Chen Yi

  • Credit: Kuandi Photos

    As a Distinguished Professor at the UMKC Conservatory of Music and Dance, a prolific composer, and recipient of the Ives Living Award from the American Academy of Arts and Letters, Dr. CHEN YI* blends Chinese and Western traditions, transcending cultural and musical boundaries. Her music has reached a wide range of audiences and inspired peoples of different cultural backgrounds throughout the world. She holds a BA and MA in music composition from the Central Conservatory of Music in Beijing, and a DMA from Columbia University in New York City, studying composition with Wu Zuqiang, Chou Wen-chung and Mario Davidovsky. She was elected to the American Academy of Arts and Sciences in 2005, and the American Academy of Arts and Letters in 2019.

    Dr. Chen’s music has been performed and commissioned by the world’s leading musicians and ensembles, including Yehudi Menuhin, Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the BBC, Seattle, Pacific, and Singapore Symphonies, the Brooklyn, NY, and LA Philharmonic, Sächsische Staatskapelle Dresden, and the St. Paul Chamber Orchestra. Her music has also been recorded on many labels, including Bis, New Albion, CRI, Teldec, Telarc, Albany, New World, Naxos, Quartz, Delos, Angel, Bridge, Nimbus, KIC, and China Record Company.

    Dr. Chen has received fellowships from the Guggenheim Foundation (1996) and the National Endowment for the Arts (1994), as well as the Lieberson Award from the American Academy of Arts and Letters (1996). Other honors include first prize from the Chinese National Composition Contest (85), Lili Boulanger Award (93), NYU Sorel Medal Award (96), CalArts / Alpert Award (97), UT Eddie Medora King Composition Prize (99), ASCAP Concert Music Award (01), Elise Stoeger Award (02) from Chamber Music Society of Lincoln Center, Friendship Ambassador Award from Edgar Snow Fund (02), UMKC Kauffman Award in Artistry/Scholarship (06) and in Faculty Service (12), and Honorary Doctorates from Lawrence University in WI (02), Baldwin-Wallace College in OH (08), University of Portland in OR (09), and The New School University in NYC (10).

    Most recent performances included a three-movement symphonic work Introduction, Andante, and Allegro (co-commissioned by the Seattle Symphony Orchestra directed by Ludovic Morlot and Los Angeles Philharmonic directed by Gustavo Dudamel) by the SSO at Benaroya Hall in Seattle on 2/6/2019; Fire for 12 players (commissioned by Chicago Center for Contemporary Music) by Grossman Ensemble at Logan Center Performance Hall in University of Chicago on 3/15/2019; a symphonic work Pearle River Overture (commissioned by Guangzhou Symphony) in Xinghai Concert Hall in Guangzhou, China on 11/22/2018; Four Spirits for piano and orchestra, commissioned by the University of North Carolina at Chapel Hill and premiered at the Forbidden City Concert Hall in Beijing, China on November 18, 2016 and at the Memorial Hall in the Carolina Performing Arts (CPA), University of North Carolina at Chapel Hill on December 8, 2016 by the China Philharmonic Orchestra, with piano soloist Clara Yang, conducted by Huang Yi and Yu Long respectively; Southern Scenes for flute, pipa, and orchestra (with Barlow Commission Award) premiered by the Hawaii Symphony Orchestra in Honolulu (with soloists Linda Chatterton and Gao Hong, conducted by JoAnn Falletta) on Jan. 7, 2018; Totem Poles for organ solo commissioned and premiered at the American Guild of Organists national conference in Kansas City by Prof. James Higdon on July 3, 2018; Happy Tune for violin and viola commissioned and premiered at the Great Lake Chamber Music Festival 25th anniversary concert by Tien-Hsin Cindy Wu and Kim Kashkashian on June 16, 2018; Feng II and Suite from China West for saxophone ensembles premiered at the 18th World Saxophone Congress in Zagreb, Croatia on July 12, 2018; Ge Xu for orchestra by New Jersey Symphony and LA Philharmonic conducted by Zhang Xian; Chinese Folk Dance Suite for violin and orchestra performed on Guangzhou Symphony Youth Orchestra European tour (solo by Gao Can and conducted by Jing Huan) in Lyon, Prague, and at Musica Riva Festival in Italy; Ballad, Dance, and Fantasy for cello and orchestra by the China National Symphony at the 2018 Beijing Modern Music Festival and ISCM World Music Days (solo by Qin Li-wei and conducted by Yongyan Hu) at the CNCPA in Beijing.

    A strong advocate of new music, American composers, Asian composers, and women in music, Dr. Chen Yi has served on the advisory or educational board of the Fromm Music Foundation at Harvard, the John Simon Guggenheim Memorial Foundation, Chamber Music America, Meet The Composer, the American Music Center, New Music USA, the American Composers Orchestra, the League of Composers/ISCM, the International Alliance of Women in Music, and the Women’s Philharmonic Advocacy. She has supported many composers, conductors, musicians (including dozens of excellent performers on Chinese traditional instruments), music educators and students through her tireless work over the past three decades.

    Prof. Chen was appointed to the prestigious Cheungkong Scholar Visiting Professor at the Central Conservatory by the China Education Ministry in 2006 where she was instrumental in establishing the first Beijing International Composition Workshop, and the Distinguished Visiting Professor at the Tianjin Conservatory in 2012. Through her professorship in the Conservatory of Music and Dance, University of Missouri-Kansas City and Peabody Conservatory, John Hopkins University since 1996, as well as composition lectures and workshops, judging composition competitions, residences in new music festivals, performing arts organizations, universities, colleges, middle/high schools, and primary schools throughout the States and China, Prof. Chen has made significant contribution to the music education field. Many of her composition students have been recognized around the world with national and international composition awards and professional positions.

    Dr. Chen Yi is a cultural ambassador who has introduced hundreds of new music compositions and a large number of musicians from the East and the West to music and education exchange programs in the US, Germany, the UK, and Asian countries, particularly in recent years through programs of the Beijing Modern Music Festival, the Beijing International Composition Workshop (BICW), the Shanghai Spring Festival, the Tianjin May Festival, the China-ASEAN Music Week, the symphony orchestras throughout China and some other Asian countries, and the Thailand International Composition Festival, among many others. She believes that music is a universal language; improving understanding between peoples of different cultural backgrounds and helping to bring peace in the world.

    * Chen is family name, Yi is personal name. Chen Yi can be referred to as Dr. Chen, Prof. Chen, Ms. Chen, or Chen Yi, but not Dr. Yi, Prof. Yi, or Ms. Yi.

