Eight Immortals and the Sea
(2022)
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For clarinet, bassoon, French horn, 2 violins, viola, cello, and double bass
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Duration: 10 minutes
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Commissioned by Chamber Music Society of Central Virginia
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Program notes:
Eight Immortals and the Sea draws inspiration from the Chinese Taoism mythology. The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. Among the literature on the subject, one of the work made during the Ming Dynasty (c. 14th–15th centuries) is called The Eight Immortals Cross the Sea. It is about the Immortals on their way to attend the Conference of the Magical Peach when they encounter an ocean. Instead of relying on their clouds to get them across, Lü Dongbin suggested that they each should exercise their unique powers to get across. Derived from this, the Chinese proverb “The Eight Immortals cross the sea, each reveals its divine powers” indicates the situation that everybody shows off their skills and expertise to achieve a common goal.
In the composition, the eight players who each musically represent one of the legendary Immortals depict a more abstract and loose-structured picture of the story. The music takes over its own logic beyond the inspiration and focuses on the collaborative and dramatic elements represented in the story. It also treats the “sea” as an equally important aspect to present the relationship between individual Immortals (each musician) and the Sea (composite sound world contributed by the entire ensemble).
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:
Back of the Bus pays tribute to Rosa Parks' courageous fight for civil rights, which changed the course of history. The piece employs various musical episodes to represent the struggles, pain, fight for justice, and ultimately, the hope that emerged from those challenging times. The music progresses from a darker, more somber tone to a brighter and more hopeful sound, reflecting the journey from oppression to liberation. This abstract representation of the struggle for freedom is brought to life through the interplay of different musical colors and textures. Back of the Bus was commissioned by the Women's Wind Ensemble after winning their prestigious Women of Note Composition Competition.
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.