Hsin-Ting SHENG, 2nd Prize Winner of 5th Alions Baltic International Music Competition in Estonia, and Special Prize Winner for final rounds invitation of Gershwin International Competition in New York in 2019/ Accessit 1st Prize of Les Clés d’Or Compétition in Paris/ Final of 13th OSAKA International Music Competition in Japon.

Born in Taipei where she started her musical studies at 7 years old, Hsin-Ting SHENG went to Paris in 2008, to continue her musical studies at Regional Conservatoire Romainville. She won first prizes in the flute, theory and analysis classes. She also attended writing classes, history of music, and chamber music.Admitted to the Ecole Normal de Musique de Paris in 2010, Hsin-Ting obtained a prize Supérieur d’Exécution in the flute in the class of Pierre-Yves Artaud.

She has a passion for chamber music, in several formations, and the orchestra which she followed the Orchestre de Flutes Francais with Pierre-Yves Artaud, conducted by Paul Méfano and Renaud Francois. In 2014 she had a flute recital in National Concert Hall in Taipei; She has performed with soprano and french pianiste Jérome Granjon in National Concert Hall in Taipei in 2016 and 2017; and performed with french flutiste and french cellist, the trio repertoire from Haydn in France. In 2018, she has performed in the winner concert in Estonie, and Carmen Fantaisie in church Temppeliaukio in Finland.

In January 2022, the "Flute Modern Music Composition Project:“'Oeway” for flute solo and percussion received support from the National Culture and Arts Foundation. The premiere took place at the National Concert Hall. This composition draws on the composer Hsin-Ting's extensive experience as a bass flutist in the flute symphony orchestra. In this piece, the bass flute exploits its deep and melodious characteristics. Combining post-modern tonality with symbolic techniques and the transformation of natural elements in musical representation, the composition depicts ethereal murmurs, akin to repetitive incantations, drifting through the valleys during the Grain Rain season.

On the technical side, various special modern flute techniques are incorporated, such as playing with mixed vocal sounds, key clicks, tongue stops, breath sounds, sweeping harmonics, multiphonic playing, and microtonal techniques. These techniques contribute to creating a unique sense of detachment in the music, showcasing a greater intricacy and depth in dynamics, tone colors, and musical tension. The composition exhibits a coexistence of the musical characteristics of both Eastern and Western traditions.

In the percussion section, bamboo wind chimes, bamboo percussion instruments, and shell wind chimes are utilized to transform the sound concept of the Sai Xia tribe's hip bells. This breaks away from the constraints of Western percussion techniques, blending Eastern charm with Western techniques. In the slow section of the composition, the concept of "breathing" is employed to enhance both the aesthetic and artistic imagery of the music.

In the fast section, the music portrays the ritual dance of seeking peace and exorcism using 'Oeway. It utilizes a fixed, repetitive rhythmic cycle, spiral-like rotations, gathering, and tightening, forming a polyrhythmic and multi-layered texture, reminiscent of the captivating rules of the hip bells: once started, they cannot be stopped. The flute resonates in harmony with the sharp and thorny rhythm of the 'Oeway at this point. This interplay allows the audience to grasp the vitality of the music between movement and stillness, internalizing the collision of tradition and modernity, sound and spacetime. Ultimately, it leads to a personal understanding and experience.