Migration
(2021)
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For flute, clarinet, violin, cello, piano, percussion
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Duration: 10 minutes
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Commissioned by the Aspen Contemporary Ensemble
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Program notes:
Migration is a concerto for chamber ensemble. It draws excerpts from the “World Map Concerti” series, which is a collection of five mini-concertos for quintet, which takes listeners on a journey around the world, opening their ears to music’s evolution as an international unifier. Song of Matilda brings listeners to Australia with a thematic interpretation of the classic bush ballad, “Waltzing Matilda.” The European leg of the journey is represented by the song of Lindembaum, a nostalgic piece inspired by Hans Christian Andersen’s fairy tale, The Dryad. Song of Peace is inspired by Korean culture and traditional music, drawing its name from the inter-Korean Peace House. There is also a touch of surrealism with a pianistic depiction of a wintry weather in subtropical Canton, in the fast passage featuring the piano.
Back of the Bus
(2020)
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For wind quintet (flute, oboe, clarinet, horn in F, bassoon)
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Duration: 10 minutes
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Commissioned by the Women's Wind Ensemble
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Program notes forthcoming
Miss Ying-Ning
(2019)
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For string quartet (2 violins, viola, cello)
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Duration: 16 minutes (without narration); 20 minutes (with narration)
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Commissioned by the Composers' Guild of New Jersey for the Argus Quartet
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Narration text by Joshua Anderson
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Program notes:
Miss Ying Ning was commissioned by the Composers Guild of New Jersey for the Argus Quartet’s 2019-20 Season. It draws inspiration from a story in Strange Stories from a Chinese Studio, a collection of Chinese folk tales by Qing dynasty scholar Pu Songling. In seven movements, the music depicts the plotline of how the man and the half-fox girl meet, fall in love, get married, and fight for justice together.
Miss Ying Ning can be played with or without narration; the text can be narrated by any performer or performers, or a narrator.
Thanks to the Argus Quartet, who came up with the brilliant idea as well as the text that is added in between movements, and to my friend, clarinetist Dr. Joshua Anderson, who helped refining the text with delicate retain of the originality of the story, as well as a fine touch of the lyrical artistry.