Born on December 6, 1955, in Shanghai, Sheng began studying the piano with his mother at age four. During China’s infamous Cultural Revolution, at fifteen he was sent to Qinghai—a Chinese province bordering Tibet—where for seven years he performed as a pianist and percussionist in the provincial music and dance theater, and studied folk music of the region. When China’s universities reopened in 1978, he was among the first students admitted to the Shanghai Conservatory of Music where he studied composition from 1978-82. He moved to New York City in 1982; and, at Queens College, CUNY, he studied composition with George Perle and Hugo Weisgall, Schenkerian analysis with Carl Schachter, and earned his MA in 1984. He earned his DMA in 1993 from Columbia University where he studied composition with Chou Wen-Chung, Jack Beeson and Mario Davidovsky. During that period, in 1985, as a student at Tanglewood Music Center he met Leonard Bernstein who later became his mentor. Sheng studied composition and conducting with Bernstein privately and worked as his assistant until Bernstein’s passing in 1990.
Sheng’s music is noted for its lyrical and limpid melodies, a Shostakovich sense of breath in music phrases, a Bartokian sense of rhythmic propulsion, and dramatic and theatrical gestures. Many of Sheng’s works has strong Chinese and Asian influences, a result of his diligent study of Asian musical cultures for over three decades. Sheng’s works is well known for their dramatic style and historical signification. Two of his major orchestral works H’un: In Memoriam 1966- 76 (1988) and Nanking! Nanking!—a Threnody for Pipa and Orchestra (2000), and his opera Madam Mao (2003) were indeed inspired by events in recent Chinese history.