  • Cover Title (Subtitle) Duration Instrumentation
    110-41760 Ba Ban
    For Piano
    6:00 Piano Unaccompanied
    110-41805 Bamboo Dance
    For Solo Piano
    2:00 Piano Unaccompanied
    110-40728 Duo Ye
    For Piano
    6:00 Piano Unaccompanied
    110-40727 Guessing
    For Piano
    5:00 Piano Unaccompanied
    110-41767 Ji-Dong-Nuo
    For Piano
    5:00 Piano Unaccompanied
    114-41393 Jing Marimba
    For Solo Marimba
    4:00 Percussion Unaccompanied
    114-41859 Memory
    For Solo Cello
    3:30 Cello
    114-41787 Memory
    For Solo Flute
    3:40 Flute
    114-41410 Memory
    For Solo Violin
    4:00 Violin Unaccompanied
    114-40948 Monologue
    (Impressions on “The True Story of Ah Q”)
    5:00 Clarinet solo
    114-41561 Monologue
    (Impressions On ‘The True Story Of Ah Q’)
    5:00 Alto Saxophone Unaccompanied
    110-41803 Northern Scenes
    For Solo Piano
    8:00 Piano
    114-41050 Percussion Concerto
    20:00 Percussion with Piano
    114-40946 Points
    For Solo Pipa
    9:30 Non-Western Instruments
    114-41631 Shuo Chang
    For Solo Guitar
    6:30 Guitar Unaccompanied
    110-41763 Singing In The Mountain
    For Piano
    2:00 Piano Unaccompanied
    110-40726 Two Chinese Bagatelles
    Piano Solo for Children
    3:00 Piano Unaccompanied
    110-41790 Variations On “Awariguli”
    For Piano Solo
    9:00 Piano Unaccompanied
    Chamber Ensemble (2 Performers)
    114-41293 Ancient Dances
    For Pipa and Percussion
    Non-Western Instruments
    111-40190 Bright Moonlight
    For Voice and Piano
    114-41346 China West Suite
    For Marimba and Piano
    110-41777 China West Suite
    For Two Pianos
    2 pianos
    114-41262 Chinese Ancient Dances
    For B-Flat Clarinet and Piano
    8:00 Clarinet with Piano
    114-41434 Chinese Ancient Dances
    For Soprano Saxophone and Piano
    8:00 Soprano Saxophone with Piano
    414-41193 Eight Visions
    A New Anthology for Flute and Piano, Commissioned for and Curated By Marya Martin Through Meet The Composer
    114-40950 Fisherman’s Song
    For Violin and Piano
    4:00 Violin with Piano
    114-41373 From Old Peking Folklore
    For Violin and Piano
    5:00 Violin with Piano
    114-41648 Happy Tune (III. Dou Duo From ‘Three Bagatelles’)
    For Two Cellos
    1:40 Cello Duet
    111-40203 Meditation
    Two Songs for Voice and Piano
    6:00 Voice with Piano
    114-41718 Ox Tail Dance
    No. 1 from Chinese Ancient Dances
    5:00 Horn with Piano
    114-41080 Romance and Dance
    For Violin and Piano
    5:00 Violin with Piano
    114-41081 Romance Of Hsiao and Ch’In
    For Cello and Piano
    414-41202 Seven Muses
    A Contemporary Anthology for Flute and Piano
    Flute with Piano
    114-40949 The Golden Flute
    Solo Flute With Piano Reduction
    114-41535 The Soulful and The Perpetual
    For Alto Saxophone and Piano
    10:00 Alto Saxophone with Piano
    114-41647 Three Bagatelles
    For Guanzi And Sheng
    10:00 Woodwind Duet
    114-41397 Three Bagatelles From China West
    Duet for Flute and Piano
    10:00 Flute with Piano
    114-41615 Three Bagatelles From China West
    For Bb (or Eb) Clarinet And Piano
    10:00 Clarinet with Piano
    114-41612 Three Bagatelles From China West
    For Contrabass And Piano
    10:00 Contrabass with Piano
    114-41611 Three Bagatelles From China West
    For Flute and Bb Clarinet
    10:00 Woodwind Duet
    114-41609 Three Bagatelles From China West
    For Flute and Guitar
    10:00 Flute and Guitar
    114-41610 Three Bagatelles From China West
    For Violin and Cello
    10:00 String Duet
    Chamber Ensemble (3 or More Performers)
    111-40141 As In A Dream
    Violin, Cello, Soprano
    111-40185 As In A Dream
    Two Songs for Soprano, Pipa and Zheng
    7:00 Soprano, Pipa, Zheng
    114-41164 As Like A Raging Fire
    For Flute, Clarinet, Violin, Cello, and Piano
    10:00 Chamber Ensemble
    114-41198 At The Kansas City Chinese New Year Concert
    For String Quartet
    12:00 String Quartet
    114-41199 Blue Dragon Sword Dance
    from “At the Kansas City Chinese New Year Concert”
    5:00 String Quartet
    114-41165 Burning
    Global Outreach, Denouncing Terrorist Acts On 9.11.2001, for String Quartet
    String Quartet
    114-41192 Chinese Fables
    For Erhu, Pipa, Cello, and Percussion
    13:00 Non-Western Instruments
    114-41214 Eleanor’s Gift
    Reduction for Cello, Percussion and Piano
    15:00 Mixed Trio
    114-41052 Feng
    12:00 Woodwind Quintet
    114-41923 Feng II
    (Introduction and Rondo)
    12:00 Solo Soprano Saxophone in Bb, Soprano Saxophone in Bb, Alto Saxophone in Eb, Tenor Saxophone in Bb, Baritone Saxophone in Eb, Piano
    114-40951 Fiddle Suite
    for Huqin and String Quartet
    16:00 Huqin, String Quartet
    114-41367 From The Path Of Beauty
    Four-Movement Version for String Quartet
    22:00 String Quartet
    114-41271 Happy Rain On A Spring Night
    For Flute, Clarinet, Violin, Cello, and Piano
    Chamber Ensemble
    114-41332 Joy Of The Reunion
    For Oboe, Violin, Viola, and Double Bass
    3:30 Chamber Ensemble
    114-40744 Near Distance
    (Lost In Thought About Ancient Culture and Modern Civilization)
    9:00 Chamber Ensemble
    114-41248 Night Thoughts
    For Flute, Cello, and Piano
    8:00 Chamber Ensemble
    114-41133 Ning
    For Violin, Cello, and Pipa
    15:00 Mixed Trio
    114-41713 Not Alone
    & Happy Birthday to Prism
    14:00 SATB Saxophone Quartet
    114-40901 Qi
    For Flute, Cello, Percussion, and Piano
    12:00 Chamber Ensemble
    114-41359 Septet
    For Erhu, Pipa, Percussion and Saxophone Quartet
    14:00 Chamber Ensemble
    114-41103 Song In Winter
    For Di, Zheng, and Harpsichord
    8:00 Non-Western Instruments
    114-40947 Song In Winter
    For Flute, Zheng, Piano, and Percussion
    8:00 Chamber Ensemble
    114-41053 Sound Of The Five
    For Solo Cello and String Quartet
    20:00 Cello Quintet
    11780 Sparkle
    10:00 Fl.(Picc.) Cl. 2Perc. Pno. Vln. Vcl. Cb.
    416-41156 Sparkle
    11:00 Chamber Ensemble
    416-41304 Suite for Cello and Chamber Winds
    23656 Suite for Viola and Chamber Winds
    16:00 Solo Vla.; 1 1 1 1 – 1 1 1 0; Perc.
    114-41304 The Han Figurines
    For Violin, Bb Clarinet, Bb Tenor Saxophone, Double Bass, Piano, and Percussion
    5:00 Chamber Ensemble
    114-41684 Three Dances From China South
    For Dizi, Erhu, Pipa, And Zheng
    Mixed Quartet
    114-41335 Tibetan Tunes
    Piano Trio
    114-41349 Tunes From My Home
    Trio for Violin, Cello, and Piano
    15:00 Piano Trio
    114-40745 Woodwind Quintet
    9:00 Woodwind Quintet
    114-41358 Woodwind Quintet No. 3
    Suite From China West for Woodwind Quintet
    12:00 Woodwind Quintet
    114-41166 Wu Yu
    For Flute, Clarinet, Bassoon, Percussion, Vioin, and Cello
    14:00 Chamber Ensemble
    114-41167 Wu Yu
    For Flute, Clarinet, Oboe, Violin, Viola, Violoncello, and Contrabass
    14:00 Chamber Ensemble
    114-41162 Xian Shi
    Reduction for Viola, Piano, and Percussion
    14:00 Mixed Trio
    114-41272 YangKo
    For Solo Violin and Two Percussionists
    4:30 Violin, Percussion I, Percussion II
    Vocal / Choral
    312-41833 A Horseherd’s Mountain Song
    From “Two Chinese Folk Songs” For S.A.T.B. Chorus, A Cappella(arr.)
    3:00 Mixed Chorus
    312-41682 A Set Of Chinese Folk Songs
    Men’s Chorus (10 Copies)
    312-41731 A Set Of Chinese Folk Songs (Volume 1)
    For S.A.T.B. Chorus and Optional Piano(arr.)
    Mixed Chorus
    312-41732 A Set Of Chinese Folk Songs (Volume 2)
    For S.A.T.B. Chorus and Optional Piano
    312-41733 A Set Of Chinese Folk Songs (Volume 3)
    For S.A.T.B. Chorus and Optional Piano(arr.)
    312-41832 A Single Bamboo Can Easily Bend
    From “Two Chinese Folk Songs” For S.A.T.B. Chorus, A Cappella(arr.)
    3:00 SATB
    312-41859 Angel Island Passages
    For Children’s Choir and String Quartet
    15:00 Women’s Chorus
    312-41747 Arirang
    For S.A.T.B. Chrous, A Cappella(arr.)
    3:00 Mixed Chorus
    312-41813 Capriccio
    For S.A.T.B. Chorus, Solo Percussion, and Organ
    4:00 SATB
    312-41809 Chinese Mountain Songs
    For Treble Chorus, A Cappella(arr.)
    8:00 Women’s Chorus
    312-41783 Chinese Poems
    For Six Girls’ Choruses
    8:00 SSAA
    312-41863 Distance Can’t Keep Us Two Apart
    For SATB Chorus, A Cappella
    5:00 SATB
    412-41090 From The Path Of Beauty
    A Song Cycle for Mixed Choir and String Quartet
    35:00 SATB
    312-41869 I Hear The Siren’s Call
    for S.A.T.B. Chorus, a cappella
    2:30 Men’s Chorus
    312-41814 Know You How Many Petals Falling?
    For S.A.T.B. Chorus, A Cappella
    4:00 SATB
    312-41830 Landscape
    For S.A.T.B. Chorus, A Cappella
    3:00 SATB
