Member
South Euclid, Ohio
Website:
https://qinyingmusic.com
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Early Music Skills & Interests
Harpsichord
Early Music Affiliations
Administrator, Board Member -Other, Music/Artistic Director
Biography
Lauded by Cleveland Classical as "an excellent soloist, a compelling performer who is equally comfortable handling long strings of notes… and singing through emotive melodies with her instrument,” Dr. Qin Ying Tan currently serves as harpsichord faculty at Baldwin-Wallace Conservatory of Music. As co-artistic director of The Resonance Project Cleveland and CLE Concierto, Dr. Tan has helped lead a highly successful inaugural season, marked by sold-out premium seating and critical acclaim for its bold programming, intimate performances, and unwavering commitment to musical excellence. Together with pianist Irwin Shung, they have brought fresh energy to Cleveland’s classical music scene by fostering cross-cultural collaborations and reimagining the concert experience for 21st-century audiences. The Resonance Project has been featured on Ideastream Public Media, as well as opened the Cultural Concert Series at the Cleveland Metropark Zoo.
Dr. Tan has appeared in concerts in Singapore, Shanghai, Germany, France, and has performed extensively across the United States of America. This season sees engagements with Hudson Historical Society and Library, City Music, the Historically-Informed Performance Practice Department at Case Western Reserve University, and the Baldwin-Wallace Bach Festival. In addition to her commitment to early repertoire, Tan regularly presents new music to her audiences and has premiered several pieces, most notably Cenk Ergun's sound installation piece, "Fomare" at the Cleveland Museum of Art and “Are You You” by Michi Wiancko with City Music. As a pedagogue, Dr. Tan continues to cultivate an interest in historically-informed performance at the pre-college and college level in her role as a board member of the Northeast Ohio MTNA and as the harpsichord faculty at Baldwin Wallace Conservatory. Her passion for sharing historical music has also led her to lead dynamic workshops on baroque dance and historical keyboards in Southeast Asia where accessibility to period music is rare.
