Jesse Guo, Marimba

University of British Columbia School of Music
Roy Barnett Recital Hall
April 24, 2021

~~~~~~~~~~

Siri. Alexa. Cortana. Google Assistant. From 2012 to today (2018), the technology market was inundated with artificially intelligent virtual assistants taking up residence in our homes and pockets. As technology improved and became increasingly woven into the fabric of our lives, these programs acquired ever more human-like personalities. Romance for Marimba and Smartphone envisions society's growing dependence on (or addiction to) technology as a complex interpersonal relationship, with all its inherent ups, downs, drama, idealizations, misunderstandings, and reconciliations.

All Google Assistant voice and Android OS sounds used with written permission under a Creative Commons License. Google Assistant voice recorded through the "Google Assistant" application for iOS and Android phones. Android OS sounds accessed through Google's developer website (https://developers.google.com/actions/tools/sound-library/foley). Changes were made to many of the sounds and voice as they appear in this piece. This piece is not endorsed by Google LLC.

Romance For Marimba And Smartphone

Concerto Ludus for Piano and Gameboy
Composed 2022-2023
Dr. Matthew Thompson, Piano

February 4, 2023
The North American Conference on Video Game Music 10
Stetson University

~~~~~~~~~~

The best music can transport the hearer's imagination to another time, another place, another world. Video games possess the same potential – and their musical soundtracks are key to immersing players deeply in the gameworld. Concerto Ludus for Piano and Gameboy is an homage to the style and soundtracks of 'retro' video game music, drawing all its electronic sound sources from the sound card of the original Nintendo Gameboy – a console that defines many of my childhood musical memories.

I composed Concerto Ludus following nearly three years of writing no new music. There were many reasons for this hiatus – a global pandemic, burnout from finishing grad school, mental health struggles, starting a new teaching job – but I yearned for my creative energies to flow once more. When I conceived this piece, the prospect of
composing for solo piano – that well-trodden medium of countless composers before me – was daunting, spurring me back to my roots. The sounds I knew best, drawn from deep within my musical soul, form this piece's immersive musical journey: a recapitulation and revisitation of the soundworlds that first set me on the path of a composer.

All electronic sounds produced using SocaLabs' plugin Nintendo Gameboy PAPU, an emulator of the original Nintendo Gameboy's sound card. Learn more about SocaLabs' plugins at https://socalabs.com.

Concerto Ludus for Piano and Gameboy

1 of 2 Winners of the Hear No Evil 2016 Call for Scores; performed on the Hear No Evil Season Finale Concert on May 12 at the North Door. This recording is the Studio Recording, also by Hear No Evil.

~~~~~

Program Note: "Light surrounds us. Its presence is essential to our sight and is a foundational building block for all life on Earth. We believe we have harnessed it, tamed it, molded it for our daily purposes at the whim of a switch. Yet, in all its everyday familiarity, do we really know it? Have we even scratched the surface of what light can do?

Our quest begins with Sir Isaac Newton and a chunk of glass—well, two prisms, to be precise. Using the prism, he demonstrated that a ray of "white" light actually contained within it every color known to man—once light hits the prism, each color refracts out into its own distinct identity. In the early 20th century, Albert Einstein's work on the Photoelectric Effect paved the way for light to be recognized as being both a particle and a wave—a fact with implications that are still being fleshed out today. And though these breakthroughs may be common knowledge today, there are still plenty of light phenomena that astound all, but that few will ever witness.

In the planet's deepest, blackest oceans—where no sunlight can penetrate—ethereal forests of light glimmer forth from the bodies of creatures that reside there. On a specific February evening each year, the water of Yosemite's majestic Horsetail Falls is stained a furious orange-red by the setting sun, seeming to light it ablaze. In frigid remote regions of the north, sometimes the sky itself flows with vibrant streams of green, pink, red, yellow, blue, and violet—the Aurora Borealis.

And some testimonies even report, though this is far from proven, that these Northern Lights even sing—a sound as otherworldly as the sight. One can scarcely imagine it: the music of light itself..."

© 2015 Thomas B. Yee (ASCAP)

IV. Aurora Borealis

I. Prism

for Wind Ensemble
Grade 4.5
Duration: ~5 minutes (~8 minutes total)
Recorded on 10/26/16 by the University of Texas Wind Ensemble
~~~~~