    312-41868 Let’s Reach A New Height
    For S.A.T.B. Chorus, A Cappella
    3:00 SATB
    312-41848 Looking At The Sea
    for S.S.A. Chorus, a cappella
    3:00 Women’s Chorus
    312-41748 Sakura, Sakura
    For S.A.T.B.B. Chrous, A Cappella(arr.)
    1:15 SATB
    312-41841 Shady Grove
    For S.A.T.B. Chorus, A Cappella(arr.)
    1:45 SATB
    312-41745 Spring Dreams
    5:00 Mixed Chorus
    312-41858 Spring Rain
    For Satb Chorus, A Cappella
    4:00 SATB
    312-41694 Tang Poems
    For Male Choir, A Cappella
    15:00 Men’s Chorus
    312-41853 The Bronze Taotie
    Movement 1 From “From The Path Of Beauty”
    2:00 Mixed Chorus
    312-41831 The West Lake
    For S.A.T.B. Chorus, A Cappella
    312-41818 To The New Millennium
    Soprano Solo, Mezzo-Soprano Solo, and S.A.T.B. Chorus, A Cappella
    312-41855 Two Chinese Folk Songs
    1. The Flowing Stream, 2. The Sun Is Rising With Our Joy
    5:00 Mixed Chorus
    312-41860 With Flowers Blooming
    Fors.S.A. Chorus, A Cappella
    4:00 Women’s Chorus
    312-41837 Written On A Rainy Night
    (From Tang Poems) for S.A.T.B. Chorus, A Cappella
    3:00 Mixed Chorus
    312-41756 Written On A Rainy Night
    For Men’s Chorus, A Cappella
    Men’s Chorus
    312-41808 Xuan
    For S.A.T.B. Chorus, A Cappella
    4:00 SATB
    Chorus and Ensemble
    11758 A Set of Chinese Folk Songs
    for Children’s SA(T) Chorus and Strings
    11628 Chinese Myths Cantata
    34:00 Male Chorus; 4 Chinese Instruments; 2(2Picc.) 2 2(B.Cl.) 2(Cbsn.) – 4 2 3(B.Tbn.) 0; Timp. 3Perc. Str
    412-41078 Chinese Myths Cantata
    For Chorus & Orchestra
    17467 Early Spring
    for Mixed Choir and Chamber Ensemble
    10:00 SATB Choir; Fl. Cl. Vln. Vcl. Pno. Perc.
    416-41408 Early Spring
    For Mixed Choir, Flute, Clarinet, Violin, Violoncello, Piano, and Percussion
    10:00 Chorus, Chamber Ensemble
    17471 From the Path of Beauty
    A Song Cycle for Mixed Choir and String Quartet
    30:00 Chorus; 2Vln. Vla. Vcl
    10072 KC Capriccio
    for Wind Ensemble and Mixed Chorus
    5:00 SATB Chorus; 2 2 3(B.Cl.) 2 A.Sax. T.Sax. Bar.Sax. – 4 3 3(B.Tbn.) 1 Bar.; 3Perc.
    11824 Tang Poems Cantata
    for SATB Chorus and Chamber Orchestra
    15:00 SATB Chorus; 1 1 1 1 – 1 1 1 0; Timp. Perc. Pno. Str.
    21729 Blue, Blue Sky
    for Orchestra
    10:00 2(dbl. 2Picc.) 2 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    10193 Caramoor’s Summer
    for Chamber Orchestra
    13:00 2(dbl. Picc.) 2 2 2 – 2 1 1 0; Timp. 2Perc. Hp. Str.
    416-41296 Caramoor’s Summer
    For Chamber Orchestra
    13:00 Chamber Orchestra
    16931 Celebration
    for Orchestra
    5:00 2 2 2 2 – 2 2 2(opt.) 1(opt.); Timp. 2Perc. Str.
    416-41295 Celebration
    For Orchestra
    5:00 Orchestra
    11639 Duo Ye
    for Chamber Orchestra
    7:00 1 1 2(EbCl.) 1 – 1 0 0 0; Perc. Str.
    11649 Duo Ye, No. 2
    for Full Orchestra
    8:00 3(2Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. (Sus.Cym.) 3Perc. Str.(14 14 10 12 8)
    21656 Faith and Perseverance
    for Orchestra
    6:00 3(Picc.) 2 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Hp. Str.
    17485 Fountains of KC
    for Orchestra
    10:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Hp. Str.
    416-41429 Fountains Of KC
    For Orchestra
    10:00 Orchestra
    11681 Ge Xu (Antiphony)
    8:00 2 2 2 2 – 4 2 3 0; Timp. 3Perc. Hp. Str.
    416-41205 Ge Xu (Antiphony)
    8:00 Orchestra
    17452 Jing Diao
    for Orchestra
    4:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Str. (16. 14. 12. 10. 6)
    11714 Momentum
    for Orchestra
    12:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; 4Perc.(Timp.) Hp. Str.
    416-41184 Momentum
    17448 Mount a Long Wind
    for Orchestra
    6:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Str.
    416-41461 Mount A Long Wind
    For Orchestra
    6:00 Orchestra
    17331 Overture for Orchestra
    9:00 2(dbl. Picc.) 2 2 2 – 4 2 3(B.Tbn.) 0; Timp. 3Perc. Str.
    17420 Prelude and Fugue
    for Chamber Orchestra
    22:00 2(Picc.) 2 2 2 – 2 2 0 0; Pno. Perc. Str.
    17332 Prospect Overture
    9:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Str.
    17140 Rhyme of Fire
    for Orchestra
    11:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3(inC) 3(B.Tbn.) 1; Timp. 4Perc. Str.
    11769 Shuo
    for String Orchestra
    8:00 Str.
    16942 Si Ji (Four Seasons)
    for Orchestra
    14:00 4(Picc.) 4(E.H.) 4(B.Cl.) 4(Cbsn.) – 4 3 3 1; Timp.(dbl. Perc.) 4Perc. Hp. Str.
    11791 Sprout
    for String Orchestra
    7:00 Str.
    17421 Symphony ‘Humen 1839’
    (Co-composition by Chen Yi and Zhou Long)
    30:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno./Cel. Hp. Str.
    11802 Symphony No. 2
    18:00 3 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Str.
    416-41157 Symphony No. 2
    18:00 Orchestra
    16898 Symphony No. 3
    20:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1: Timp. 3Perc. Hp. Str.
    11703 The Linear
    15:00 2 2 2 2 – 4 3 3 1; Timp. 4Perc. Hp. Str.
    21663 Tone Poem
    for Chamber Orchestra
    8:00 2 2 2 2 – 2 0 0 0; Perc. Str.
    10178 Tu
    for Orchestra
    13:30 3(dbl. 3Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; 4Perc.(Timp.) Hp. Str.
    Orchestra with Soloist(s)
    10120 Ba Yin (The Eight Sounds)
    for Saxophone Quartet and String Orchestra
    20:00 Sax. 4tet soli; Str.
    16883 Ballad, Dance and Fantasy
    for Cello and Orchestra
    20:00 Solo Vcl.; 3(dbl. Picc.) 3(E.H.) 3(B.CL.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Str.
    10116 Chinese Folk Dance Suite
    for Violin and Orchestra
    20:00 Solo Vln.; 2(Picc.) 2 2 2 – 4 2 3 0; 3Perc. Str.
    22148 Chinese Rap
    for Violin and Orchestra
    10:00 Solo Vln.; 2(2nd dbl. Picc.) 2 2 2 – 4 2 3(B.Tbn.) 1; 3Perc. Str.
    17297 Concerto for Reeds
    for Oboe, Sheng and Chamber Orchestra
    14:00 Ob. Sheng Soli; 1 1 2(B.Cl.) 0(Cbsn.) – 1 1 1 0; Perc. Str.
    10067 Dunhuang Fantasy
    Concerto for Organ and Chamber Wind Ensemble
    12:00 Solo Org.; 1 1 2 1 – 1 1 1 0; Perc.
    11659 Eleanor’s Gift
    for Solo Cello and Orchestra
    15:00 Solo Vcl.; 2 2 2 2 – 2 2 1 0; 3Perc. Hp. Str.
    416-41203 Eleanor’s Gift
    For Solo Cello and Orchestra
    15:00 Cello with Orchestra
    10446 Fiddle Suite
    for Huqin and Orchestra
    16:00 Solo Huqin (Solo Erhu): 3 3 3 3(Cbsn.) – 4 3 3 1; Timp. 4Perc. Str.
    416-41202 Fiddle Suite
    for Huqin and Orchestra
    16:00 Huqin, Orchestra
    11670 Fiddle Suite
    for Huqin and String Orchestra
    16:00 Huqin, Str.
    23552 Four Spirits
    Concerto for Piano and Orchestra
    26:00 Solo Pno.; 2(2 = Picc.) 2 2 2 – 4 2 3(B.Tbn.) 1; Timp. 2Perc. Str.
    11725 Percussion Concerto
    20:00 Solo Perc.; 3(Picc.) 3 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; 3Perc.(Timp.) Str. (
    416-41207 Percussion Concerto
    20:00 Solo Percussion, Orchestra
    11736 Piano Concerto
    16:00 Solo Pno.; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. Perc. Pno. Str.
    11747 Romance and Dance
    for Two Solo Violins and String Orchestra
    10:00 2 Solo Vln., Str.
    10010 Romance of Hsiao and Ch’in
    for Two Violins and String Orchestra (also 1st movement of “Romance and Dance”)
    5:00 2Vln. Solo, Strings
    23614 Southern Scenes
    A double concerto for flute, pipa and orchestra
    15:00 Solo Fl., Solo Pipa; 2(2 dbl. Picc.) 2 2 2 – 4 2 3(B.Tbn.) 1; 3Perc. Str.
    16947 Spring in Dresden
    for Violin and Orchestra
    20:00 Solo Vln.; 2 2 2 2 – 4 2 3 1; 3Perc. Hp. Str.
    16944 Suite for Cello and Chamber Winds
    16:00 Solo Vcl.; 1 1 1 1 – 1 1 1 0; 1Perc.
    17003 The Ancient Beauty
    10:00 Chinese Dizi (dbl. Xun), Erhu, Pipa, Zheng, Str.
    17284 The Ancient Chinese Beauty
    for Recorders and String Orchestra
    15:00 Solo Rec.(Alto, Ten.); Str.
    11692 The Golden Flute
    Concerto for Flute and Orchestra
    16:00 Solo Fl.; 2 2 2 2 – 4 2 3 0; Timp. 2Perc. Hp. Str.
    416-41211 Xian Shi
    (Tone Poem for Viola and Orchestra)
    14:00 Viola with Orchestra
    11835 Xian Shi
    for Viola and Orchestra
    14:00 Solo Vla.; 2(Picc.) 2 2 2 – 4 3 2 0; Timp. 2Perc. Str.
    Band / Wind Ensemble
    23493 Ba Yin (The Eight Sounds)
    for Saxophone Quartet and Wind Ensemble
    20:00 S.A.T.B. Sax. Soli; 1 1 1 1 – 1 1 1 0; 2Perc.
    115-40206 Dragon Rhyme
    For Symphonic Band
    15:30 Wind Ensemble
    115-40201 Suite From China West
    For Wind Ensemble
    13:00 Wind Ensemble
    16875 Tu
    for Wind Ensemble
    13:30 3(3Picc.) 2 3(Bb.Cl.) 3(Cbsn.) Sop.Sax. AltoSax. Ten.Sax. Bar.Sax. – 4 3 3(B.Tbn.) 1 Euph.(opt. dbl. with Tbn.I) Bar.(opt. dbl. with Tbn. I & II); 4Perc.(incl. Timp.) Hp. Cb.
    115-40208 Wind
    For Wind Ensemble
    11:00 Wind Ensemble

