Pei-Shan Lee
exquisite balance...playing with finesse and beauty The Strad

Pei-Shan Lee

Pei-Shan Lee

Pianist Pei-Shan Lee's playing has been praised in Strad Magazine as "glittering… sensuous, tender, and luminous," The Boston Musical Intelligencer writes of her "gorgeous tone and color range...and monumental orchestral sonorities," The Boston Globe calls her "dynamic," The Washington Post hails her as a "consummate" artist, and the Maine Classical Beat commends her gift for "holding it all together… as the composer directing from the piano."

Lee's concert career spans major halls in the U.S. and abroad. Highlights include performances at the Lincoln Center and Carnegie Hall's Weill Recital Hall in New York; Kennedy Center in Washington, D.C.; Jordan Hall in Boston; and Severance Hall in Cleveland. Internationally, she has performed in Belgium, France, Germany, Finland, Israel, Taiwan, and China. She has appeared at prestigious festivals including Mostly Mozart, Caramoor, Great Lakes, Rockport, and Bowdoin in the U.S.; the Cello Festival in Brussels; ProQuartet in Paris; piano festivals in Spain and Russia; Taiwan's Formosa Chamber Music Festival; and China's Great Wall International Music Academy.

Pei-Shan Lee performing on stage

A deeply committed chamber musician, Lee has collaborated with the Ariel, Borromeo, Formosa, Harlem, Jupiter, and Szymanowski Quartets, as well as Principals of the major orchestras of Boston, Chicago, Detroit, Los Angeles, San Diego, Toronto, and Munich. She has performed with violinists Cathy Cho, Stefan Jackiw, Ayano Ninomiya, and Ian Swensen; violists James Dunham, Ed Gazouleas, Kim Kashkashian, and Dimitri Murrath; and cellists Lluís Claret, Paul Katz, Laurence Lesser, and Pieter Wispelwey, among many others. Based in Boston, she regularly appears with her esteemed colleagues of the New England Conservatory and has worked closely with Boston Ballet and guest artists of the Boston Symphony Orchestra.

Lee is also a respected educator and advocate for the collaborative piano field. A faculty member at the New England Conservatory since 2009, she mentors a talented class of graduate students, curates the Sonata Night series, and helped develop NEC's unique five-year dual degree program (BM in Piano and MM in Collaborative Piano). In 2013, she launched the graduate collaborative piano program at California State University Northridge and founded the collaborative piano fellowship at the Bowdoin International Music Festival, where she has served as collaborative piano director since 2015. Her doctoral thesis, The Collaborative Pianist: Balancing Roles in Partnership, has become a widely referenced resource in higher education.

Lee's experience extends to new music and documentary film as well. She was a founding member of Da Camera Society's "DC8" new music ensemble in Los Angeles and appears in the films The Portrait (with Anne-Sophie Mutter) and Talent Has Hunger (with Paul Katz). She served as studio pianist for Itzhak Perlman at the Perlman Music Program in 2006 and later joined the faculty for PMP's Sarasota Winter Residency. She has held positions at the Cleveland Institute of Music, Meadowmount School of Music, and the Chautauqua Institution. Her performances have been featured on WQXR, WGBH, and WRCJ, and her recording of the Strauss and Szymanowski sonatas with violinist Grzegorz Kotow is available on the ArchiMusic label.

Her principal teachers include Irma Vallecillo, Anne Epperson, Jonathan Feldman, and Solomon Mikowsky in the U.S., and Yu-Yun Chen, Su-Chen Kuo, and Song-Ren Hsu in Taiwan.

My Story

The Spark

I was fortunate to have begun my schooling in an exceptional musical environment where everyone in my class, from grade one through six, was a "music major." There was lots of musical interaction, and every week all grades would come together for singing in chorus and playing in orchestra.

In fact, I was just 6 years old when I played my first duo: Mozart's e minor Sonata for Piano and Violin, K. 304. I still remember how much I loved playing with the violinist and how I was able to help her at her final exam!

