“As musicians, we are always worried about disturbing our neighbors”

Wen Hung, a 35-year-old violinist, began her musical journey at the age of four and today has an international career. Born in Taiwan, she has been living in Luxembourg since 2022. At the end of that year, she became a permanent member of the Luxembourg Philharmonic Orchestra. Knowing each other through the walls they share in Merl, Marianne Brausch listens to Wen’s practice at home. Having been immersed in music since her childhood too – her father played the English horn – she enjoys these small private concerts. For forum, they talked about Wen’s career, her experiences across different cultures, and her daily life as a musician.

What is your route to Europe and finally to Luxembourg and the Philharmonie?

I started my journey in Europe in Hamburg for my master’s degree. After finishing my studies, I started my career as a professional musician. I played for a few years with the Hamburg Symphoniker. That was before I moved to Darmstadt, to play in the opera house there. That was a few months before the first lockdown of COVID, and that is where I was before I got my permanent job here in Luxembourg.

When you were admitted as a permanent member of the orchestra, I remember you were very, very happy… Can you tell us why?

I also remember clearly that moment when I came home from the orchestra and saw you on your balcony with a big, warm smile. I told you that I had passed my trial year and that I was now officially a permanent member of the orchestra. I was, for sure, very, very happy! To have the chance to become a permanent member of a professional orchestra meant a lot to me. This was a dream of mine, a childhood dream. I played in many orchestras when I studied in Taiwan, not only at school but also with some youth orchestras and at festivals. After moving to Hamburg, I started to play with professional orchestras. These experiences really shaped me – who I am today – and made me realize that this was really something I wanted to do.

I would like to share a small story from my auditioning period. I attended quite a lot of auditions, and the one for the Luxembourg Philharmonic was obviously my last so far. What made it really special was not only because I won the audition, but also because it took place during the COVID period – many auditions and concerts got cancelled, so I had a lot to deal with besides practicing. I had to somehow decide where to go and how to continue my career. As a foreigner in Europe, I need a visa to stay, and without concerts and contracts, there would have been a problem.

The audition for Luxembourg was at the very end of my visa – I had only two weeks left. So I was very stressed and a little bit hopeless, to be honest. I remember before going onto the stage for the last round, I suddenly had a memory come to my mind from when I was in elementary school. My mom picked me up from school, and I had a violin lesson that day. I was so excited to share that I had learned a new piece, that I couldn’t wait until we arrived home. I opened my violin case in the car and started playing – that was the pure joy of playing music. This memory has supported me throughout my journey.

How does your daily life as a musician look like? I sometimes can hear you practice parts dedicated to the violin at home, which I really enjoy. Still, I have been wondering how that compares to rehearsing at the Philharmonie.

My daily life as a musician includes reading scores and listening to lots of music. And then, of course, practicing my instrument. I usually rehearse more at the Philharmonie, since I feel freer to play loudly there. Most of my work involves preparing parts for the orchestra or working on pieces for other occasions outside the orchestra.

As musicians, we are always worried about disturbing our neighbors when we practice, and we are not always sure how welcome we will be in a new apartment. I feel very privileged to have someone like you next door who appreciates it. Thank you to all the neighbors in the world who support us out there!

Can you tell us more about your instrument? What kind of violin are you playing and what is your relationship to it?

My instrument is very special, because it is a personalized violin, which I ordered in Berlin in 2018. I waited almost two years for it. It is a copy of a famous Italian violin, built by Guarneri del Gesù. I chose all the materials myself, so I could get the sound I want and like and feel attached to it.

Sometimes I see you coming back from tours. It is obviously tiring. Where do the tours take you? How long does a tour take? Some people think that “the life of an artist” is fabulous. How is it for you?

I enjoy it a lot! I love traveling and experiencing different cultures and playing in different concert halls. I feel really privileged to have a job where I can have fun and work at the same time. During the first three years I played here, we mostly traveled to Spain thanks to our chief conductor Gustavo Gimeno, who is from Spain. The duration of a tour is from a few days up to a week or even longer; it varies, but the destinations are quite international. The biggest tour we recently had was to South Korea for eight days. Our tours usually involve rehearsals in Luxembourg, and once we start the journey, we do not rehearse a lot anymore but try out the acoustics in the different concert halls. Sometimes, we even manage to have a day off on tour to recharge ourselves or maybe do some sightseeing.

A philharmonic orchestra counts 99 musicians. What is the average age of the musicians?