  • …now one of the most distinctive composers of her generation… simply being in the presence of this hardy woman…made this evening the standout event in a full week of concertgoing in New York.
    –Anthony Tommasini, New York Times

    Chen’s compositional style distils Chinese and Western traditional music to form abstract canvases of sound. But her works are often marked by bold wit and striking orchestration.
    –Gramophone Online News

    First, Chen writes with real fluency for traditional Chinese instruments and combines them sensitively with Western instruments. There is no sense of a precious or false fusion here. Second, Chen has a feel for color that is fresh, immediate, and gives her music a strong profile. Especially using Western percussion, she creates sonic images that have real presence and mystery.
    –Robert Carl , Fanfare

    …was a departure for the composer from her typical joyful music. It began with explosive energy and even some anger. The chromatic ascending and descending scales on the violin and cello added depth to the piece. Contrasting this was piano turned artillery, lobbing ‘shots’ of struck chords over the bow of the audience.
    –Andrew Druckenbrod, Post-Gazette

    …a freewheeling duet … a plaintive, dual-soliloquy opening culminated in a driving catharsis…
    –Matthew Guerrieri, Boston Globe

    Chen Yi’s “Angel Island Passages”…is a setting of writings on the walls of building in Angel Island, in the San Francisco Bay, where Chinese immigrants awaited their fate. The singers, expressively accompanied by the Cypress String Quartet, faithfully projected the anxiety and homesickness of these people, as well as the emerging feelings of hope for a new day: “I am an American,” they sang.
    –Ann Carol Dudley, San Francisco Classical Voice

    ..wave-like inflections…sighing, questioning contours…went down like honey
    –Zachary Lewis, Cleveland Plain Dealer

    A week has gone by, and I still keep thinking about Ms. Chen’s “As in a Dream” … The playing seemed to capture the contours and inflections of a sung Chinese melody.
    –Anthony Tommasini, New York Times

    “As in a Dream” was impressive for its mix of leisurely yet elaborate vocal lines for soprano and skittish fluttering writing for [violin and cello].
    — , The New York Times

    …the oldest Chinese tradition and contemporary music technique are merged successfully … the traditional Chinese glissando and vibrato became various delicate and fascinating expression, Chinese speech became music directly, by singing in exaggerated reciting style.
    –Frankfurter Allgemeine

    …the Ying Quartet performed the world premiere of Chen Yi’s “At the Kansas City Chinese New Year Concert.” …compelling piece…a fascinating amalgam of classical Eastern and Western idioms.
    –Jeremy Eichler, New York Times

    Chen’s “The Talking Fiddle” [first movement of At the Kansas City Chinese New Year Concert] provided the brightest, freshest flavors. Her music began by conjuring up a bustling celebration that was full of joy…The viola shouted the greeting first. The others chimed in lustily.
    –Steven Brown, The Charlotte Observer

    Among the highlights was “At the Kansas City Chinese New Year Concert,” a compact but theatrically astute string quartet by Chen Yi, who has long taught at the University of Missouri-Kansas City. The first movement has an inviting, celebratory air. The second uses long-held tones and vibrato effects to evoke, according to Ms. Chen’s program note, hand-pulled noodle making.
    –Seth Colter Walls, New York Times

    BA YIN
    for Saxophone Quartet and Wind Ensemble
    …a brilliant dazzling display of East-meets-West sonorities and virtuosic…embellishments.
    –Lee Hartman,

    The most generous ovations were for the composer Chen Yi … Chen Yi is recapitulating the efforts of Russian, Finnish, Czech and Hungarian composers of a century ago or more, importing peasant tunes and rhythms as a way of infusing refinement with authenticity. Yet there’s something deeply American too, about the piece’s natural embrace of styles.
    –Justin Davidson, Newsday

    …the brooding first movement contains some of the most fantastic orchestral combinations I’ve heard in years: solo cello over deep winds, soft string glissandos and harmonics, whispered chants from the percussion section.
    –Alex Ross,

    Chen Yi’s music is about storytelling and theater, and a serach for strking and original effects…Orchestra players whisper, stringed instruments scurry, the high and low possibilities of winds are tested, and timpani explode like cannonfire. This is a narrative bustling for attention, using orchestra sound as its stage and props.
    –Bernard Holland, New York Times

    [Yo-Yo Ma commented] Chen Yi’s music sounds both modern and ancient. Her music manages to sound both authentic and unexpected, which is what you always want from art.
    –Bradley Bambarger, Star-Ledger (Newark, NJ)