Some composers found their love of music at the symphony hearing Brahms or Beethoven—I discovered mine from the 8-bit beeps and boops of my family's Super Nintendo. My father always returned from his pediatric practice after dark, so my earliest adventures with him were of slaying virtual dragons rather than passing footballs outdoors. On other occasions, I would watch my older brother play, soaking in every detail I could in reverent admiration. Though I can't remember all the details about experiencing these early video games, I have carried their music with me ever since--a sonic feast as exotic and evocative as the worlds the games offered us to explore.

Clash of Wills is an homage to the incredible musical debts I owe as a composer to the vast realm of video game music. Though video game soundtracks are infinitely varied and thus impossible to encapsulate in a single description, I have always been struck by game scores' daring pyrotechnics in orchestration, rich use of meaningful thematic development, and compelling sense of narrative urgency and drama infused into the music. I hoped to recreate this last feature in particular by depicting an iconic scene encountered time after time in this medium of storytelling: confronting the game's final boss. As the player meets his or her last obstacle, these two forces--protagonist and antagonist--are fated to clash. Will the hero emerge victorious? Or will it be... game over?

Clash Of Wills (II. Overture to Victory)

for Wind Ensemble
Grade 4.5
Duration: ~3 minutes (~8 minutes total)
Recorded on 11/28/16 by the University of Texas Wind Ensemble
~~~~~

Some composers found their love of music at the symphony hearing Brahms or Beethoven—I discovered mine from the 8-bit beeps and boops of my family's Super Nintendo. My father always returned from his pediatric practice after dark, so my earliest adventures with him were of slaying virtual dragons rather than passing footballs outdoors. On other occasions, I would watch my older brother play, soaking in every detail I could in reverent admiration. Though I can't remember all the details about experiencing these early video games, I have carried their music with me ever since--a sonic feast as exotic and evocative as the worlds the games offered us to explore.

Clash of Wills is an homage to the incredible musical debts I owe as a composer to the vast realm of video game music. Though video game soundtracks are infinitely varied and thus impossible to encapsulate in a single description, I have always been struck by game scores' daring pyrotechnics in orchestration, rich use of meaningful thematic development, and compelling sense of narrative urgency and drama infused into the music. I hoped to recreate this last feature in particular by depicting an iconic scene encountered time after time in this medium of storytelling: confronting the game's final boss. As the player meets his or her last obstacle, these two forces--protagonist and antagonist--are fated to clash. Will the hero emerge victorious? Or will it be... game over?

Clash Of Wills (I. Prelude to Battle)

Justin Ochoa, Morgan Tao, and Thomas Yee — Percussion

Performed on March 25, 2017 in Bates Recital Hall

Movement Order for this Performance:
Freezing
Sublimation
Condensation

~~~~~~~~~~

Program Note: 

	"We often think of water as only being the stuff that we drink to stay alive, but water actually comes in several different forms—solid, liquid, and gas. Without all three of these states, life as we know it would not be possible. But even more fascinating than the diversity of water’s forms is the process of change between them, known as the “water cycle.” From liquid to solid, gas to liquid, solid to gas, or the other way around, these transformations are foundational in sustaining life on planet Earth. Without condensation, the plant life of the world would not receive the necessary water, whether by dew or by rain. Without freezing, our planet’s oceans would be unable to regulate its global temperatures via glacier formation, and the impacts of climate change would be even more volatile than they are today.

	While considerably rarer, sublimation is an astounding and beautiful natural phenomenon in which solid water transitions directly into gas form, without first becoming liquid. At very low temperatures and even lower air pressures, such as can be found at the peak of Mt. Everest, white sheets of vapor can be seen rolling off of snow drifts, as if a cloud descended to embrace the snow. Thanks to sublimation, the water cycle is not simply a line from gas to solid, but truly a cycle, best modeled by the shape of a triangle, with all phases feeding into one another. There is no beginning, nor an end—only a perpetual process, foundational for all life as we know it."

