Interview with Nicholas Feng

With applications now open for the 2025 Baroque Competition, we sat down with violinist Nicholas Feng, last year’s first prize winner. We found out about his side-step from piano to violin, what it’s like to perform as a soloist with an orchestra and why playing Bach is akin to climbing Mt Everest. 

When did you start playing the violin?
I started learning the violin at age 8 and a half, which is considered a late start since many violinists begin between age 3 and 6. However, music has been part of my life for as long as I can remember. According to my family, as a baby, I ate, slept, and lived with music constantly playing around me.

My first instrument was the piano. I was drawn to it when my sister started learning. I would watch her, listen intently, and even try to pick out melodies myself. My mother quickly realised I had a natural musical heart and good ears, so she enrolled me in piano lessons when I was 4. I picked it up quickly and, most importantly, I loved it.

When I was 8, my primary school invited students to join the school orchestra. Seeing my friends participate, I wanted to join in and make music together. At first, my mother wasn’t sure whether I should play the violin or cello, as many people say the violin is particularly difficult. Around the same time, I saw an international violin competition on YouTube. The young musicians played with such beauty and passion that I was completely captivated. I loved the sound of violin, and I dreamed of playing like that one day, so I chose the violin without hesitation.

What was it like to win the 2024 Baroque Competition?
Winning the 2024 Baroque Competition was a complete surprise. Everyone performed brilliantly that day, and I didn’t expect to win at all. I was especially honoured that both the jury and the audience appreciated my interpretation of Telemann. Telemann’s music allows for a more personal, imaginative approach, where I could infuse my own fantasy into the piece, that is, improvising ornaments, experimenting with different colours and twists in the phrasing.

I believe that being a great musician isn’t just about technical mastery. It is about making the music your own. This prize was a huge milestone in my young violin journey. It reminded me that I am capable of pushing my limits and achieving my goals.

What has been your performance highlight so far?
Apart from the Baroque Competition, the Preston Concerto Competition was a defining moment for me. It was my first time performing a concerto as a soloist with an orchestra, and I never expected to reach the finals. For my audition, I played Lalo’s Symphonie Espagnole 1st movement. After advancing to the finals, I decided to add the fifth movement and learnt it from scratch in a short period. It was a huge challenge, but I loved pushing myself. In the end, performing both movements with the orchestra was an unforgettable experience, and winning the Audience Prize made it even more special.

I also had the privilege of debuting Mendelssohn’s Violin Concerto with the Zelman Memorial Symphony Orchestra at the end of last year, which is one of my favourite concertos.

What is your favourite piece from the Baroque era to play?
Baroque music fascinates me because of its intricate structures and expressive depth - like Baroque architecture, it is sophisticated yet dramatic, rich and expressive. My favourite Baroque composer is J.S. Bach. In my opinion, Bach’s unaccompanied Sonatas and Partitas are the Mt. Everest of violin repertoire.

If I had to choose a favourite, at this stage, it would be BWV 1005 in C. When I play it, I feel naturally connected to its uplifting energy and beauty. The piece takes us on a wondrous journey through tension and resolution, making it a joy to explore.

What piece are you working on now? And what do you like about it?
I am currently learning a wide variety of compositions, including works by Bach, Wieniawski, Paganini, Mozart, Beethoven, Ysaÿe, Britten, Sarasate, and Tchaikovsky.

At this stage, my main focus is on Sarasate’s Carmen Fantasy and Tchaikovsky’s Violin Concerto. Both pieces offer rich musical elements to explore. Carmen Fantasy demands virtuosic brilliance and flair, while the Tchaikovsky Violin Concerto is an emotionally powerful and technically demanding masterpiece. Studying these works has been both challenging and rewarding.

What do you like to do outside of practicing music?
I was fortunate to engage in many activities growing up, such as tennis, table tennis, swimming, soccer, choir, chess, and more. My family also loves outdoor adventures like hiking, camping, kayaking, diving, fishing, etc. In addition, I enjoy visiting art galleries, reading books and watching movies. Being surrounded by different life experiences has provided me with various perspectives and inspiration for my musical interpretations.

What are your musical aspirations for the future?
In the future, I hope to explore classical music more deeply through festivals and competitions in Europe. I believe immersing myself in different musical cultures and working with world-class musicians will be an inspiring and transformative experience.

Beyond performing, I want to develop into a well-rounded musician - not just as a performer, but also as a leader and educator. One of my biggest goals is to inspire others appreciate the beauty and power of music.

Any advice for 2025 Baroque Competition applicants?
I have applied for the Bach Competitions (which was transformed to the Baroque Competition in 2024) several times. 2024 was the first time I got into the finals. This experience taught me that competitions aren’t just about winning. They are a process of self-refinement, resilience, and growth. A competition gives you a goal - to learn a new piece, to perform in a phenomenal hall, or to elevate your playing to the next level. You may not win every time, but you will always gain something valuable. I encourage everyone to embrace the challenge, roll up your sleeves, be confident and prepared, then go for it. And most importantly, enjoy the journey!

Applications for the 2025 Baroque Competition close on Wednesday 7 May.

Click here for more information.