    …an immediately appealing, colorful and rhythmically vibrant work. “Ballad, Dance, and Fantasy” is brilliantly and intricately orchestrated in the contemporary manner, but its folksiness as well as its sense of drama make it compelling even on first acquaintance. This not-so-easy piece was greeted with a a standing ovation.
    –Timothy Mangan, The Orange County Register

    …it was the orchestra that gave her concerto its character. In the ballad, a softly twittering, sometimes whispering background brought underlying enchantment to Yo-Yo Ma’s rhapsodic melodies, with dark, low winds deepening the solo cello’s resonance. In the dance, conga and bongos buoyed the happy spirit. Even when Ma took off in the global fantasy, the slipping and sliding violins seemed to lubricate his fingers.
    –Mark Swed, Los Angeles Times

    …a strong manner of merging Chinese folk background…into a Western orchestral mastery shot through with dark glints. …a dazzling virtuoso piece for supercellist Yo-Yo Ma … Chen Yi’s new “Ballad, Dance and Fantasy” is superior stuff for composer and cellist/collaborator, an extraordinary synthesis of Chinese melodic essence and manic contemporaneity that reaches beyond borders,…pauses now and then for moments of sweetness, regains a dizzying momentum and, at a breath-stopping end, simply and wonderously evaporates.
    –Alan Rich, LA Weekly

    …lovely and lyrical … beautifully integrated score … sounds neither Eastern nor Western, but some new hybrid … magnificently communicative…
    –Willa J. Conrad, Star-Ledger (Newark, NJ)

    …everyone in the audience was amazed with the musician’s “electrifying” playing techniques and appreciated every sound coming out of his instrument.
    –Natalia Dagenhart, Chicago Tribune

    I especially liked… Chen Yi’s “Burning,” …It added up to the liveliest new-music concert I’ve heard in ages.
    –Terry Teachout, Washington Post

    …four short exercises on Chinese themes, by turns stately and exuberant, and all of them done with the composer’s mastery of form and tonal weight.
    –Joshua Kosman, San Fransisco Chronicle

    A listener did not have to know the themes to be seduced by them, and Ms. Chen’s settings turn them into flowing dialogues between the pianists.
    –Allan Kozinn, New York Times

    …a welcome addition to the composer’s body of work … Chen’s work shows a brilliant feel for the dissonant implications of the folk music she quotes. The often rapid variations between the original material and her own extensions of it were handled seamlessly.
    –Benjamin Frandzel, San Francisco Classical Voice

    Ms. Chen’s writing is energetic and thoughtfully shaped, and deftly conveyed the intensity of these small dramas.
    –Allan Kozinn, New York Times

    …rugged and earthy … It proves that good music can be scored for the most unusual instruments in a charming, rhythmically complex work.
    –Delonda Hartmann, Muncie Star Press

    …its earthy, vigorous outer movements project a passionate strength.
    –David Hurwitz,

    Chen used Cantonese music elements in the first movement “Lion Dance.” In the second movement “Yangko,” she brought us beautiful scenery of rural village through a pentatonic melody and Yangko drumbeat as the background. In the third movement “Mugam,” [sic] she applied Xinjiang fold tune. The cheerful and enthusiastic mood led the music to the climax of the whole piece.
    –Song Xuejun (trans. Wang Xiaoxi), Central Conservatory of Music/

    The work’s eastern themes and rhythms, at first difficult to grasp, became intelligible with their subsequent iterations and variations. ‘Lion Dance,’ the first of three movements, bustled with the energy and high spirits of a Chinese festival … The work’s most fascinating movement, ‘YangKo,’…featured orchestra members mimicking percussion sound vocally instead of playing their instruments … [Terrie] Baune’s violin, floating above the surging chant, elegantly presented the movement’s fanciful arcs and curlicues. In the final Turkish-flavored dance, ‘Mukam,’ Baune sparkled in an impressive cadenza, full of high-velocity runs and muscular double stops.
    –Phyllis Rosenblum, Santa Cruz Sentinel

    …characteristically evocative…
    –Howard Reich , Chicago Tribune

    In three movements for solo violin and orchestra, she channels different folk traditions of her homeland into a zesty new creation. In the work’s most imaginative stroke, Chen Yi strings a beautiful violin melody over a piquant rhythmic mesh of vocalized syllables from the entire orchestra—the only instrumental sounds other than the soloist’s are a few brief jangles form the percussion and the occasional cello pizzicato. The two outer movements, though more straightforward, are nearly as arresting…
    –Joshua Kosman, San Francisco Chronicle

    “Chinese Folk Dances” [sic] is at once very Chinese in mood, yet very Western in orchestration and structure. In the 2nd movement, the orchestra vocally produced a throbbing beat somewhere between the vocalise of a Philip Glass piece and a soft rap number. Setting off the solo violin in this way was most effective … Even with the orchestral conclusion, the violin was not overshadowed, but shone through brightly right into the final, big round of applause.
    –Richard Lynde, Register-Pajaronia (Watsonville, CA)

    …her music spoke eloquently for itself. The “Chinese Folk Dance Suite” is a beguiling example of Chen’s unique gifts … the work is inspired by popular folk songs and dances of the composer’s homeland, but the work’s endless melodic invention and vibrant orchestral writing are entirely her own … The beauties of the fluid, 22-minute suite were readily apparent. Once again, Chen has given the orchestra—and the world—a scintillating new work…
    –Georgia Rowe, Contra Costa

    Chen Yi is becoming the Amy Tan of the symphony world. Like the Bay Area’s beloved novelist, Chen weaves materials from her Chinese homeland into musical tales that compel. Chen’s works are on the surface easy to respond to, the way good writing is easy to understand. But the music belies a structural ease and an assurance that combines ideas—and instruments—central to a Western orchestra with colors and sensibilities of the ancient civilization from the East. Chen’s “Chinese Folk Dance Suite” for solo violin and orchestra is especially easy on the ears without slipping into the ingratiating.
    –Lesley Valdes, San Jose Mercury News

    The three dance/rituals that form the core of the work are cleverly chosen both to create maximum contrast with each other and to match the traditional divisions of the concerto.
    –Michael Zwiebach, SFCV

    In her exquisitely resourceful “Chinese Poems,” composer Chen Yi put all six ensembles [of the San Francisco Girls Chorus] to work in the original Mandarin, interspersing intricately wrought harmonies and graceful pentatonic melodies with the occasional chirrup and whooping glissando.
    –Joshua Kosman, The San Francisco Chronicle

    One of the highlights of the evening was Chen Yi’s “Chinese Poems” … Judging from the audience’s response (a mid-concert standing ovation), the work was a resounding success.
    –Frank Albinder, San Francisco Classical Voice

    I would like you to know that in my many years of listening to choral performances, I have never before experienced anything as thrilling as your composition performed by 325 girls. It moved me to tears of absolute joy and exhiliration. Both the composition and the way it was performed were mind boggling. Thank you for your major contribution to a wonderful experience!
    –Harold Fardal,

    DUO YE
    …the best music is the lyrical middle section where delicately ornamented tunes mimic traditional pentatonic melodies.
    –Mark Lehman , American Record Guide

    DUO YE, NO. 2
    What’s remarkable about the piece is the profusion of ideas and the sophistication of the scoring. East meets West in a series of mammoth outbursts and quiet silky exchanges, and the meeting is congenial.
    –San Fransisco Examiner

    This is far from timid music, and it sent its vivid messages along a sensory hotline to which these particular musicians hotly responded. Ms. Chen, in other words, knows the sounds she can build from an orchestra, knowing too that the Central Philharmonic players share her relish for them.
    –New York Times

    …a refreshingly original piece combining Western orchestral idioms with traditional Eastern pentatonic tonalities. Although only a few minutes long, it is a thoughtfully conceived composition of youthful, yet not unpolished, expression.
    –New York Post

    …this concerto has wonderful moments. [Chen Yi] tastefully deploys expressive effects (glissandos in double notes, for example), takes the trouble to exploit the soloist’s lyrical qualities, and contrives a colorful accompaniment.
    –David Hurwitz,

    The music moves in gigantic waves with progressively higher crests. Chen Yi’s clarity of formal purpose is matched and supported by the brilliance of her orchestration. “Eleanor’s Gift” is a stunning work with an exhilirating sweep to it. The orchestra took obvious pleasure in rendering this highly successful new score.
    –Richard Festinger, San Francisco Classical Voice