Triple Point (for Percussion Trio)

Symphony I "Remember" for Wind Ensemble
Recorded by the University of Texas Wind Ensemble (5/1/17)
Conducted by Pamornpan "Gift" Kamorpalorn
Grade: 6

~~~~~~~~~~

Program Note:

The siege and fall of the Alamo is perhaps the most dramatic and well-known event in Texas history. As a native Texan, I have long been awed by the mystery surrounding the one hundred and fifty heroic men who knowingly sacrificed their lives against a force ten times their number. Over the span of
years, the historical event came alive in legend, captured vividly in tales that embodied its themes. Remember Symphony brings this compelling narrative alive in music, magnifying its legacy from legend and cultural memory as much as from historical fact. After all, what makes history come alive—whether authenticated or legendary—is the part of it that appeals to the imagination.

The date is March the third, 1836. Filled with infectious optimism and Texan spirit, Colonel William Travis and his Alamo defenders resolve to hold the fortress against Generalissimo Santa Ana's approaching army. Drawing a line in the ground with his sword, Travis gives each man a final chance to depart—all who cross the line do so determined to stand united together to the death. Late in the night of March fifth, all remains quiet, peaceful, and still. All that can be heard are the sentimental strains of Colonel Davy Crockett's fiddle, yearning wistfully for the hills of Tennessee or his Irish ancestors' homeland. Suddenly, before dawn on the morning of March sixth, Santa Anna orders an all-out assault on the Alamo and its sleeping defenders. Silence gives way to cacophonous pandemonium at the sound of rockets, gunpowder, and the relentless "no-mercy" trumpet fanfare of the Deguello. Despite the defenders' valiant efforts, the Alamo and its defenders fall to the last man. And yet, the very sacrifice of the Alamo defenders becomes the rallying cry, "Remember the Alamo!", that urges the Texan army to a final victory against Santa Ana at the battle of San Jacinto on April 21, securing Texan independence once and for all.

To the bitter end, the men of the Alamo stood together, exemplifying Texan spirit. With diverse backgrounds and motivations, all united under a common cause, willing to die for each other and what they believed in. To us today, the Alamo is about courage—the conviction to pay the ultimate price rather than surrender what one holds dear. The lesson of remembering the Alamo—and history generally—is what we learn about our own potential. Can we stand united in the face of the challenges and crises imposed on us? The story of the Alamo tells us we can—and can do so with courage.

IV. Remember the Alamo

Recorded by the University of Texas at Austin Wind Ensemble
Grade: 4-4.5
Duration: 6:30

~~~~~~~~~~

Program Note: "Resounding strikes from a lone hammer rang out through the still morning air as Martin Luther nailed a sheet of Ninety-Five Theses to the door of Wittenberg's All Saints' Church. The actions
of this inconspicuous—but bold—visionary ignited the fervent, turbulent period we know as the Reformation. As more vocal leaders and numerous supporters joined Luther's cause, one tune, known as the "Battle Hymn of the Reformation," united the reformers and carried the
movement throughout Germany.

Committed to the idea that each's individual's voice could create a harmonious whole through communal singing, Luther composed "Ein feste Burg ist unser Gott" to embrace the diversity of the
people's voices. Therefore, this chorale could take various forms for many purposes, whether celebrating collective successes, promoting unity through collective worship, or standing strong in the face of overwhelming opposition. Reformation Variations seeks to explore the diverse tone and character that this versatile song could exhibit as it is followed through Reformation history.

To this day, Luther's music endures vivaciously as the spirit of the Reformation has. "Ein feste Burg ist unser Gott" may be heard in the hall's of cathedrals worldwide, in the works of composers like J.S. Bach, Mendelssohn, and Debussy—indeed, even in this very concert hall. What we are about to take part in together is not a beginning nor an end, but a continuation—one more voice united in chorale, flowing ever wider from Luther to today and on to the future."

