Photo by 攝影師：Victor Fan 范可樂
Nell'azzuro 藍 (2002)
Originally recorded in 2002 for a solo instrument called zhongruan (a Chinese instrument that sounds like a guitar), this piece was originally a birthday gift for my friend Robert Burr.
This page is under construction. More pieces will be listed soon.
Dance 舞 (2008)
I first composed the piece back in 1992, when I studied at the Eastman School of Music. It was initially a response to Murakami Haruki's novel Dance, Dance, Dance. More than twenty years later, in 2008, I revised the entire piece into a concertino between the Chinese instrument zhongruan (a guitar-sounding instrument) and a chamber ensemble. In my revision, I left Murakami's novel behind. What I had in mind was not the actual rhythm and form of a concrete dance; rather, I was captivated by the idea, shape, form, and structure of feeling of a dance.
Point Dume (2009)
Point Dume was written in 2009 as a symphony that features a solo piano and a harpsichord. Its model is Leonard Bernstein's The Age of Anxiety. In fact, I started writing the first movement of Point Dume after hearing the New York Philharmonic's performance of Bernstein's symphony. There was no subject matter in my mind when I was writing this piece. I was simply obsessed with the various textures of counterpoints, polyphony, and at times, cacophony. During my creative process, my mind was guided by the way a set of intricate relationships between intervals navigate through time. This process of creation allowed me to negotiate, in an absolutely sweeping manner, between chaos and quietude, "holding on" and "letting go."
The name "Point Dume" was put onto the first page of my score as an afterthought. It is the name of my favorite beach in Malibu, where I used to spend entire days embracing the surfs.
Goodbye, Derek, Goodbye 當初可曾說再見？ (1996)
"Goodbye, Derek, Goodbye" was a piano piece originally written as a soundtrack for a 16 mm film I made in the summer of 1996 in New York. It was intended to be an elegy for British filmmaker Derek Jarman. The entire piece is contrapuntal, not only between notes but also between sound and silence. Harmony is sometimes created by using the piano's sustain pedal to hold a series of contrapuntally juxtaposed notes into a vertical structure––and at other times, by taking advantage of the reverberation in a recital hall. The only chord I employed consciously in the entire piece was the "Tristan" chord, which serves a point of accumulation in the piece's overall structure. It is, in a way, one of my favorite pieces.