wish (2020)
after Bach
for piano

This piece was commissioned for a project called “The Illustrated Pianist”, responding to stories from The Illustrated Man by Ray Bradbury. wish takes after the story “Kaleidoscope”, about a crew of astronauts scattered into space by their spacecraft’s sudden explosion.

The music is a kind of “erasure poem”, created by overlaying three different harmonizations by Bach of a same melody (“O Welt, sie hier dein Leben”), removing all the notes they have in common, and forming something new from the residue.

January 2021

for tonight and for ever (2020)
after Sade (Adu) and Debussy
for piano (with e-bow)

This piece was commissioned for a project called “The Illustrated Pianist”, responding to stories from The Illustrated Man by Ray Bradbury. “for tonight and for ever” is a reflection on love at the end of the world, inspired by “The Last Night of the World”, and by “Winter” by Chen Chen. It is based on a song by Sade, and a prelude by Debussy.

November 2020

taps (2020)
text by myself
for solo voice (doubling kazoo)

poem composed November 12, 2018
music composed May 3-4, 2020

(what do you know?)

only write what you know

(what do you know?)

write only what you know

(what do you know?)

(write what only you know)

(what do you know?)

(write what you only know)

(do you know?)

do you know?

do you know?

you know

you

blossoms burst (2020)
text by myself
for three equal voices

poem composed December 2017, edited May 2020
music composed May 21-26, 2020

a year in flames, floods –

how thankful is the flower to flourish in a far field
having already borne char, weathered weather
he may even bear fruit

must blossoms burst from oblivion?
if only the past were not also the pasture,
and time a distance, not atmosphere

one night, seeking shelter from the rain,
I wished I was the storm
I wake to a blaze burning in my name

Roses (2015)
for string orchestra

“Roses” is the final movement from Modest Music, a set of variations on a theme by Satie, commissioned by the Palo Alto Chamber Orchestra. It is so titled because it is sweet but not without thorns. The below performance is a cherished memory from my undergrad years.

May 12, 2015
Jan Popper Theater, UCLA

Violins: Nicole Sauder, Mizuki Takagi, Stephanie Spencer, Catherine Arai, Viola You, Anjelina Lopez-Rosende, Gabriel Wheaton, Fernando Arroyo

Violas: Julien Altmann, Jennifer Fagre, Edward Ryan, Stephen Spies

Cellos: Matthew Tong, Andrea Yu, Youjin Ko, Jeffrey Ho

Bass: Sean O’Hara

(Four Pieces for) String Quartet (2013)

These four pieces are a culmination of a rather strict neo-classical style I had been cultivating for a few years while studying traditional harmony and voice-leading. The spirits of Britten, Stravinsky, and Nadia Boulanger hover over each of them.

Though they were originally conceived as a single work, I’m no longer convinced that they work together (there’s no fast music) but are perfectly nice separately.

May 7, 2016
Jan Popper Theater, UCLA

I. Prelude (Fugato) - 0:00
II. Air - 3:04
III. Intermezzo - 6:02
IV. Chant - 8:05

Stephanie Spencer, violin I
Catherine Arai, violin II
Julien Altmann, viola
Jeffrey Ho, cello

First performance on November 14, 2013, at UCLA, by Rachel Ostler Abbott, Camille Miller, Alec Santamaria, and Philip Abbott

walk 1 (2020)
fixed media with spoken word
text by myself

field recordings made in 2010, and in April-May 2020
composed and recorded May 16-19, 2020

k this one gets loud

doo do do doooooooooooooaauauggughahgauguhghaghghaghghg

[noises]

this shit is louder than i remember

can you hear the train?
train goes [train noises]

can you hear the waves?
waves go [wave noises]

this shit is louder than i remember

do you hear voices?
my voice doesn't count

they're all so loud
i hardly remember hearing voices at all

[noises]

the train goes [train noises]
the waves go [wave noises]
the voices go

such sweet sorry (2020)
text by myself
for solo voice

poem and music composed May 21-30, 2020

as they say

i guess i’ll say, i have some news
i guess i’ll say, this will have to be our last
i guess i’ll say, it’ll always be nice to hear from you
i guess i’ll see you around, maybe

as they say

i guess we shouldn’t talk anymore
i guess i’ll leave you on the train
i guess i’ll always wonder where you are now
i guess i’ll always be sorry

as they say

i guess i’ll have to call more often
i guess i’ll have to live it down
i guess we’re never really ready
i guess this is it

i guess—

as they say

only a guess


Quarantine Recordings

During the months of March–May 2020, I made a number of recordings of original music and repertoire, entirely from home. The original music became my second album, we have music at home:

The other repertoire is collected here:

Alvin Lucier – Nothing is Real
Alvin Lucier – I am sitting in a room
Alvin Lucier – (Vinegar Hill) Memory Space
Philip Glass – Piece in the Shape of a Square
Horațiu Rădulescu – Capricorn’s Nostalgic Crickets
Paul Hindemith – Kanonische Sonatine
Tui St. George Tucker – Quartertone Carol
Tui St. George Tucker – Second Quartertone Lullaby

Videos were made to accompany each recording.

Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

faves from 2019

books

  • On Earth We’re Briefly Gorgeous, by Ocean Vuong

  • Orlando, by Virginia Woolf

  • How to Write an Autobiographical Novel, by Alexander Chee

  • A Lover’s Discourse, by Roland Barthes

  • The Boulez-Cage Correspondence, edited by Jean-Jacques Nattiez

movies/TV

  • Parasite

  • The Farewell

  • Fleabag

music

it was a year like any other; lots of ups and downs though I’ve mostly felt quite stable emotionally for a while now. life is hard and sad but I feel okay about handling things.

one of the most rewarding experiences of my time at MSM was this collaboration with New Zealand composer Salina Fisher on a brand new piece for solo piano. the piece is inventive, heartfelt, mysterious… a joy to perform. cozy up with a pair of headphones and take a listen!

"Uchi-Soto" (which literally translates to "inside-outside") refers to the differentiation between 'in-groups' and 'out-groups'; a concept that permeates Japanese society and language. Varying levels of politeness and respect are embedded in the language, reflecting the complex and changing layers of personal relationships between 'uchi (内)': typically family members and close friends, and 'soto (外)': strangers, customers, and also foreigners (外人). In reflecting on my own relationship with this concept (particularly in my identity as both Japanese and 'foreigner'), I became interested in finding a musical language in the layers 'in-between'; the subtle gradations of a single instrument's physical 'uchi' and 'soto'.

– Salina Fisher