For me, it is very special to work in such a large group with musicians of different ages. In the beginning, I found it a bit strange to call someone who is almost my parents’ age my colleague. But as time went on, I realized how valuable that diversity is. The average age in our orchestra is around 45 to 50. The youngest member is around 25, while the most experienced members are nearing retirement, around 60 to 65. It’s wonderful and enriching to learn from such experienced musicians and to work with people being at different stages of life.

Do you intend to stay “for life” or will you leave the orchestra in Luxembourg one day? Is there high mobility of musicians within the orchestra or do members remain attached to their position for a large part of their professional career?

Do I intend to stay for life? That’s a big question! At the moment, I’m really enjoying my time here in Luxembourg. I feel lucky to be part of the Philharmonic, and I love the lifestyle here. Of course, life is unpredictable, but for now, I’m happy and settled.

Most people in orchestras stay where they are for life. Of course, there are always some exceptions – people move on for career reasons, personal goals, or family matters. But generally, many of us expect to remain in the same position throughout our orchestra careers. It’s a stable, rewarding environment where you can continue to grow and contribute to the music.

What are your favorite performances?

It is hard to choose only one of my favorite performances, but I do have some memorable ones.

I particularly enjoyed playing with Maestro Tugan Sokhiev and Maestro Kazuki Yamada. They are very different conductors, but both really touched my heart during the performances. However, one concert that stands out for me: it was the one with our conductor Gustavo Gimeno in Korea, in Seoul. We performed Tchaikovsky’s Fifth Symphony, and it was truly unforgettable. The energy in the concert hall, the connection with the orchestra, and the audience’s response made it a very special experience for me.

What made it even more exceptional for me was that when I was standing up after the performance, I spotted my parents sitting in the audience. They had flown from Taiwan to Seoul to see us, and that made the experience even more emotional. It was a powerful reminder of how much support and love they have given me throughout my journey.

Tell us a bit about yourself: how did you start playing in Taiwan, where you were born? What was your schooling like and what were your first impressions of the West?

I started learning music, began with piano, ballet, and painting, at a young age. My parents encouraged me to explore different hobbies to find what interested me. Music turned out to be my greatest passion! At nine years old, I joined a special music class in school and began learning the violin, which my piano teacher suggested as a second instrument. My school life was very dynamic, full of exams, competitions, and practice. My violin teacher in junior high school had studied in Germany and shared many stories with me about her experiences there. These stories, along with the music history lessons about great European composers like Bach, Brahms, and Beethoven, inspired me to dream of studying in Germany one day.

My first impressions of the West were forged by a trip to Berlin and Paris with a youth orchestra. Before that, I had only seen European cities in films or books. The architecture was so different from what I had known in Taiwan, and everything felt much more historical. It felt like wandering through a museum.

Following your youth experiences, you told me that there is one thing about audience contact you particularly like: when members of the orchestra play for children and they can “try out” the instruments. Is this your way of hoping to have a musical succession?

One aspect I find particularly meaningful at the Philharmonie is its educational outreach. We host several family concerts each season, often combining storytelling with music. Before the concert, we musicians visit schools to conduct small workshops to help prepare children for the concert experience. These workshops introduce them to the orchestra, the different instruments, and the sounds they produce, as well as help them recognize some melodies. We also tell them stories and create an image of the music, so they can enjoy the concert even more when they come to the Philharmonie.

After the concerts, we offer opportunities for children to try out the instruments. Each session is a bit different – sometimes featuring strings, winds, or even percussion instruments. The goal is to provide them with an intimate interaction with the instruments, allowing them to touch the instruments, make sounds, and get a feel for them. It’s always incredibly rewarding to see their responses, particularly the smiles on their faces and their curiosity. I have even heard parents express interest in trying the instruments themselves, as many have never had the chance to play.

I believe this is such an important part of our work – not just performing classical music on stage from a distance but also making it accessible and enjoyable in a more personal way. It shows the audience that music is not something far removed from their everyday life, but something they can engage with, have fun with, and truly appreciate.

What role does music play in your private life?

Music plays a significant role in my life, not only in my professional work but also in my private life. While I’m preparing for concerts or rehearsals, I also enjoy listening to music that helps me relax. For example, I love jazz and South American music, as they bring a sense of calm and creativity. In addition, I listen to quite a bit of Taiwanese pop music, which takes me back to my student days in Taiwan and reminds me of my family and friends there. It creates a strong emotional connection and brings me a sense of nostalgia.

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Marianne Brausch is a freelance journalist and publi­shes in d’Lëtzebuerger Land mainly texts about contempo­rary art. She is the president of Aica Luxembourg.

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The interview took place on May 14th 2025.