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“Mind Like Water” – for string quartet

written for Lydian String Quartet

Performed by Lydian String Quartet on December 9, 2016

“A Long Overdue Sequel” – for solo percussion

written for Robert Schulz, in celebration of Eric Chasalow’s 60th birthday

Performed by Robert Schulz on October 24, 2015

“On the Podium” – for flute, clarinet in Bb/bass clarinet, piano and percussion

Commissioned by the Empyrean Ensemble

Performed by the Empyrean Ensemble on April 28, 2014

“Intersect” – for flute/bass flute, clarinet/bass clarinet, violin, cello and piano

Commissioned by ECCE

Performed by the ECCE on May 15, 2014

“At the Brink of the Chill” – for violin, viola, cello, double bass, and piano

Commissioned by the Koussevitzky Music Foundation and the Left Coast Chamber Ensemble

Performed by Left Coast Chamber Ensemble – San Francisco, May 2009




I began writing this piece in a most glorious day in Fall 2008 during my residency at the Copland House in the Hudson River Valley, when the fall foliage was at its peak. The second movement, which was actually composed first, is the contemplative reflection of my being in such a surrounding. On the other hand, the first movement, with a more jovial and lively character, is a portrayal of my heightened excitement while driving down the highway from Boston to the Hudson River Valley. However, all of these splendors soon died down, turning into a lusterless sight in less than a week’s time, surely to be followed by a long, bitter winter. This sudden change is reflected in the third movement with its stark dreariness.

“Pu Songling’s Bizarre Tales” – for erhu, pipa, yangqin, piccolo/alto flute, bass clarinet, and percussion

Commissioned by Meet The Composer – For Music From China

Performed by Music From China; Yu-Hui Chang, guest conductor – New York, April 2011





This piece takes inspirations from Liao Zhai Zhi Yi, a collection of Chinese ghost stories written by Pu Songling of Qing Dynasty,  Five stories are chosen from the book as the themes for each of the five short movements.  They are:

I.  Introduction – The Daughter from the House of Mei 梅女

II.  Stealing a Peach 偷桃

III. The White Peony 香玉 (attacca)

IV. Interlude – The Snake Charmer 蛇人 (attacca)

V.  The Accuser 席方平 

“Binge Delirium” – for solo percussion

Commissioned by Chris Froh

Performed by Chris Froh, percussion

Binge Delirium was written with the intension to showcase percussionist Chris Froh’s extraordinary musicianship.  Though scored for non-pitched percussion instruments only, it is melodic and contrapuntal, and demands a high level of technical skill.

“Under a Dim, Orange Light” – for flute/bass flute, viola, and guitar

Commissioned by the Left Coast Chamber Ensemble

Performed by the Left Coast Chamber Ensemble – San Francisco, June 2012

Premiered by the Left Coast Chamber Ensemble in June, 2012, Under a Dim, Orange Light is a struggle between confined rigidity and delirium, like an insomniac lying motionless with racing mind and fleeting thoughts.  Eventually its restless energy dies down without finding an outlet.

“Rhetorical Flourishes” – for soprano, viola, clarinet/bass clarinet, and percussion

Commissioned by the Monadnock Music Festival

listen   I. Oh! On an April Morning (3’15”)    II. Let’s Hear It  (5’39”)

Tony Arnold, soprano; Louise Schulman, viola; Jean Kopperud, clarinets; Dominic Donato, percussion; James Baker, conductor – Wellesley, July,  2011


Rhetorical Flourishes is a set of songs using three poems by Neil Shepard: Oh! On an April Morning, Let’s Hear It, and Empiricist of Clouds.  It was written for the fantastic soprano Tony Arnold, who gave the premiere in August 2010 at the Monadnock Music Festival.

“Flicker” – for violin, cello and piano

Commissioned by the Triple Helix Piano Trio

listen to  “Flicker

Flicker is a short piece inspired by Mozart’s “Die Zauberflöte as part of Triple Helix’s Mozart Project.

“Shadow Chase” – for string quartet

Commissioned by the Left Coast Chamber Ensemble

listen to  “Shadow Chase

Upon the request of LCCE, Shadow Chase was written as a 21st century reflection of Beethoven’s String Quartet in c# minor, op. 131.