Touch- Three (2018) for three performers, three loudspeakers, water bowl and live projections
Touche Nature (2017) for four percussionists, four loudspeakers and water bowl
Within a Tranquil Space (2016) for duduk, shakuhachi,sho, sheng, guquin, zheng
Waves (2016) for four instruments, tape and live electronics
A wavy-karnatic piece, using live electronics and pre-recorded tape, will make you feel like dancing. However, you will find it is tricky or hard to dance it, unless you are drunk. In this piece, each player keeps different tuplet/ gati rhythm and has to focus on the own pulse, even though they share the same time signature.
The whole piece seems to be using looping material, but it keeps changing in a gradual manner.
UNI- (2015) for sho, recorder, electronics and video
The introduction of this piece is from The First Chibifu（赤壁賦）, an old Chinese poem, written by Su Shi(蘇軾). I was inspired by the conception of this poem, the perspective of change of the universe. I took the idea into the roles of sho and recorder. It seems everything in the world have never changed, but it actually keep changing by the things happen around. Whether it keep changing or not, depends on your perspective.
客亦知夫水與月乎？ Do you happen to know the nature of water or the moon?
逝者如斯，而未嘗往也； Water is always on the run like this, but never lost in its course;
盈虛者如彼，而卒莫消長也， the moon always waxes and wanes like that, but never out of its sphere.
蓋將自其變者而觀之，則天地曾不能以一瞬； When viewed from a changing perspective, nothing in this universe can remain unchanged even within a blink of an eye,
自其不變者而觀之，則物與我皆無盡也， but when looked at from an unchanging perspective, everything conserves itself, and so do we.
而又何羨乎？ Therefore, what’s in them to be admired?
且夫天地之間，物各有主， Besides, in this universe, everything has its rightful owner.
苟非吾之所有，雖一毫而莫取。 If something does not belong to you, then you shall not even have a bit of it.
惟江上之清風，與山間之明月， However, the fresh breeze over this river and the bright moon above the mountains are an exception.
耳得之而為聲，目遇之而成色， If you can hear it, it is a sound to you; if you can see it, it is a view to you.
取之無禁，用之不竭， It never ends and is never exhausted.
是造物者之無盡藏也，而吾與子之所共適。 It is the infinite treasure that nature has for both of us to enjoy.
Shan (2011) for four Chinese Instrument- Erhu, Pipa ,Shen, Zheng
氵彡, pronounced "shan", means the appearance of water waves.
The mountain rests; the water streams; the wave fluctuates within a tranquil space.
The vertical chord seems still, like mountains; the linear melody ripples and progresses like water.
The vertical chord seems still, like mountains; the linear melody seems like the ripples of the water, the movements of the water.
Heterochromotic Dream (2010) for soprano, piano and electronics
藍色草原，時間倒轉。 Blue grassland, time rewinds;
綠色天空，飄滿了白色的靈魂。 泥土上，烙印爪痕。 Green sky, flocked with souls white. Soils, seared with paws;
樹幹上，鑿刻痛苦。 Trunks, carved in pain.
黑夜的針狠狠扎入太陽的心，將大地染成一片血紅色的餘暉。 Pin of darkness pierced the heart of Sun, dying the land in bloody dusk..
Dark, Light (2009) for string quartet
I suffered from a car accident three years ago. The accident broke my left knee’s ligament. When I knew that a surgical operation was inevitable, I was frightened. Fortunately, my family accompanied me as I rode out the crisis. I feel really lucky that the accident only injured one of my knees, and I still live healthily now.
The piece describes the shifting of my mental state while I was recovering from my injury. I can overcome the dark if I have an optimistic mind, and then the light would certainly arrive.
The whole piece comprises three movements:
I- A gleam sometimes appears amid the fearful breathing and heart beating.
II- The interweaving melody means struggling in pain, with Death’s footstep sounds appearing from time to time.
III- The light of hope appears and comforts everything.