New York audiences treated to sounds of Chinese instruments

Shortly after diplomatic relations between China and the US were established in 1979, Seiji Ozawa conducted the Boston Symphony Orchestra in a performance of the piece during its historic visit to China, followed soon after by its US premiere.

"Music doesn't need to be translated," maestro Cai told China Daily of the beauty of the work. "As long as you have good music, it doesn't matter if you hear the music for a hundred times, or it's your first time listening; you can be moved by the music, you can enjoy. As an artist, that is our goal: to bring the soul of the music to our audience."

Opening with the Spring Festival Overture, the orchestra made up of musicians of Western and Asian backgrounds blended their musical talents effortlessly.

In Dong's pipa performance, she strummed the instrument to create a soothing sound, similar to a stream of water.

Cathy Liu of New York, who attended the concert with her mom, Yingzheng. Liu, told China Daily: "I'm first generation Asian American. I believe it's pretty important. I'm a little whitewashed and don't know much about my culture, but I believe that coming here and listening to Chinese music definitely helps."

The erhu concerto Ink Plum by Yu Hongmei, inspired by Wang Mian's poem of the same name from the Yuan Dynasty (1271-1368), combined classical poetry with a modern composition. The concerto was performed by Yan, who used the instrument to create both powerful and melancholy sounds.

The concert also presented two symphonic works: East and West III: Tao for All by composer Zhang Shuai and The Majestic Land by Li Shaosheng.

East and West drew inspiration from the Tao Te Ching text and reflects the composer's deep philosophical insights into life, Taoism and nature.

"I think music is some kind of language. I've heard a lot of Western music on my travels, especially American music like jazz and rock music, and I like them so well," Zhang told China Daily.