Reformation Variations for Wind Ensemble (University of Texas Wind Ensemble)

Recorded on October 16, 2017 by the NOW Ensemble, a globally-acclaimed performing ensemble dedicated to promoting new chamber music for the 21st century.

Learn more at http://nowensemble.com/

~~~~~~~~~~

Program Note:

On August 21, 2017, solar eclipse fever gripped the United States nationwide. The "Great American Eclipse," as the event came to be known, was the first total eclipse in the country to be visible from coast to coast in nearly a hundred years. With tens of millions of people watching from within the path of Totality (and many more online), the Great American Eclipse was the single most-witnessed astronomical event in human history. While this was the first Totality experience for countless "eclipse virgins," bands of veterans known as "eclipse chasers" travel across the planet aiming to witness every total eclipse—the current record stands at thirty-three total eclipses experienced in a lifetime. What seems an eccentricity to many is no mere hobby to eclipse chasers, but rather the inevitable result of an experience that can only be described as life-changing. 

What is it about the experience of Totality that is so unique, so gripping? The foundational sense of being connected to nature and the surrounding world, to the cosmos itself? The apparent suspension of time itself, accompanied by inevitable primal fear as a wall of utter darkness engulfs the environment? The paradoxical mix of awe and insignificance thrust upon viewers witnessing the celestial dance of two cosmic bodies? The otherworldly feeling of transcendence, of spiritual and life-changing sensation as one seems to stare into the eye of the divine? All of these and more comprise Totality, which is impossible to encapsulate in words.

Totality is a phenomenon that eludes paraphrase or description, even for those who have experienced it dozens of times. Even in poetic form, we reach the utter limits of human experience and language. Not for words then, indeed—but perhaps something of its unique profundity can be exemplified instead in music. This piece seeks to embody the aesthetic experience viewing an eclipse from the path of Totality. Through the immersive power of music, the experience of the eclipse is not simply to be seen—but heard.

Totality (for NOW Ensemble)

Symphony I "Remember" for Wind Ensemble
Recorded by the University of Texas Wind Ensemble (5/2/18)
Conducted by Cheldon Williams
Violin Solo: Sara Sasaki
Grade: 6

~~~~~~~~~~

Program Note:

The siege and fall of the Alamo is perhaps the most dramatic and well-known event in Texas history. As a native Texan, I have long been awed by the mystery surrounding the one hundred and fifty heroic men who knowingly sacrificed their lives against a force ten times their number. Over the span of
years, the historical event came alive in legend, captured vividly in tales that embodied its themes. Remember Symphony brings this compelling narrative alive in music, magnifying its legacy from legend and cultural memory as much as from historical fact. After all, what makes history come alive—whether authenticated or legendary—is the part of it that appeals to the imagination.

The date is March the third, 1836. Filled with infectious optimism and Texan spirit, Colonel William Travis and his Alamo defenders resolve to hold the fortress against Generalissimo Santa Ana's approaching army. Drawing a line in the ground with his sword, Travis gives each man a final chance to depart—all who cross the line do so determined to stand united together to the death. Late in the night of March fifth, all remains quiet, peaceful, and still. All that can be heard are the sentimental strains of Colonel Davy Crockett's fiddle, yearning wistfully for the hills of Tennessee or his Irish ancestors' homeland. Suddenly, before dawn on the morning of March sixth, Santa Anna orders an all-out assault on the Alamo and its sleeping defenders. Silence gives way to cacophonous pandemonium at the sound of rockets, gunpowder, and the relentless "no-mercy" trumpet fanfare of the Deguello. Despite the defenders' valiant efforts, the Alamo and its defenders fall to the last man. And yet, the very sacrifice of the Alamo defenders becomes the rallying cry, "Remember the Alamo!", that urges the Texan army to a final victory against Santa Ana at the battle of San Jacinto on April 21, securing Texan independence once and for all.