    The cello is in almost constant song: beguiler, protester and persuader. The orchestral tissue moves in kaleidoscopic richness with discordant eruptions, whispers and breathing effects.
    –Rob Barnett, Musicweb

    …one 15-minute movement of much expressive beauty and evocative sounds in the orchestra, above which the cello soars to great effect.
    –David Moore, American Record Guide

    Though not exactly a breezy work, “Feng” (which means “wind” in Chinese), composed by the celebrated Chen Yi, is shorter in length (two movements) and diversity of style. But there is not dearth of textual interest. Ms. Chen has discovered a way to exploit Western instruments and even Western harmonies without uprooting and divorcing herself from Chinese culture.
    –Barry L. Cohen, The New Music Connoisseur

    Chen’s “Fiddle Suite” for Erhu/Huqin and String Quartet integrates the versatile voice of the Chinese fiddles into that of the quartet. The work’s three movements – are almost a concerto for erhu/huqin and the quartet. In both pieces [Zhou Long’s Soul and Chen Yi’s Fiddle Suite], the composers effectively merged Eastern and Western musical traditions, resulting in rock-solid pieces that some might call cross-over works but which are rather highly effective stand-alone scores that mingle best of both worlds.
    –Joe & Elizabeth Kahn, Independent Weekly

    …in the middle movement [of “Fiddle Suite”], where the erhu slides and groans expressively and the Western strings play with rarefied harmonies and striking sound effects, collectively producing a richly atmospheric tone picture…
    –Richmond Times-Dispatch

    Chen Yi’s “Fiddle Suite” is delightful; Chinese melodies go into Western harmony and counterpoint, and Western instruments imitate Chinese timbres and attacks.
    –Richard Dyer, Boston Globe

    In “Fiddle Suite” by Chen Yi, a latter-day Chinese-American Bartok, whose ingenious works seek to reconcile Chinese melodies and modes with Western harmonies and counterpoint, the two cultures march in step to her kinetic and inventive rhythms.
    –Anthony Tommasini, New York Times

    In its entirety, there was an unmistakable Asiatic idiom – an astonishing musical language that was at times groaning painfully, at times whispering, or stridently loud and buzzing, but on the whole gleaming with style. The wild volcanic dance at the end had thrilling passages, but nevertheless was also quite fascinating in its own right. The audience in the concert hall had every right to be animated in response.
    –Eckart Schwinger, Tagesspiegel Online Dienste Yerlag GmbH

    Chen Yi explores sophisticated dimensions in sound … the tartness, the asperity were unapologetic, the marshaling of events shrewd, the orchestration masterly … An extraordinary ear, a formidable talent, an original— how good to have made the acquaintance of Chen Yi.
    –Boston Globe

    Each of the four movements in “Four Spirits” is an aural portrait of a mythical/spiritual animal from ancient Chinese culture, and each is quite different in character. Vivid, colorful and distinct, each aroused a different feeling in the listener…I thought the music was thrilling…
    –Kate Dobbs, The Five Points Star

    There are very few measures within “Four Spirits” that gives the piano soloist a moments rest, and a great deal calls for either extremes of dynamics or a wide palette of color. Yang was indefatigable in meeting every unconventional demand of Chen’s frequently dense score.
    –William Thomas Walker, Classical Voice of North Carolina

    Chen Yi’s compositions are always intriguing and they usually bear an immediate signature – a blending of Western and Eastern influences and a buoyant enthusiasm.
    –Andrew Patner, The View from Here

    Someone in the audience Tuesday was moved to shout, “Splendid!” – and I can’t blame him a bit.
    –Richard S. Ginell, The Los Angeles Times

    Chen’s writing is engaging, and straddles a line between a 20th century soundscape…and a more olden and,,,foreign musical world.
    –Kwami Coleman, The San Francisco Classical Voice

    The listener’s experience of the work is akin to unrolling an ancient Chinese scroll, savouring the wonders as they pass before you.
    –Allan Ulrich, The Financial Times (London)

    …exquisitely crafted…
    –Allan Ulrich, The Financial Times (London)

    …the music’s overall effect is as lovely and seductive as its subject matter demands.
    –Joshua Kosman, The San Francisco Chronicle

    “From the Path of Beauty” feels so all-encompassing its like a miniature universe, with a seemingly endless variety of sonorities, textures and moods. … It is one of the most enticing new works I’ve heard in a while. … Chen has earned well-deserved attention as one of today’s most striking musical voices. She has fused Chinese and Western elements with perhaps more success than any other composer, to the point where you really stop thinking about East and West and just listen, with ears that are continually engaged.
    –Paul Horsley , The Independent (Kansas City)

    Chen Yi woos with a seductive and distinctive ‘Beauty’ [Headline]
    –Joshua Kosman, The San Francisco Chronicle

    On paper, they seemed like strange bedfellows. Yet the unusual combination of a male vocal ensemble with a string quartet resulted in one of the most successful performances of contemporary music in recent history. … Most sections of the work presented the chorus and string quartet together, a unique and unusual sonority.
    –Timothy McDonald, The Kansas City Star

    A compelling blend of Chinese and western musical thought. It is not easy listening, but it is a fantastic work, altogether worthy of the company it was keeping in last night’s program [Brahms and Ravel].
    –Richard Todd, The Ottawa Citizen

    [Chen Yi] was back in [San Francisco] again over the weekend with a new piece, and the old emotions – excitement, satisfaction, gratitude – surfaced all over again.
    –Joshua Kosman, The San Francisco Chronicle

    …a brief, euphorically arresting picture of the Chinese New Year that easily demonstrates why [Chen] so quickly made a splash (and hasn’t stopped doing so) in the West.
    –Mark Swed, Los Angeles Times

    …”Ge Xu (Antipathy)” opened the program with a firecracker bang. Composer Chen Yi sure knows how to use the orchestra.
    –Tony Frankel, Stage and Cinema

    Chen’s music is rooted in Chinese and modern American traditions and is almost always catchy and attractive. “Ge Xu” is inspired by festival music of the minority Zhuang people in southern China and matched its festive purpose.
    –Andrew Patner, Chicago Sun-Times

    Based on the singing of field workers in southern China, [“Ge Xu”] is richly affirmative, a feeling that is difficult to convey without sounding facile or simple minded.
    –Richard Dyer, Boston Globe

    “Ge Xu (Antiphony)” is richly affirmative, a feeling that is difficult to convey without sounding facile or simple minded. The music is Chen Yi’s own, but there shines through it a spirit that Haydn, Mozart, Rossini, and Dvorak would recognize immediately, and they would smile the way the rest of us did.
    –Richard Dyer, Boston Globe

    …a non-stop build of energy and color that crests and refreshes like an ocean wave…
    –Robert Carl, Fanfare

    …evocative … evolved slowly from a delicate blur – the musical equivalent of magical realism – to a hefty, shimmering structure…
    –Allan Kozinn, New York Times

    Chen Yi’s “Landscape,” receiving its world premiere, was a brief, diamond-clear evocation of a landscape, complete with sonic equivalents of clouds, raindrops, a lake, even hills.
    –Paul Horsley , KC Star

    …reflective and expressive… demands technical mastery.
    –Sharon Lierse, Stringendo

    …lyrical yet stormy melodic flow.
    –Art Lange, Fanfare

    …three ways of looking at China. Chen begins her impassioned 1998 10-minute score with a piccolo imitating a Chinese flute playing a folk tune. She builds up into a ferocious holocaust of sound but somehow the sweetness of folksong survives in the strings.
    –Mark Swed, Los Angeles Times

    …progressive in design and concentrated in authority … Chen Yi’s score upped the ante even further…Seeking an analogy to such forces as ‘the tension of breathing lava,’ with some ferocious licks for violin solo,…”Momentum” often pushed the orchestra to limits of sonority and sectional articulation.
    –Andrew Adler, The Louisville Courier-Journal

    …very successfully fuses spare, sinuous traditional Chinese elements with the complexity and rhythmic vibrancy of the European modernist tradition. … memorable for its astonishing effects…
    –Mike Greenberg, San Antonio Express-News

    …13 minutes of very effective orchestration…in a style very much Chen’s own, with its characteristic opposition of very high violins and very low percussion.
    –David Hurwitz,

    Momentum (1999) [is] a powerful score that crackled with motion and energy.
    –Mary Ellen Hutton, Cincinnati Post

