Wrath of the Winged Dance - for orchestra (2024) - 7'
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Commissioned by RIT Philharmonic Orchestra (2023)
Yunn-Shan Ma, conductor RIT Philharmonic Orchestra (Rochester Institute of Technology) |
“Wrath of the Winged Dance” is inspired by a Taiwanese folk tune that depicts the intense emotions of a bird losing its nest and wailing desperately at midnight. As the avian protagonist grapples with the destruction of its nest, the dance becomes more and more manic, portrayed through bold orchestral strokes and rhythmic intensity. As the composition unfolds, the melodic motifs soar and dive, much like the flight of the bird in its quest to reclaim a sense of home and peace. Moments of tension and release mirror the ebb and flow of the avian dance, while the echoes of its cries reverberate in the orchestra, creating a haunting atmosphere.
Kaleidoscopic Venture - for sinfonietta (2022) - 9'
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Luke Poeppel, conductor
Eastman Graduate Composer's Sinfonietta |
Kaleidoscopic Venture delves into the symbiotic relationship between lights and shadows, which in tandem configure a myriad of patterns, shades, contrasts, and variations. The constant alternation between stasis and motion arouses reminiscence, contemplation, and introspection upon the distant memories of spectators, who are surrounded by toys, pigments, and warm glimmers. Through the reflection and the refraction of radiant and obscure elements, this composition invites curiosity, reverie, purity and joy.
Swirls of Glitter - for orchestra (2022) - 10'
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Austin Chanu, conductor
read by the Eastman Philharmonia |
Swirls of Glitter explores the thrilling contrasts between the various solo groups and the full orchestra. The constant alternation between the soli and the tutti results in drastic changes of timbres, dynamics, and musical characters. This composition strives to become a lens into a kaleidoscope, in which numerous events take place to spark endless imagination: delicate shifts of shapes, brilliance of diverse colors, as well as myriads of shimmering lights.
Woven Veins - for sinfonietta (2019) - 7'
＊This work was awarded the Christine Clark/Theodore Front Prize by the International Alliance for Women in Music in 2019
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William Talley, conductor
Eastman Graduate Composer's Sinfonietta |
With different ethnic groups living in Taiwan, cultural identity is sometimes confusing for most Taiwanese people. Due to the influence of technology development, globalization, and the fact that Taiwan holds a weak status internationally after the Japanese colonial era, we as citizens tend to lose sight of our self-identity. What does it means to be Taiwanese? What is our culture? What makes us unique and irreplaceable around the globe? Nowadays, the extinction of traditional culture is now perpetrated by the interweaving of different races, as well as the highly developed industry of technology. Woven Veins explores the lost of Taiwanese identity, the search for self-esteem, and the regain of cultural value and embodiment.
Lost Lust - for orchestra (2019) - 7'
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Maurice Cohn, conductor
read by the Eastman School Symphony Orchestra |
“I am encouraging everyone to be a happy, healthy, unrestrained slut. When everyone is a slut, no one can use this word against women anymore”, said Ya-Ching Yang, a Taiwanese girl launched a project called One Hundred Kisses in Paris. When she was a student studying in Paris, an idea suddenly struck her: “Why not have a photographer taking pictures of me kissing a hundred random men in the streets of Paris?” Her action soon provoked heating arguments in Taiwan. She mentioned in a lecture, “There is no need to justify my action. And of course there is sexual desires in my works. I selected these men because I found them attractive.” She then brought up a question: why does women embracing lust makes the society so anxious?
Starting with a strong, justified musical gesture, the brilliant, splendid sounds are gradually suppressed by an invisible force. The timbre is transformed from piercing metal sounds to soft wooden tone color. It’s like society expect “decent ”women to hide their inner lust, regard their natural human desires as shameful and sinful. The second half of the piece is about release and liberation. From a really quiet and peaceful passage, the faith and belief are like buds is spring, waiting to blossom and be transformed into something beautiful and unbreakable. Like Ya-Ching’s tile of the lecture: “Dear girls, please regain lust, rights, confidence and physical autonomy!”
Starting with a strong, justified musical gesture, the brilliant, splendid sounds are gradually suppressed by an invisible force. The timbre is transformed from piercing metal sounds to soft wooden tone color. It’s like society expect “decent ”women to hide their inner lust, regard their natural human desires as shameful and sinful. The second half of the piece is about release and liberation. From a really quiet and peaceful passage, the faith and belief are like buds is spring, waiting to blossom and be transformed into something beautiful and unbreakable. Like Ya-Ching’s tile of the lecture: “Dear girls, please regain lust, rights, confidence and physical autonomy!”
Collision - for orchestra (2017)
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*This is a MIDI recording.
*The recording is only a partial of the piece. |
Transmutation - for orchestra (2016) - 10'30''
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Gordon Chin, conductor
National Taiwan Normal University New Music Ensemble |
Wave in Heart - for orchestra (2015) - 6'30''
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Gordon Chin, conductor
National Taiwan Normal University New Music Ensemble |