To the bitter end, the men of the Alamo stood together, exemplifying Texan spirit. With diverse backgrounds and motivations, all united under a common cause, willing to die for each other and what they believed in. To us today, the Alamo is about courage—the conviction to pay the ultimate price rather than surrender what one holds dear. The lesson of remembering the Alamo—and history generally—is what we learn about our own potential. Can we stand united in the face of the challenges and crises imposed on us? The story of the Alamo tells us we can—and can do so with courage.

II. Crockett's Fiddle

Recorded by the Inversion Ensemble on 6/15/18.
For SSAATTBB Choir
A Capella and Accompanied versions both exist. Inquire at thomasbyee@gmail.com

~~~~~~~~~~~~

Program Note: "Imagine Mozart grabbing a coffee with Beethoven. Or J. S. Bach on a joyride with Philip Glass. Could Chopin have been best friends with Stravinsky in another life? A Composer Walked Into a Bar whimsically envisions what would happen if master composers from across history were thrown in the same room—with drama ensuing in spades. Prepare for a whirlwind tour of over three centuries of history in this unapologetically postmodern musical homage!

P.S. I am aware that "Masterpiece," by Paul Drayton, has a similar premise to this piece. However, I came up with the idea two years before that piece was brought to my attention, so I decided to go ahead and compose the idea my way."

Postmodern Jukebox(for SSAATTBB Choir)

Performed by the Indiana University Symphonic Band
Conducted by Dr. Eric Smedley
September 28, 2018 — SCI Student National Conference
Grade: 4
Duration: 6:30

~~~~~~~~~~

Program Note: "Resounding strikes from a lone hammer rang out through the still morning air as Martin Luther nailed a sheet of Ninety-Five Theses to the door of Wittenberg's All Saints' Church. The actions
of this inconspicuous—but bold—visionary ignited the fervent, turbulent period we know as the Reformation. As more vocal leaders and numerous supporters joined Luther's cause, one tune, known as the "Battle Hymn of the Reformation," united the reformers and carried the
movement throughout Germany.

Committed to the idea that each individual's voice could create a harmonious whole through communal singing, Luther composed "Ein feste Burg ist unser Gott" to embrace the diversity of the
people's voices. Therefore, this chorale could take various forms for many purposes, whether celebrating collective successes, promoting unity through collective worship, or standing strong in the face of overwhelming opposition. Reformation Variations seeks to explore the diverse tone and character that this versatile song could exhibit as it is followed through Reformation history.

To this day, Luther's music endures vivaciously as the spirit of the Reformation has. "Ein feste Burg ist unser Gott" may be heard in the hall's of cathedrals worldwide, in the works of composers like J.S. Bach, Mendelssohn, and Debussy—indeed, even in this very concert hall. What we are about to take part in together is not a beginning nor an end, but a continuation—one more voice united in chorale, flowing ever wider from Luther to today and on to the future."

Reformation Variations for Wind Ensemble (Indiana University Symphonic Band)

