Opus Illuminate, a new performance organization led by Nathan Meltzer, Devin Moore, and Derek Louie, presented a series of online concerts and interviews during the Covid pandemic, with an admirable aim of “working towards reestablishing our art form as the pioneering force in the efforts of equity, diversity, inclusion, and belonging across the cultural sector.” Yu-Hui had the pleasure of having her Three Fantasias (2006) performed in this series’s concert #7 by clarinetist Ning Zhang, along with a video interview.
As part of its EINGESPERRT (“locked-in”) project, Klangforum Heidelberg commissioned Yu-Hui to compose a new piece, Saving Faces, for 6 vocalists and 6 instrumentalists. This new piece is a reaction towards the recent development of facial recognition technology, commenting on how the individuals and the human society as a whole are thus affected. From October 24-28, 2020, SCHOLA HEIDELBERG and ensemble aisthesis, led by artistic director Walter Nußbaum, will give the premiere performances in several German cities, including Heidelberg, Hannover, Karlsruhe, and Oldenburg. Also on the program are Clemens Gadenstätter’s “die zelle” and Ye Shen’s “Raum/Distanz”.
Gil Rose, Yu-Hui & Sarah Brady after the recording session at Jordan Hall
Conductor Gil Rose and flutist Sarah Brady recorded Mountain is Mountain with BMOP (Boston Modern Orchestra Project) in September 2019 at Jordan Hall. Written for flute solo (doubling piccolo) and string orchestra, Mountain is Mountain obtains its title from a Zen Buddhism saying: “Seeing mountain is mountain, water is water. Seeing mountain is not mountain, water is not water. Seeing mountain is yet again mountain, water is yet again water.” The three movements of this piece reflect the three phases of human cognition described in this aphorism. This recording will be part of Yu-Hui’s portrait orchestral music CD, to be released under the BMOP/sound label. Mountain is Mountain was a commission from the San Francisco Chamber Orchestra. It is dedicated to flutist Tod Brody, who gave the premiere with SFCO and conductor Ben Simon in 2008 at the Herbst Theater, San Francisco.
Composer Kurt Rohde and Yu-Hui are to be the guest composers at the Composers Conference from July 28 to August 11, 2019. Currently in its 75th season, the Composers Conference has been led for nearly 50 years by Pulitzer Prize-winning composer Mario Davidovsky. It boasts a top-notch Conference Ensemble, directed by James Baker, which consists of more than 30 musicians specializing in new music performance. In addition to concerts and workshops for composition fellows, the Composers Conference offers opportunities for conservatory-level musicians and amateur chamber players through its Contemporary Performance Institute (CPI) and Chamber Music Workshop programs.
After 35 years at Wellesley College, the Composers Conference relocated to Brandeis University in summer 2018. This is the third time Yu-Hui is invited as the conference’s guest composer.
Boston Musica Viva, the oldest professional ensemble in the U.S. dedicated to contemporary music performance, is celebrating its 50th anniversary. Yu-Hui had the honor of receiving a commission from BMV to compose a new piece, Germinate, for this special occasion. Scored for flute/piccolo, bass clarinet, violin, cello, piano and percussion, Germinate is a tribute to BMV for its contribution to the music of our time, taking inspiration on how BMV helps generate new ideas and collaboration between numerous musicians. Premiere of Germinate will take place on April 13th at Pickman Hall, Longy School of Music. Also on the program are pieces by Kathryn Salfelder, Bernard Hoffer, John Huggler, and Nicholas Maw.
Yu-Hui has just finished a commission from the Walter W. Naumburg Foundation. This new work, Alter Ego, is written for cellist Lev Sivkov, the first prize winner of the Naumburg 2015 International Cello Competition. Mr. Sivkov will give the premiere in his recital on April 23rd, 2019, at Weill Recital Hall, Carnegie Hall. See the Carnegie Hall webpage for ticket information.
