By: Jessica Li
In the demanding world of classical music, the path of a performer is one of relentless pursuit. The journey of a scholar involves deep inquiry. The role of an educator requires patience and vision. Rarely do these paths converge with the authority and insight embodied by violist Xue Ding. It is this unique synthesis of artistic, academic, and pedagogical excellence that has led to her appointment as a judge for two significant music competitions in the United States: the nationally focused “The American Prize” and the internationally recognized “Charleston International Music Competition.”
For Ding, whose career is a testament to high standards of musical achievement, this role is a natural evolution. “Having stood on both sides of the stage—as a competitor and a collaborator—I understand the profound vulnerability and immense dedication required to present one’s art,” she reflects. “My aim is to listen with empathy and intellect, to identify not just flawless technique, but the compelling story, the unique voice, and the communicative spark that distinguishes a true artist.”
A Foundation Forged in Excellence
Xue Ding’s qualifications for this discerning role are rooted in a world-class educational and professional background. She is currently a Doctor of Musical Arts candidate at Stony Brook University, building upon a rich academic lineage that includes a Master of Music in Orchestral Performance and a Professional Study Certificate from the Manhattan School of Music, a Master of Music from the New England Conservatory, and a Bachelor of Music from the Mannes School of Music. Her artistic development has been guided by a veritable “who’s who” of the viola world, including Lawrence Dutton of the Emerson String Quartet, former New York Philharmonic member Karen Dreyfus, former principal violist at the Metropolitan Opera Orchestra Craig Mumm, Avery Fisher grant recipient Dimitri Murrath, and renowned pedagogue Patinka Kopec.
A notable breadth of performance careers complements this extensive training. As a soloist, she has graced prestigious stages including Weill Recital Hall at Carnegie Hall and Merkin Hall, performing repertoire from Stamitz and Walton to the challenging Cadenza for solo viola by Penderecki. Her orchestral experience—including serving as principal violist with both the Stony Brook University and Manhattan School of Music symphony orchestras and performing with the Aspen Festival Orchestra and other music festivals around the world—has endowed her with a deep understanding of ensemble, balance, and architectural form.
A Recognized Authority: From the Podium to the Page
Ding’s authority extends beyond performance into the realms of scholarship and publication, setting her apart as a judge of uncommon depth. She is an award-winning researcher, having earned second prize in the American Viola Society’s highly competitive Dalton Research Paper Competition. Her scholarly work has been featured in the Journal of the American Viola Society, including her award-winning paper, ‘The French Influence in Charles Loeffler’s Two Songs for Mezzo-Soprano, Viola, and Piano,’ published as a featured article in the Fall 2024 issue, and her paper ‘A Mirror of the Soul: The Viola in Arvo Pärt’s Spiegel im Spiegel,’ published in the Summer 2025 issue.
Furthermore, her critically-engaged editions of the Stamitz and Telemann Viola Concertos—complete with her own cadenzas and embellishments—demonstrate a meticulous understanding of historical style and performance practice. This skill will be invaluable in evaluating competitors’ interpretive choices.
Her competitive success is not merely academic; it is a part of her own artistic narrative. A consistent prizewinner, her accolades include the Fuchs Chamber Competition, the Widder String Quartet Competition at the Manhattan School of Music, and first prizes in the International Shining Stars, Claude Debussy, and New York Classical Music competitions, among many others.
A Holistic Vision for the Judge’s Role
This multifaceted background, as a Doctor of Musical Arts candidate, an award-winning scholar, an experienced solo and orchestral performer, and a dedicated educator at institutions such as the Usdan Summer Camp and the Long Island Music Conservatory, informs Ding’s holistic approach to judging. Her recent experience with The American Prize provided powerful insight into this multi-layered musical landscape.
“For The American Prize, I had the distinct honor of adjudicating three orchestra divisions. A particularly impressive aspect was evaluating the college-level orchestras, which perform at a professional level and are led and conducted by faculty members to enter the competition. It was inspiring to witness these ensembles, guided by seasoned professionals, deliver performances of remarkable artistic integrity and technical skill. This experience highlighted the vital role these institutions play in honing the next generation of professional musicians, and it was a privilege to help recognize their outstanding achievements.”
“My work with the Charleston International Music Competition offers a different, yet equally compelling, perspective. I judge performers from around the world, from young prodigies to professional-level artists across different instruments. I am very impressed by established professionals who continue to seek opportunities to challenge themselves and present their work at an international level, as well as by exceptionally dedicated young prodigies. As a performer myself, I understand deeply that in classical music, it is 99 percent sweat and 1 percent talent that determines where you arrive. The dedication these musicians show is truly admirable. The competition is particularly intense because it brings all instruments together in a single arena within each age group.”
“Technical command is the entry point, the vocabulary with which an artist speaks,” Ding explains. “But what we are truly searching for is the poetry they create with it. In The American Prize, I look forward to championing the distinctive voices shaping the American musical landscape. At the Charleston International Music Competition, I am excited to engage with a global dialogue of styles and traditions. In both, I will be listening for the depth of musical intelligence and the courage of artistic personality.”
In inviting Xue Ding to their panels, The American Prize and the Charleston International Music Competition have secured more than a distinguished violist; they have engaged a complete musician. Her journey from the practice rooms to the stages of Carnegie Hall and the pages of academic journals provides her with a comprehensive lens through which to identify and nurture the next generation of musical leaders. Her presence on the judging panel assures competitors that their performances will be met with a rare combination of scholarly rigor, performative insight, and a profound commitment to the future of the art form.
