Artist description Cham-Ber Huang, founder and designer of Huang harmonicas, has been characterized as both the Stradivarius and the Paganini of his instrument.

Music Style Baroque

Musical Influences Coperin, Bach and Mozart

Similar Artists Larry Adler, Larry Logan, John Sebastion Sr.

Artist History Cham-Ber Huang received his first formal musical training on the violin in the prep school of the Shanghai Music Conservatory in his early teens. It was a rather late start for study of the instrument and after a few years of hard work, he realized that chances were remote that he would become another Paganini of the violin. He decided to continue by himself the study on the humble harmonica, which he had begun at the age of six. Experiencing practically no competition, Cham-Ber Huang eventually achieved renown as an outstanding harmonica concert artist.In the late 1940's, Dr. John Leighton Stuart, the former Ambassador to China, heard the young harmonica player in a full-fledged concert. He said to Cham-Ber, "Young man, I would like to hear you one day performing in Carnegie Hall." Cham-Ber came to New York in June of 1950 and, with the blessing of Ambassador Stuart, began his musical career in the new world.Cham-Ber Huang was introduced to Mary Coolidge in New York in the early 1950's. A cousin of President Coolidge, she was a retired piano professor of the Julliard School. Coolidge coached Huang to further his musical artistry. He gave his New York debut recital at Town Hall in 1953 but soon realized that it was not easy to launch a concert career in the land of opportunity, especially with an instrument that had little recognition in the serious music field. Thus, he was prepared to travel a long and hard road to become a top musical artist.He returned to Town Hall for another concert in April of 1964, assisted by the noted harpsichordist, Robert Conant, and the Colby String Quartet. He received rave reviews from the critics of the Times and Tribune. Soon thereafter, Huang received definitive entry's in such prestigious music encyclopedias as the Riemann's Musik Lexikon of Germany and the Grove's Dictionary of Music and Musicians of England.In his more recent recital at Alice Tully Hall of Lincoln Center, Huang performed in collaboration with the renowned New York Pro Arte Chamber Orchestra. He also appeared in joint programs with other prominent artists at Carnegie hall and Avery Fisher Hall.When Huang noticed that the harmonica was taught hardly anywhere, and that practically all harmonica players played by ear, he began teaching the instrument in 1957 at the Turtle Bay Music School in New York City. The program is now carried on by a faculty who became qualified teachers under Huang's tutelage.Because of the lack of serious harmonica artists, it is natural that the harmonica is considered as an instrument of little importance in the eyes of serious musicians. Huang has changed the image of the harmonica through participation in chamber music concerts. In 1974, the Grand Teton Music Festival featured Cham-Ber Huang in an evening of Classical Harmonica in Concert. He was assisted by the best known chamber music players at the festival to perform with him, including oboist Elaine Douvas of the New York Metropolitan Opera Orchestra, harpsichordist Lionel Party of the Julliard School, bassoonist Chuck Ullery of the St. Paul Chamber Orchestra, and others. Huang returned to the Festival for five more seasons and performed an entirely new chamber music program each time. Huang discovered that right in the middle of the rehearsal, musicians became oblivious that he was playing the harmonica. All they heard was the technical ability and musical interpretation and style that was equal to the level of their own instruments. No words are needed to speak up on behalf of the harmonica. The image of the harmonica is automatically elevated when it is performed musically and technically without compromise and at an equal level.When the celebrated American composer Robert Russell Bennett heard Cham-Ber Huang at a concert, he offered to write a Concerto for Harmonica and Orchestra especially for him. The Concerto turned out to be a great and exciting major work and very pianistic for the harmonica. (Suggest: Considering the harmonica as the pocket piano?) The Harmonica Concerto was Mr. Bennett's last major work before his death in 1981, at the age of 86. The first performance of the Concerto was presented by the Hong Kong Philharmonic in 1981 with Karal Husa of Cornell University conducting and Cham-Ber Huang as harmonica soloist. At a Lincoln Center program in memory of Mr. Bennett, featuring Morton Gould, Ainslee Cox, Cham-Ber Huang and other noted friends, the recording of the Bennett Harmonica Concerto was played for the audience. It received a long standing ovation at the conclusion.Since 1979, Huang has returned to China to appear as guest soloist with the Central Beijing Philharmonic, the Shanghai Symphony, and the Symphony Orchestra of the Central Ballet Society. Huang offered an equal courtesy to Taiwan when he performed as soloist with the Taipei Symphony Orchestra. Huang has also performed as guest soloist with the Boston Symphony Orchestra and other orchestras in the U.S.There are harmonica clubs in almost every major city across the U.S. At the 1993 annual convention in Detroit, Cham-Ber Huang received the Harmonica Player of the Year Award, presented to him by the national organization, Society for the Advancement and Preservation of the Harmonica.

