liu Jingci and organized by the Global Outstanding Chinese Artists Association (GOCAA), spotlighted the often-overlooked works of female composers. The performance drew a large audience of both local and international attendees, filling the venue to capacity with thunderous applause throughout the evening. More than a musical performance, the event served as a cultural declaration delivered through art.
Liu Jingci curated a thoughtful repertoire to demonstrate the significant yet frequently forgotten contributions of female composers to the history of music. As the final encore, she performed “Gustave le Gray” by contemporary American composer Caroline Shaw. This piece, known for its dreamlike layering of notes and modern reinterpretation of classical piano traditions, brought a poignant and reflective close to the evening.
The concert began with “Piano Sonata in E Major” by 18th-century Austrian composer Marianna von Martines, showcasing the creative vitality of female composers even during the classical era. Clara Schumann’s “Soirées musicales” reflected the romanticism of the 19th century, while Amy Beach’s “Dreaming” and works by the French Boulanger sisters evoked the elegance and spirit of the early 20th century.
“These works are not only beautiful but also represent cultural preservation and expression,” said audience member Tim Wong. “Liu didn’t just play the pieces—she helped us understand why these voices deserve a place in mainstream musical history.”
A graduate of Mannes School of Music and the University of Connecticut, Liu Jingci has long been dedicated to uncovering and promoting lesser-known classical works. Her performances are praised for their blend of academic depth and artistic sensitivity. Liu has performed at numerous international festivals, including the CT Chopin Foundation Concert Season, the Fontainebleau School of Music in France, the International Keyboard Institute and Festival, and the Beijing International Music Festival and Academy. Her debut solo album “Portrait of Beauty” was named a “must-hear recording” by Fanfare Magazine, and New York Concert Review described her playing as “rich in color, emotionally nuanced, and technically masterful.”
“I hope the audience finds themselves humming tonight’s melodies even after they leave the concert hall,” Liu said in an interview. “When we ignore the voices of female composers, we’re really only hearing half of music history.”
Looking ahead to the 2025 concert season, Liu is scheduled to perform at several prestigious venues, including New York’s DiMenna Center for Classical Music, Klavierhaus, Steinway Hall, Carnegie Hall, Harvard University in Boston, and the National Conference on Keyboard Pedagogy (NCKP) in Chicago. She will also launch a new recording project dedicated to systematically showcasing the musical treasures created by female composers.
As a pianist, Liu Jingci continues to be more than a performer—she is a devoted advocate for classical music. Through her work, she challenges conventional definitions of “classical repertoire” and brings long-silenced female voices to the forefront of the concert stage.
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