

My first solo guitar piece.
Written to enter the Boston Guitar Fest Composition Competition.

The title "Guanyin" carries the very connotation that Hongkongers would use it for, besides the usual, metamorphic "goddess" in Buddhism.

The diamond shape denotes artificial harmonic at the notated pitch. Curves denote sliding of pitch according to the orientation. "Vibr." and the wavy lines denotes vibrato.
(Straight lines are reserved for glissandi)

[This has originally been composed as a movement of my quintuple tenor concerto]

Score: https://musescore.com/user/2239256/scores/934541

Op. 10 Guanyin

A standard 2-parted, 8-measure-per-bar march in 4/4 time for solo bagpipe.

("Reed-Sternberg" cell is the typical feature of Hodgkin lymphoma.)

Written to enter the National Piping Centre Stewart Society Composing Competition.

Op. 11 Reed-Sternberg March

For Brass Quartet-Ensemble

I. E lucevan le stelle
II. Ah! Du wolltest mich nicht deinen mund küssen lassen
III. To hell with all your mercy
IV. Je n'ai pas de courage
V. Popá...
VI. Gào sù wǒ
VII. Co chvíla

Score: https://musescore.com/user/2239256/scores/978461

Op. 12 Ἀπόπτῶσις [Apoptosis]

A hyper-polystylist improvisation on piano.

Semicolon Close Parenthesis: Improvisation on Piano

Impromptu in A

Probably my last work, the symphony is a dissertation, and includes everything I know about composing. The 9 tenors sing meaningless words, as in the music of Karl Jenkins. Their timbres have to be significantly different.

Score: musescore.com/user/183710/scores/1015736

Op. 13 Symphony No. 3

Tanz für zwei, for small ensemble, live electronics, Wagnerian soprano, Kavalierbariton and lyric basso profundo soloists

An attempt at bringing polystylism to a higher level by putting a larger number of styles together so that basically it would be impossible to recognize each individual style, but at the same time having the dramaturgy as in the polystylism of Schnittke's and Bernstein's.

The title is the German transliteration of the French "pas de deux". To cut a long story short, the piece is the play of doubling, grouping and splendid isolation: each instrument finds a partner in the piece, which will be another instrument, but then there will be an isolated instrument sometimes, being himself and standing alone, ignoring what is happening around him. Lonely, but original. There is a story behind the title, but it shall take time for me to explain.

This is my first piece to add in structure, after my friends criticised my third symphony of lacking in form. The first movement is in ABACBADBAEBCADABFEBAC form.

Wilson Wong

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