    …supercharged, smartly crafted…
    –Lawrence B. Johnson, The Detroit News

    That left the opening selection, Chen Yi’s “Momentum” as the most rewarding part of the concert at the San Jose Center for the Performing Arts … a brilliant and appealing new work.
    –Joshua Kosman, San Fransisco Chronicle

    “Near Distance” presents the composer ‘lost in thought about ancient culture and modern civilization’; she is obviously thinking about the parallels and contrasts between the music of the East and of the West.
    –Boston Globe

    Chen Yi’s sextet, “Near Distance,” evinced some delicate, dramatic sonorities in its fusion of east Asian and Western musical impulses.
    –Chicago Tribune

    for Guitar Duo
    In three challenging movements that called for a variety of interesting effects, the piece was impressive to hear, and satisfying in its outcome.
    –Sarah Bryan Miller, St. Louis Post-Dispatch

    …ferocious and uncompromising…
    –Joshua Kosman, SF Gate

    “Ning” (2002) by Chen Yi, used (violin, cello, and pipa) in a melancholy and sometimes terrifyingly visceral evocation of China during World War II. A traditional song “Jasmine Flower,” is buried and fragmented within the work’s textures.
    –Allan Kozinn, New York Times

    …the concert’s highlight: “Ning,” by Chen Yi … This riveting, at times intense, work manages to be alternately explosive, bleak and penetratingly poignant.
    –Kyle MacMillan, Denver Post Fine Arts Critic

    A sorrowful but hopeful mood…pervaded the Chinese composer Chen Yi’s “Ning” (2002), her subtly powerful lament for a homeland ravaged by war … plucking sounds eerily rose and fell against, and finally merged with, the agitated statements of violin and cello.
    –John von Rhein, Chicago Tribune

    …striking, texturally colorful … veering from frenzied agitation to meditative resignation…
    –Vivien Schweitzer, New York Times

    …riveting … lacy tunes on the violin and cello interact with an eerily high-pitched skittish melody on the pipa.
    –Anthony Tommasini, New York Times

    Chen Yi’s “Ning”…is a major new work integrating the pipa into a small ensemble of Western instruments (with cello and violin). It succeeds where so many other cross-cultural works have failed, establishing a feeling of balance and unity between instruments that speak different languages, forcing the Western players into places that aren’t entirely comfortable, yet never distorting the natural capacities of their instruments. The piece has structure, depth of emotion, a wealth of color and pure aural fantasy, and it ingratiates itself on the imagination with each subsequent hearing … the dark, even ghoulish intimacies of Chen Yi…
    –Philip Kennicott, Washington Post

    …The strongest impressions were left by the music of Chen Yi … “Ning” is an angry musical response to the 1937 Massacre in Nanjing. The music is dramatic, with lacerating violence finally moving toward meditation and the blessing of souls. The composer’s compelling style bridges East and West, like the timbres of the instruments.
    –Richard Dyer, Boston Globe

    …the pipa…blended seamlessly with its Western counterparts … “Ning,” rotating solo lines for all three players, had many of the same sonic textures as the great guitar works of Rodrigo or Sor. Chen Yi is a composer worth seeking out.
    –Keith Powers, Boston Herald

    …the effect was exhilarating; Chen Yi clearly knows how to bring Western and Eastern modes into meaningful dialogue.
    –Nick Kimberly, Evening Standard, London

    …an extraordinary “Percussion Concerto” … refulgent with lush Chinese romanticism … programmatic and evocative … and a solo percussion cadenza whose physical and aural gymnastics defy description … The BBCSO seemed to relish every moment of it all.
    –Hilary Finch,

    …a mixture of western and Chinese percussion instruments against a full symphony orchestra. Chen Yi creates a genuine visceral quality and the Chinese percussion instruments have a real function within the otherwise western orchestration rather than being blandly superimposed. Oriental scales colour the music but don’t define it.
    –Erica Jeal, The Guardian

    Most rewarding is Chen Yi’s concerto, which boasts her trademark fusion of Chinese and Western elements.
    –Joshua Kosman, San Fransisco Chronicle

    …a major and fiery new score by Chen Yi … The orchestra is used subtly, the references to Chinese opera are well integrated into a score tailored for Western musicians and instruments, and the work builds to a powerful yet complex climax. It is poetic music in which sounds exotic to Western ears are deployed without their exoticism being advertised.
    –Philip Kennicott, Washington Post

    …a richly engaging musical experience. In shimmering surges, intuitively crested waves and sudden eddies, the piece pulls the listener along. There’s kind of tidal force to the piece, a perpetual and varied connection between its jittery, storm-tossed surface and a deeper movement … The piece spins the temperaments and timbres of East and West together without distorting them.
    –Steven Winn, San Francisco Chronicle

    For the first two minutes there’s the astonishing range of sounds made by a collection of traditional Chinese gongs, and when the orchestra enters it feels effortlessly oriental.
    –Andrew McGregor, BBCi Music

    The fun of the evening was…pretty well concentrated in the final work … a flashy and colourful “Percussion Concerto” written for the brilliant Scottish percussionist Evelyn Glennie by Chinese composer Chen Yi. Chen has designed a striking visual as well as aural piece for a large battery of tuned and untuned percussion, all inspired by the arts of the Beijing Opera … the sonic effects were riveting.
    –Ken Winters, The Globe and Mail, Toronto

    [Chen Yi’s “Percussion Concerto”] was Western-classical in structure, shape and physical orchestration but Chinese enough in flavour and content … given the stunning presence of Scottish soloist Evelyn Glennie.
    –The Straits Times (Singapore

    “Percussion Concerto” bears achingly beautiful passages in its three movements…mixed at times with feverish intensity … Highlights of the 20-minute piece included the energetic and varied percussion…and the wonderful Chinese operatic-style recitation of Shu Shi’s “Prelude to Water Tune”.
    –Evans Donnell,

    …there was much to admire and recall with stimulation and pleasure during the season. My choice falls on Chen Yi’s beautifully conceived “Percussion Concerto” … drawing musical styles and atmospheres from East and West into a coherent whole, proving again that music is a single language with a wealth of accents … I was moved and thrilled to hear a musical work first and a piece for virtuoso percussionist second.
    –Denby Richards, Musical Opinion

    …steely…evocative, Chen Yi’s spirited “Piano Concerto” strangely seemed to summon textures and harmonies one associates with French impressionsm. Yet there were hints of Asian melodic motifs streaming through the score.
    –Cecelia Porter, Washington Post

    …based on a Chinese folk song but is in no sense folksy in spirit, passes through phases of extreme aggressiveness and lovely delicacy … The piano shimmers and glistens, or confronts an assertive and colorful orchestra.
    –New York Post

    …an extrovert energy, a keen ear for instrumental color and a fusion (or hybridization) of disparate styles that is both distinctive and assured.
    –Larry Fuchsberg, Minneapolis Star Tribune

    …her affection for [Chinese folk music] forms combines with darker memories of Mao’s oppressive government. The clash resonates throughout the work, finding a sense of calm individuality only in the solo cello…
    –Rob Hubbard, St. Paul Pioneer Press

    …canny use of instrumental color … Part of Ms. Chen’s success may come from approaching the orchestra with a fresh perspective: she works capably within its vocabulary, but brings in enough of a foreign accent — and not only in the pentatonic Chinese-isms — to reanimate the language with a sense of wonder.
    –Anne Midgette, New York Times

    For Flute, Cello, Percussion, and Piano
    “Qi” is a very effective 10-minute piece of nature-impressionism, the sketch-like designs integrated into a whole, the sounds compelling and intriguing.
    –Colin Anderson, The Classical Source

    This dazzling work, a sonic depiction of life force by one of the most talented of a group of recent Chinese émigré composers, combines Western and Asian sonorities and aesthetics.
    –Frank J. Oteri, Chamber Music

    The work’s sense of unfolding is first-rate, its feel for ensemble color is nicely gauged, and its energy level is at times breathtaking.