Symphony I "Remember" for Wind Ensemble
Recorded by the University of Texas Wind Ensemble (2/20/19)
Conducted by Cheldon Williams
Grade: 6

~~~~~~~~~~

Program Note:

The siege and fall of the Alamo is perhaps the most dramatic and well-known event in Texas history. As a native Texan, I have long been awed by the mystery surrounding the one hundred and fifty heroic men who knowingly sacrificed their lives against a force ten times their number. Over the span of
years, the historical event came alive in legend, captured vividly in tales that embodied its themes. Remember Symphony brings this compelling narrative alive in music, magnifying its legacy from legend and cultural memory as much as from historical fact. After all, what makes history come alive—whether authenticated or legendary—is the part of it that appeals to the imagination.

The date is March the third, 1836. Filled with infectious optimism and Texan spirit, Colonel William Travis and his Alamo defenders resolve to hold the fortress against Generalissimo Santa Ana's approaching army. Drawing a line in the ground with his sword, Travis gives each man a final chance to depart—all who cross the line do so determined to stand united together to the death. Late in the night of March fifth, all remains quiet, peaceful, and still. All that can be heard are the sentimental strains of Colonel Davy Crockett's fiddle, yearning wistfully for the hills of Tennessee or his Irish ancestors' homeland. Suddenly, before dawn on the morning of March sixth, Santa Anna orders an all-out assault on the Alamo and its sleeping defenders. Silence gives way to cacophonous pandemonium at the sound of rockets, gunpowder, and the relentless "no-mercy" trumpet fanfare of the Deguello. Despite the defenders' valiant efforts, the Alamo and its defenders fall to the last man. And yet, the very sacrifice of the Alamo defenders becomes the rallying cry, "Remember the Alamo!", that urges the Texan army to a final victory against Santa Ana at the battle of San Jacinto on April 21, securing Texan independence once and for all.

To the bitter end, the men of the Alamo stood together, exemplifying Texan spirit. With diverse backgrounds and motivations, all united under a common cause, willing to die for each other and what they believed in. To us today, the Alamo is about courage—the conviction to pay the ultimate price rather than surrender what one holds dear. The lesson of remembering the Alamo—and history generally—is what we learn about our own potential. Can we stand united in the face of the challenges and crises imposed on us? The story of the Alamo tells us we can—and can do so with courage.

III. Before Dawn

Demo aria for the opera Eva and the Angel of Death.

Act II, Scene 1
Page Stephens, mezzo-soprano
Thomas B. Yee, piano

~~~~~~~~~~

Text: 

How can I go on without Miriam?
Auschwitz looms like a ghost,
haunting my waking and sleeping hours.
Every day, I'm prey to its icy grasp.
How can I face it without Miriam?
Where is my strength
when I cannot hold her hand?

~~~~~~~~~~

From the Composer:

As we become removed in time from the Holocaust, it is essential to preserve the experiences of survivors so that the Holocaust's horrors — and its moral lessons — are never forgotten. Eva and the Angel of Death presents the story of Holocaust survivor Eva Mozes Kor, who, along with her twin sister Miriam, was subjected to sadistic medical experiments by Dr. Josef Mengele in Auschwitz. Fifty years after her liberation, Kor returned to Auschwitz and, to the surprise of many, announced to the world that she personally forgave the Nazis for what had been done to her and her family.

Many in the survivor community found Eva's choice to forgive unthinkable, even
anathema. How could she forgive those who did not — or would not — repent? How could she proclaim forgiveness while still promoting Holocaust awareness and decrying present and future anti-Semitism? But Eva's fifty-year post-traumatic experience cannot be reduced to a cultural-political position or moral dictum. For Eva, forgiveness represented liberation from victimhood, choosing present life over past torment, and planting a seed of peace to break cycles of hatred and vengeance. Eva's forgiveness reclaims the victim's lost power not to be defined by past inflicted pain. Forgiveness may not be the answer for every survivor — but Eva's story shows why it was key to her flourishing.

On July 4th, 2019, Eva passed away in Krakow, Poland, in the midst of carrying out her life’s work, sharing her story on annual educational trips to Auschwitz. Eva's death makes it all the more vital to tell her story and establish the legacy of her message. In the words announcing Eva's death: "The themes of Eva's life are apparent. We can overcome hardship and tragedy. Forgiveness can help us to heal. And everyone has the power and responsibility to make this world a better place."

Eva and the Angel of Death — "How Can I Go On Without Miriam?"

Some composers found their love of music at the symphony hearing Brahms or Beethoven—Thomas discovered his from the 8-bit beeps and boops of the family Super Nintendo. Though his musical adventures have since broadened from slaying virtual dragons, he has carried the music's power of narrative with him ever since. Whether exploring what outer space might sound like, depicting the Hero's Journey with the colors of the orchestra, or fighting against genocide with the song of the mythological Leviathan, Thomas strives to connect with listeners' hearts through musical storytelling. In addition to composing, he reads and listens to analytic philosophy (often at the same time!) and can frequently be found cooking restaurant-worthy cuisine with his wife Tori. He dreams of collecting all the world's pens that have unconventional features—though he frequently has to start from square one when they fall out of his pockets.

Thomas B. Yee

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