This composition is inspired by a children’s story “The Ocean Thief”, written by Jefferson Goolsby.
Premiered on July 4th, 2016 in Oregon Bach Festival Composers Symposium, The Thief tells the story of a young girl whose beach-written story is stolen by the ocean, and her seagoing adventures as she fights to get it back.
Written for flute, violin and Electronics, this recording is from the premiere concert, performed by Molly Barth (Flutist) and Bryce Caster (Violinist).
Without Title contains three Chinese songs as follows:
Without Title 無題
by Li Shang-yin 李商隱 (812?-858)
Last night’s stars, last night’s wind
West of the painted pavilion, east of the cassia hall.
Our bodies have no colorful phoenix-wings to fly side by side;
Our ears are linked to each other as if by the line in the magic horn.
As she passed the hook from another seat, the spring wine was warm;
Divided into teams, we guessed at riddles under the red candle’s light.
Alas, I had to answer the call of duty when the drum sounded,
And ride my horse to the Orchid Terrace, like a tumbleweed in the wind.
The East wind sighs, the fine rains come,
Beyond the lotus pond, faint thunder.
A gold toad gnaws the lock. Open it, burn the incense.
A jade tiger pulls the rope. Draw from the well and escape.
Lady Chia peeped through the curtain at young Secretary Han;
Princess Fu left a pillow to the gifted Prince of Wei.
Never let your heart open with the spring flowers,
One inches of love is an inch of ashes.
Bite back passions. Spring now sets.
Watch little by little the night turn around.
Echoes in the house; want to go up, dare not.
A glow behind the screen, wish to go through, can not.
It would hurt too much, the swallow on a hairpin;
Truly shame me, the phoenix on a mirror.
On the road back, sunrise over Heng-t’ang.
The blossoming if the morning-star shines farewell on the jeweled saddle.
A Blooming Tree
How to let you meet me
At my most beautiful moment? For this,
I’ve prayed to Buddha for five hundred years,
For the predestined romance he could grant us.
Buddha turned me into a tree,
Growing by the road you would take,
Cautiously in full bloom in the sun,
Each flower was a wish I cherished in my pre-existence.
As you are near, please, listen carefully,
The quivering leaves are my zeal in waiting.
Yet as you walk pass by me, unseeing…
Behind you ,scattering on the ground,
Oh, my friend, are not petals
But my withered heart.
Love me, but not only because
Today, I am your bride
Not only because this fragrant wind,
The Europe’s sunlight in May
Please love me because I will be your companion
Spending together in the world of vicissitudes
Affections, like boundless sea
Waves, one comes after one,
No one can remember all of your,
As much as I could,
As tender as I would
Composed during my first year of residence in Eugene, Oregon, the first movement of this piece—Rain Cloud—reflects my impression of the Eugene climate. The second movement—Rumbling Thundering—is a memory I have of my home city Taipei.
This piece is based on the Chinese poem River Snow by Liu Zangyuan (773—819), writer and poet of the Tang Dynasty. The theme’s melody mirrors the tonal shifts that can be heard when the poem is recited in its original Chinese. I’ve translated the poem’s text as follows:
String Quartet is a one movement piece, built around a motion of contrapuntal lines that draw near and then part, occasionally interweaving and entwining with each other, in a discordant and concordant conversation.
String Quartet was the winner of the first prize of the III. Competition of the DTKV Region Sachsen e.V. in 2004.
Rollo’s Escalandé begins with a forceful arpegiating figure on piano followed by a disjointed flute melody. The opening scherzo dance-like flute motif emphasizes a discontiguous chromatic motion.
The middle section is built around a prominent tremolo figure that moves like countless bubbles through the ocean. Again, a flute line (first decending, then ascending) moves across the octaves as if floating on air.
The final section is constructed using block chords forming a three-part line. Each line enters at a different point in time, vying to overpower the others. Meanwhile, several motifs from the earlier sections return to join the conflict. Toward the end these three divergent sections align, resolving