April Is The Cruellest Month for Solo PercussionistTo play its RealAudio demo, click the right button
World Premiere: November 15, 2000 at the National Concert Hall, Recital Hall, Taipei. Percussion: Jer-huei Chen
Based on the first section The Burial of the Dead of the famous poem The Waste Land by T.S. Eliot, April is the Cruellest Month for Solo Percussionist is the first piece of The Waste Land cycle and was completed in September 2000. I started to write the cycle, which consists of 5 pieces corresponding to the 5 sections of the poem, in 1998; all of them are written for percussion instruments. The third piece Phlebas’Undersea Journey for Solo Marimba and 3 Percussionists and the fourth piece The Fire Sermon for 3 Percussionists was completed in 1998, and the last piece What The Thunder Said for 6 Percussionists in 1999. The second piece The Game of Chess for 2 percussionists will be completed in 2001. April is the Cruellest Month comprises 12 sections representing the 12 months, as well as a prologue and epilogue. Except in the prologue and epilogue, the soloist may start either from January, April, July, or October and complete all 12 sections in chronological order. In this piece, I select a limited choice of percussion instruments that based around rattles, membrane, wood, and metal. All instruments are arranged in a closed circle based on their materials and their attack and decay characteristics. The soloist moves in a circle clockwise while performing; therefore, this piece is indeed a process of timbral and rhythmic transformation.
Victoria for Solo Tenor SaxophoneTo play its RealAudio demo, click the right button
World Premiere: March 28, 1998 at the North American Saxophone Alliance 1998 Biennial Conference. Saxophone soloist: Shyen Lee
Completed in February 1998, seven months after China's exercise of sovereignty over Hong Kong, Victoria was written for Shyen Lee and was first performed at the North American Saxophone Alliance Biennial Conference in March 1998 at Northwestern University. The piece begins with an introduction in the manner of music theatre in which the soloist utters phonetic texts and the saxophone is treated like an ancient percussion instrument. After the introduction, the developmental process of Victoria runs from forceful melodic patterns established on some focal pitches, through brilliant rhythmic passages in extreme registers featuring large intervallic leaps, to short lamenting expressive transitions and a violent coda characterized also by focal pitches and soloist's recitation. The text recited in the coda is extracted from the preamble of the Basic Law of the Hong Kong Special Administrative Region of the People's Republic of China.
Peach Blossoms after the Rain for PianoTo play its RealAudio demo, click the right button
World Premiere: March 31, 1998 at the National Concert Hall, Recital Hall, Taipei. Piano soloist: Hui-eing Lin
By the Willows and Poplars; Morning Breeze, Waning Moon for VibraphoneTo play its RealAudio demo, click the right button
World Premiere: March 31, 1998 at the National Concert Hall, Recital Hall, Taipei. Vibraphone soloist: Chia-pin Lin
In a Faraway Garden for Violin and PianoTo play its RealAudio demo, click the right button
World Premiere: March 31, 1998 at the National Concert Hall, Recital Hall, Taipei. Violin: Ting-yu Wu, Piano: Hui-eing Lin
Flower Drum Song for Solo ViolinTo play its RealAudio demo, click the right button
World Premiere: June 17, 1995 at the National Concert Hall, Recital Hall, Taipei. Violin: Wei-ming Huang
The process of composing means reproducing the complex universe in miniature by reflecting the interacting flow of yang and yin through time. Written in 1992, one year the invention of the above-mentioned system, this composition exhibits a structure created in accordance with the Yin-yang doctrine and the Law of Cyclic Interaction. The piece contains sixty-four sections and each represents a stage of yin-yang interaction. Two primal musical ideas, yang (014) trichord and yin (025) trichord, are stated at the outset and the entire composition is in the physical representation of the interaction and constant transformation of these principal musical cells. In the central section the influence of the traditional Chinese drumming music is inescapable. Subtle predetermined arrangements of articulation, timbre, and rhythm in the original music have been closely followed and magnified to a more perceptible level. The beauty of this piece lies in the expert way in which the composer not only draws inspiration from the tensions between the Chinese and Western musical languages but also reconciles those tensions.