Led by Founder and Artistic Director, violinist Julie Leven, the professional musicians from Shelter Music Boston have been bringing high quality classical music to homeless shelters in the Boston area since 2010. The impact of their performances has been tremendous, as expressed by a guest at Pine Street Men’s Inn, “After the performance my heart was risen and my soul awakened. This was truly a heavenly experience for me.” In the past few months, Yu-Hui collaborated with this incredible organization and wrote “The Path in Front of Me”, a commission from SMB, as part of their “Water for My Soul” project, which was funded by the Boston Foundation and Harvard Musical Association. This piece incorporates words written by previous shelter audience into its lyrics, hoping to render the transformation the audience experienced after hearing SMB’s performances. Through this collaboration, Yu-Hui witnessed how music could bring a sense of dignity and humanity to individuals who need it the most, and she felt fortunate to be part of this meaningful endeavor.
Check out Boston Globe’s report about this project: ‘They give us hope’: Music groups bring comfort and joy to the homeless
Pixelandia, a commission from Boston Modern Orchestra Project with funding provided by the Fromm Music Foundation, was premiered on April 21st at Jordan Hall by BMOP and its Artistic Director, Gil Rose. A multi-movement work for full orchestra, Pixelandia was inspired by video games Yu-Hui played in her youth, including an arcade shooter from the 80s, “1943: The Battle of Midway”, and a PC strategy game titled “Heroes of Might and Magic”. For the premiere, Yu-Hui wrote:
The idea of “Pixelandia” came when one day I saw my husband teaching my two little daughters how to play “The Legend of Zelda”, a series of Nintendo video games that first started in 1986. It occurred to me how my generation was the first to grow up with video games when they were in their earlier developing stages in the 70s and 80s, before they became multi-billion dollar business, and before they exist ubiquitously in everyone’s smart phone. I began to recall my first encounters with some of the games when I was a child, such as “Space Invaders”, “Breakout”, and “Pac-Man”. I wanted to write a piece commenting on this unique experience, when kids could have tremendous joy with 2D games and with graphics so primitive that every scan line and pixel was visible. After the piece was finished, I realized what I wrote was not just about video games, but about a simpler time, and the youth that will never return.
Yu-Hui’s Incredulous – for alto flute, bass clarinet, horn, violin, viola, cello, double bass, piano, and percussion – has recently been premiered by Ensemble Échappé on March 18, conducted by Jeffrey Milarsky. Taking place in the beautiful Academy Library at the American Academy of Arts and Letters, this salon concert featured works by the winners of the 2017 Arts and Letters Awards in Music. Incredulous is a commentary on the political and social changes in the U.S. during the past one and half years. Also on the program are Andrew Norman’s The Companion Guide to Rome, Lisa Bielawa’s Incessabili Voce, and Jan Krzywicki’s Catching Light.
Yu-Hui is returning to University of Utah for the second time as a Maurice Abravanel Visiting Distinguished Composer. During her residency (Feb. 26-27, 2018), she will give a public lecture and several masterclasses. Her Shadow Chase will also be featured in a public concert performed by Canyonlands Ensemble and Ulysses Quartet at the Dumke Recital Hall in the School of Music’s David Gardner Hall, along with works by Reich, Davidovsky, Ligeti, and Stravinsky. Following the residency, Ulysses will bring Shadow Chase to New Orleans as part of the Louis Moreau Institute concert series in March.
Award-winning composer Yu-Hui Chang has written a wide range of music that compels and resonates with professional musicians and audiences alike.
Her music is characterized by energy, precision, ingenious effects, and vibrant colors – all in the pursuit of a deep connection with humanity. She strives to break through cultural and stylistic boundaries, and to take an inclusive view of musical diversity. This attitude is manifested in the multifaceted quality of her compositional output, and the stylistic fluidity in her writing.
Boston Musica Viva
Led by Founder and Artistic Director, violinist Julie Leven, the professional musicians from 
Pixelandia, a commission from 
Yu-Hui’s Incredulous – for alto flute, bass clarinet, horn, violin, viola, cello, double bass, piano, and percussion – has recently been premiered by Ensemble Échappé on March 18, conducted by Jeffrey Milarsky. Taking place in the beautiful Academy Library at the American Academy of Arts and Letters, this salon concert featured works by the winners of the 2017 Arts and Letters Awards in Music. Incredulous is a commentary on the political and social changes in the U.S. during the past one and half years. Also on the program are Andrew Norman’s The Companion Guide to Rome, Lisa Bielawa’s Incessabili Voce, and Jan Krzywicki’s Catching Light.
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