My interest in constructing sound elements by imitating the development of hieroglyph, oracle bone script, and pictophonetic characters in the ancient Chinese etymology. The newly constructed "sound words" become living organisms that move, live, prosper, decay, and die.

"Drifting Moon," written for Grafenegg Festival Ink Still Wet and the Tonkunstler Orchestra is no exception to this aesthetic research path. All the sounds are constructed attribute to the movement and the sound of riding traditional Chinese flatboat on the river. And these sound materials tell a story: "If Dharma is the boat we ride on to pass the river of life, we won't need it when we get ashore. Though before we might have a chance to get ashore, we see the moon drifting with the wrecked ships, centuries after centuries."




Conductor: Myself

Drifting Moon 月湧 (2021)

Sunghyun Lee - Suite Geometrica for 16 Players : Whole Movements (2022)

I. Zigzag Toccata
II. Distorted Arabesques
III. Kinematic Sonata

Sunghyun Lee (B.1995)

Composer : Sunghyun Lee

Conductor : Clement Power

Performed by Ensemble TIMF

Commissioned by Tongyeong International Music Festival 2022

Suite Geometrica for 16 Players : Whole Movements (2022)

Cantando Admont + Arxis Ensemble
LIVE Recording - May 28th, 2022 @ RESIS Festival

Beat Furrer - AKUSMATA @ RESIS Festival 2022 (LIVE Recording)

Premiere on July 7. 2023, KunstKulturKirche Frankfurt
IEMA-Ensemble / Conductor: Xizi Wang

fl./cl./tpt./vla./vlc./db./perc./org.

Clouds (2023) - IEMA Ensemble 2022/23

"venus" was performed at the Phoenix Cultural Centre in Sydney on 30 September 2023, by ELISION: Peter Neville, Marshall McGuire and Ben Ward, conducted by Tristram Williams. Recorded by Richard Hundy and mixed/mastered by RB.

"venus" is a component of the ensemble composition "elsewhen", which itself forms part of the conglomerate composition "PSYCHE". The title refers to the prehistoric figurines with stylised female forms (like the well-known “Venus of Willendorf” in the illustration). It isn’t known whether they were sculpted by men or women or both and for what purpose, although they do seem to embody the origin of what subsequently evolved in human culture as a sense of aesthetic beauty. This composition is so to speak “sculpted” from a musical material which remains mostly consistent in terms of pitch-range, placing the contrabass in its extreme high register almost throughout.

venus (2018-19) for percussion, harp and contrabass

Live performance recording

Asia premiered by Mariel Roberts on November 4th at Music Forum, Taipei, Taiwan.
.
.
.
.
.
- Program Note -

Dedicated to Felix Fan

I, We is inspired by the Polynesians and the Pueblo. I always thought we all looked alike, but only until speaking with several Pueblos and hearing the stories passed down generations about how they were, at one point, Asian from a thousand years ago. 

On the other side of the earth, Polynesians occupy most of the islands in the Pacific Ocean: Easter Island, Hawaii, New Zealand, and everything inside this big triangle. The scholar has just discovered that – the indigenous people on these islands originated in Taiwan 5,000 years ago. 

They travel with horses and boats, and I travel in the air. Despite the difference in the vehicle, our migration never seems to settle. We travel to lands at different times and become another group of people. We are alike until we don’t remember.

I, We for cello solo

Oren Boneh - Als ich tot war (2024-25)
Original music for 8 instruments and electronics composed for Ernst Lubitsch's silent film Als ich tot war (1916)
Commissioned by Ensemble Intercontemporain and IRCAM-Centre Pompidou

Premiered 20 February 2025 at La Cité de la Musique, Paris 
by Ensemble Intercontemporain, conducted by Martin Matalon

https://www.orenboneh.com/

Als ich tot war (2025) audio only, no film - for 8 instruments and electronics

commissioned/performed by ensemble Cairn 
22.09 festival Ensemble(s) 2024

Fanny Vicens, accordéon 
Constance Ronzatti, violon 
Cécile Brossard, alto 
Alexa Ciciretti, violoncelle



catalogue de l'inaudible

www.stefanogervasoni.net/index.asp?pa…logue&id=138

for: violin and orchestra
duration: 28'
commission: Milano Musica, Sinfonieorchester Basel, Westdeutscher Rundfunk Köln, Radio France
first performance: 2.5.25, Milan, Teatro alla Scala, Festival Milano Musica, Patricia Kopatchinskaja (violin), RAI National Symphony Orchestra, Maxime Pascal (conductor)
publisher: Ricordi
catalogue number: 143010

Tacet - Patricia Kopatchinskaja, Sinfonieorchester Basel, Elim Chan - live, Basel, 15-10-2025

Bian Zhou 扁舟
Written for 1st edition Universite d'Altitute. 
Performed by Ensemble Multilaterale
Conductor: Léo Warynski
Cello: Pablo Tognan
Harp: Aurélie Saraf
Bass Clarinet: Alain Billard
.
.
.

『I commented, “Do you happen to know the nature of water or the moon? Water is always on the run like this but never lost in its course; the moon always waxes and wanes but never out of its sphere. When viewed from a changing perspective, nothing in this universe can remain unchanged even within a blink of an eye, but when looked at from an unchanging viewpoint, everything conserves itself, and so do we. Therefore, what’s in them to be admired? Besides, in this universe, everything has its rightful owner. If something does not belong to you, you shall not even have a bit of it. However, the fresh breeze over this river and the bright moon above the mountains are exceptions. If you can hear it, it is a sound to you; if you can see it, it is a view. It never ends and is never exhausted. It is the infinite treasure that nature has for us to enjoy. 』 - Qian Chibifu, Su Shi

扁舟 Bian Zhou (2016)

Live recording of Klangforum Wien with Ilan Volkov at Helmut List Halle, Graz, 15 February 2019.

http://chrisswithinbank.net/2018/12/this-line-comes-from-the-past/

this line comes from the past (Klangforum Wien & Ilan Volkov)

Composer from Taiwan, now based in New York City

Drifting Moon 月湧 (2021)

張玹 Shiuan Chang

Related tracks