Born in the Macao region of China, Bun-Ching Lam began studying piano at the age of seven and gave her first public solo recital at fifteen. In 1976, she received a B.A. degree in piano performance from the Chinese University of Hong Kong. She then accepted a scholarship from the University of California at San Diego, where she studied composition with Bernard Rands, Robert Erickson, Roger Reynolds, Pauline Oliveros, and earned a Ph.D. in 1981. In the same year, she was invited to join the music faculty of the Cornish College of the Arts in Seattle, where she taught until 1986.

Recently appointed to serve as the resident composer of the Macao Orchestra, Ms. Lam was also a composer in residence at the America Dance Festival and the New Jersey Symphony Orchestra for the 2000-2001 season. She has been honored by fellowships from the Guggenheim Foundation and the American Academy of Arts and Letters. She also won the Rome Prize and was awarded first prizes at the Aspen Music Festival, the Northwest Composer's Symposium, and the highest honor at the Shanghai Music Competition, which was the first international composers' contest to take place in China. She was a recipient of grants and fellowships from the National Endowment for the Arts, Meet the Composer/Reader's Digest Commissioning Program, New York Foundation for the Arts, King County Arts Commission and Seattle Arts Commission. She was in residence at the Rockefeller Foundation's Bellagio Study and Conference Center and was awarded a fellowship from the Asian Cultural Council for a three-month study trip to Japan. 

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Bun-Ching Lam:  www.bunchinglam.com

BUN-CHING LAM / Heidelberg Concerts

BUN-CHING LAM / Heidelberg Concerts

The compositions featured on Disc 1 attempt to translate poetic or artistic sentiments into sound. It presents the many different cultural traits, from Heine to Hiroshige, from Europe to Asia, from Debussy from lunzhi (running finger techniques on the pipa) to Run, that have merged in the musics of Bun-Ching Lam. These pieces show Lam "thinking as a citizen of the world" as one critic, Ken Gallo, put it.