She was one year my senior and near a nervous breakdown as we went in to play for a really scary jury. Instinctively I moved to calm her and held her very shaky right hand for a few seconds. I had no idea if that would help settle her, but later she told me how thrilled she was that her bow didn't shake!

Looking back, I see that it was an intensely positive spark that would eventually propel my professional life.

A Natural Path

Throughout my high school years, I continued to benefit from being in a class of only music majors and it was more than natural for me to play for my classmates' lessons, exams, recitals, etc.

Nothing has changed except that I have been privileged to play with some of the world's finest artists! Supporting my partners both musically and emotionally brings me great personal satisfaction–I feel I have done something good for the day.

Due to these formative years in Taiwan, I have always thought of solo and collaborative piano as equally important. I love playing the piano, both solo and collaborative, but to put it simply, making music with others is what brings me true fulfillment.

Life-Changing Discovery

I came to the U.S. from Taiwan focused on solo piano, but after a year, I was excited to discover that major conservatories offered graduate degrees in "Accompanying"—a major discipline then unheard of back home.

I expedited my undergraduate studies, finishing in three years so I could join the master's program at The Juilliard School in what is now more appropriately called "Collaborative Piano." I immediately felt I belonged, finally able to concentrate on—and support myself with—the work I had loved my entire life.

I also gained invaluable experience working long Saturdays at the pre-college, running between lessons every half-hour for what was then just $6! This is how I discovered my passion, and today I am devoted to all aspects of the collaborative field—I perform, teach, and I am excited to have helped build graduate collaborative piano programs.

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Teaching

Passion to Profession

My work at four prominent U.S. conservatories has taught me how crucial a thriving collaborative piano program is to a school's success. Unfortunately, many institutions view these programs merely as a means to utilize pianists for service, often neglecting their educational needs. Achieving a balance between a student's educational experience and the demands of institutional service is challenging, yet essential. A well-designed graduate curriculum is vital for preparing individuals for a diverse collaborative career. This topic was the focus of my doctoral thesis, The Collaborative Pianists: Balancing Roles in Partnership. It is encouraging to witness so many new programs in my field globally and how they inspire a new generation of pianists to share in my love and passion for this art form.

Are You the Right Fit?

I hope sharing my background is helpful to young pianists considering this path. Studying collaborative piano at the graduate level is busy, often hectic. Your day is filled with personal practice, rehearsals, playing for lessons, classes, student juries, and recitals — ideal for learning repertoire and gaining experience. Solid training as a pianist is really a prerequisite because the repertoire we must learn and keep in our fingers is enormous, not to mention all the related skills (e.g., orchestral reductions, lyric diction, score reading). Here are a few more things to know: "Collaborative Piano" is certainly not an escape from difficult repertoire, but it is an art form and a career for those who love the piano and making music with others. If you are a good pianist, enjoy people, the exchange of musical ideas, and take pleasure in both leading and supportive roles (the two are absolutely necessary), then collaborative piano is probably for you. You may spend more time at the piano than ever before, but your life will be richer in ways that you cannot imagine.

Press & Reviews

Nuance and Emotional Breadth: Ninomiya and Lee at Jordan Hall

"Ninomiya and Lee gifted the audience with their nuanced and balanced version of the expansive, ardent and massive Richard Strauss Sonata in E-Flat Major, Opus 18"

Concert Reviews: Bowdoin Festival

"all three players in exquisite balance, the composer's rivers of melody seemed effortless and, especially in the second movement"

Wispelwey Con Anima

"Lee clearly she had this score in her head and heart."

Concert Review: Freivogel, Arron, Lee trio

"Pei-Shan Lee approached the piano part with finesse and beauty, complementing well the power of violinist Meg Freivogel."

Mendelssohn @ Bowdoin Festival Opener

"brisk, supercharged performance, executed without strain and without the compromises that can make one-off performances seem carefully bland."

Pieter Wispelwey Delivers Gem of a Program

"Pei-Shan Lee was a consummate partner, especially in a mercurial performance of Debussy's Cello Sonata"

Get In Touch

I welcome inquiries about collaborations, concert bookings, and educational projects. I'd love to hear from you.

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