Group Members Cham-Ber Huang; Chou Guang-Ren - Piano; One of China's finest pianists and educators, Zhou Guang-Ren is a member of the piano faculty of the Central Conservatory of Music in Beijing. Born in Germany, she studied music in Shanghai and was the soloist of the Central Philharmonic in the 1950s. She was the first Chinese pianist to win in international piano competitions. She has widely toured in the U.S. given lectures and recitals in Chinese piano repertoire, and has been an adjudicator in international piano competitions. In the past ten years she dedicated herself in establishing two children's piano schools training China's future young pianists. She has been awarded the honorary title "Best Cultural Worker" and the "Medal of Merit" by the Chinese Government, and "Women of the Year 1991-1992" by the IBC in Cambridge, England.

Instruments Custom Silver CBH Harmonica (self built); Piano

Albums Music That Touches The Heart

Press Reviews "Chem-Ber Huang is probably the most accomplished virtuoso of the harmonica in the recent history of the instrument and a keen and sophisticated interpreter of serious music as well." - STEREO REVIEW; "There are a great many remarkable things about Mr. Huang's record release not the least of which is that the Bach, Couperin and Telemann are by far the best things on the disc...superb sense of rhythm, a perceptive sense of proportion, and an altogether remarkable taste in such music...the instrument is admirably suited to the material in the hands of such an artist, and the entire experience, while novel, is remarkably interesting... suggesting that Mr. Huang do a record of, possibly an all-Bach program." - The American Record Guide; Cham-Ber Huang's playing is wonderful on the album. What is striking to me is the way that he can achieve the sensation of sweetness with strength at the same time. It always seems fluid, sweet, and lyrical, but there is an underlying strength and force that is present at the same time. This is remarkable to me. And it is a pleasure to hear again and again. - John Santana - Music Critic, and Music director of Classical Radio station KKGO-FM, Los Angeles; I have to say that it is quite a revelation. I have to say that Mr Huang's playing leaps out into a third dimension, he has such a depth and variety of intonation, vibrato, and even different attack techniques. We were absolutely entranced with his performance. - Michael S. - Rare Baroque Recordings; CHAM-BER HUANG is an accomplished virtuoso of the harmonica, not only in his capacity as an interpreter, but also as a technician. Brought together on this CD are some of what seem to be his favorite works, as well as one of his own compositions, which he modestly includes as the last track. All the pieces are presented as a duet between harmonica and piano. The featured pianist, Zhou Guang- Ren is acclaimed as one of China's finest. She was the soloist of the Central Philharmonic in the 1970's, the first Chinese pianist to win international competitions and is now an educator at the Central Conservatory of Music in Belling. These tracks were recorded in Belling. China. The CD was released independently by Mr. Huang's own CBH Insignia, which is based in New York. Cham-Ber Huang translates to harmonica works by such composers as Couperin, Bach, Vivaldi, Handel Beethoven, Gluck, Bizet, Villa-Lobos, Schuman, Saint-Saens, Crouch and Huang, himself. Cham-Ber Huang is reputed to be a traditionalist by nature. His approach to interpreting Baroque, Chamber and Classical works remain true to the integrity of the piece. 'Mozart should sound like Mozart and Bach sound like Bach' he insists. His background as a fluent sight-reader combined with impeccable technique breathes life into the works of 'Music That Torches The Heart and he translates the form with great articulation. These pieces may therefore be considered definitive interpretations by this master of the harmonica. He is sensitive to the mood of each piece and is a great technician, using a variety of intonation and vibrato. He is also very skilled in the use or trills and vibrato which provide an ornamentation that helps define this music form. This is apparent almost immediately on track 1, Couperin's 'Prelude from Concert Royal'. He achieves these whole trill notes by holding the slide steady and moving the harmonica. Mr. Huang is predominantly a tongue-blocker and can apparently play equally well out of either side of the mouth. This technique facilitates the kind of interval leaps that are a feature of Vivaldi's 'Largo from Wind Quartet'. This technique also further enhances the chordal capabilities of the harmonica by enabling double stops and octaving, heard regularly throughout the recording. The melodic sensibilities of Bach's music suit the harmonica very well and Huang translates five of these pieces beautifully. There is a good mix of keys on successive tracks throughout the CD which help keep a freshness in the progression from one track to other. He plays a CBH harmonica - his, design. of the 1970's - and I treasure the one which I have owned for some years and feel that it was a shame it was not further developed. The piece which grabs me most is Beethoven's, 'Molto Allegro' which is in D minor. Huang's playing is fluid, sweet and lyrical. Despite the fact that I have heard better quality recordings, the performance throughout the entire CD by Huang and Madam Zhou Guang-Ren exhibit both technical and musical virtuosity, they weave tightly together with dynamics and sympathy. There are many great tracks and all of the works featured on the CD stand out. It is always good to hear originals and Huang's own finale, Happy Day, is a great way to close. - Christian Marsh CD Review;

Location Farmingdale, New York - USA

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