    –David Cleary, The New Music Connoiseur

    “Qi,” a glittering, kinetic juggernaut of a piece, said yet more about the immense talent of the Chinese-born Chen Yi, who now lives in America and can write academic-arcane and Pops-accessible (well, almost) works with equal facility and freshness.
    –Richard Buell, Boston Globe

    Chinese America composer Chen Yi offered the world premiere of “Qi” another of her fascinating cultural interweavings, a poetic essay marked by dynamic extremes and textural imagination.
    –Josef Woodward, LA Times

    …a marvelous hybrid piece — Western instruments, including an array of percussion, called into the re-creation of an ancient Chinese concept of space and infinity that only music (never works) could properly describe. Among this new generation of Chinese composers, most of them now emigrated, Chen is particularly interesting for her ability to keep her own roots growing in foreign soil; what I know of her music (including a new disc on New Albion) spans vast cultural spaces with a most endearing, easy grace.
    –Alan Rich, LA Weekly

    “Qi,” a thrilling new chamber work by Chen Yi, [is]…exhilarating. As ever with this formidable composer, the music draws on traditional Chinese sonorities, transforming them and putting them into service of a fiercely dramatic formal plan. Spare melodic fragments — plucked and sliding cello figures, feathery flourishes by the flute — begin and end the piece. But in between comes an accumulation of weight and momentum, culminating in a pair of ferocious outbursts dominated by the percussion.
    –SF Chronicle

    …the improvisational fantasy of Chen Yi’s lovely “Qi”…translates the essence of [Chinese] culture into Western instruments, tapping into their aggressive quality for dramatic impact and using snappy underlying riffs as a means of unity.
    –David Patrick Stearns, The Philadelphia Inquirer

    …very effective … the sketch-like designs integrated into a whole, the sounds compelling and intriguing.
    –Colin Anderson,

    The final passages of this work were perhaps the most powerful in the entire concert.
    –Manasi Vydyanath, Chicago Maroon

    …a quartet for flute, cello, percussion and piano whose title signifies “the circulating life force whose existence and properties are the basis of much ancient Chinese philosophy and medicine.” At times extrovert and explosive, at other moments dark and mysterious, its ten minutes cram a wealth of experience…
    –Vincent Plush, Limelight Magazine

    …thrilling … this was one of the finest new works I’ve encountered for a long time.
    –Christian Hoskins, Music OMH

    …this was a knockout … Her music is a fruitful creative fusion of Chinese and Western influences. …was perfectly in tune with the occasion – plunging headlong into tremendous energy and excitement…
    –Jonathan Burton,

    …an attractive piece that could well go into the general repertoire.
    –Michael Darvell,

    The brief two-part piece opens with an ingenious tune that stays in the mind, then barnstorms to a close with a furious dance.
    –Paul Horsley , The Kansas City Star

    The Romance portion of the work is languid and ethereal. The more vigorous Dance takes melodies commonly found in Beijing opera and casts them into a cauldron of nervous tremolos and pulsating repeated gestures.
    –Joseph Sargent, San Francisco Classical Voice

    …sweetly lyrical but never cloying…
    –David Hurwitz,

    …remarkable … composed with terrific flair … infused with a folkish spirit, often a vivacious one.
    –James M. Keller, Chamber Music Magazine

    At first glance, the saxophone quartet Prism and the instrumental ensemble Music From China would seem to be strange bedfellows … At the Freer Gallery’s Meyer Auditorium on Sunday, the answer seemed to be that, given the right music, this could be a strangely satisfying collaboration. … Chen Yi’s “Septet” split the two ensembles, with the saxes’ energetic punctuation answered antiphonally by the more restrained strings and percussion, and this worked well…
    –Joan Reinthaler, The Washington Post

    …fearless melodic beauty…
    –Joshua Kosman, San Fransisco Chronicle

    Ms. Chen, one of several Chinese composers who have had an important impact on the new-music scene in recent years, contributed “Shuo” (1994), a cheerful, pretty and rhythmically vital work that quotes and transforms folk melodies from her homeland.
    –New York Times

    for Solo Guitar
    There’s no shortage of pyrotechnics … the guitar is called upon to be narrator, singer, drummer and accompanying musician.
    –Steve Moffatt, Limelight Magazine

    Chen Yi’s “Shuo Chang” allowed [the performer] to offer an entire Chinese festival on a Spanish guitar, from the singing of crowds to background drumming.
    –Sarah Bryan Miller, St. Louis Post-Dispatch

    SI JI
    (Four Seasons)
    …vividly scored … Taking inspiration from a quarte of 11th century poems, she frames a set of four distinct episodes, from a rhythmically sharp opening dominated by the percussion to a sparse, evanescent close … richly evocative.
    –Joshua Kosman, San Fransisco Chronicle

    …a brilliant showpiece … a kind of compressed symphony, with four distinct sections depicting the seasons. It has both the intensity and originality of Stravinsky’s “Rite of Spring.”
    –Georgia Rowe, San Jose Mercury News

    …The highlight was Chen Yi’s “The West Lake.” … Chen’s modern techniques and complex tonal palette serve as a bridge between the musical sounds of East and West … the composer has created a delicately layered work. … She treats voices like orchestral instruments and this yields wonderful results. At times the voices sound like strings, later like brass, and most strikingly, something like bells, putting you in mind of ripples created by small stones dropped in clear water.
    –M.L. Rantala, Hyde Park Herald

    …its vibrant energy and imaginative depth are unmistakable.
    –San Francisco Chronicle

    …Chen is deft at molding Chinese and European elements into a vivid, compelling soundscape … The first stanza gradually swelled, suggestive of a rising sun and the lapping waves–and the overall fell was awe at nature’s beauty: it’s a wonderful miniature.
    –Ted Shen , Chicago Tribune

    “Si Ji” weaves together delicate webs of sound, different scales and eruptive clusters according to a well-planned dramaturgy … Chen Yi…combines high compositional standards with accessibility in an ideal way.
    –Jorg Huber , Neue Zürcher Zeitung

    Chen Yi’s “Si Ji” [is in] four seamlessly connected parts. It makes use of the orchestra, alternating extremely diaphanous textures with shattering eruptions of sound,
    –Harvey Sachs, Cleveland Plain Dealer

    Ms. Chen creates a third musical world, one that looks neither to Europe nor to Asia and yet is a distant mirror for both. In “Si Ji” color becomes a kind of counterpoint, layer added on layer … the forward progress is a thoughtfully edited stream of consciousness, one idea leading to the next.
    –Bernard Holland, New York Times

    …a new work…of impressive coloristicm and dramatic character … a beautifully realized work filled with enchanting and cataclysmic ideas.
    –Donald Rosenberg, Cleveland Plain Dealer

    …a 20-minute burst of freshness … both muscular and minutely shaded…drama … sudden contrasts in tiny shafts of light. Chen Yi belongs less to the exotic camp than to the great tradition of émigré composers.
    –Justin Davidson,

    …perhaps the most successful piece of the evening … this composition also stresses the adaptation of Western atonality and musical structures to the timbres of Chinese instruments.
    –Joe & Elizabeth Kahn, Independent Weekly

    …sounds that merge the earthy, modal music of Chinese folk song with the hard-driving and harmonically astringent styles of Western contemporary music.
    –Anthony Tommasini, New York Times

    By the time we reached the last piece, Chen’s “Sound of the Five,” I was scoured out. But she wasn’t. Chen’s music is irresistible, urelenting. With a smile and a wave, she yanked us back to life, turning Western instruments into vernacular Chinese bells, drums, pipes, and a 2,000-year-old zither.
    –David Stabler, The Oregonian

    …a happy rush of trills and scales and percussive explosions, but it also explores sophisticated pitch relationships.
    –Los Angeles Times

    …the texture is bright and magical.
    –New York Times

    Chen Yi’s “Sparkle” woke us from the reverie. The title says it all: this 1992 tour de force is a kaleidoscope of bright, metallic color, tightly structured and always demanding utmost virtuosity. With good reason it is her most popular piece.
    –Paul Horsley , KC Star

    Chen Yi’s music captures the polyphony of two cultures. In her latest recording, “Sparkle,” we hear the exhilirating tension, self-introspection and thrilling juxtaposition produced when an artist grapples with the superimposition of two distinct worlds … The CD further confirms that Chen Yi is one of the most exciting and talented composers working today.
    –Eleanora Beck, IAWM Journal

    The evening’s high point, surely, was Chen Yi’s “Sparkle.” Pulsating with restless energy, the music dashes, buzzes, soars like so many flights of the bumblebee. It catches its breath now and then — with respites of fragmented, sinuous Chinese folk melodies — only to be shaken and exhorted to race again by loud whacks on the drum. No other piece on the program approaches it in originality.
    –Ted Shen , Chicago Tribune

    Impressive, too, was Chen Yi’s “Sparkle,” an aptly named piece of brilliance featuring slow steps in high trills from combinations of piano, marimba, vibraphone and piccolo, with always interesting backgrounds … the piece had a distinct, thrilling identity.
    –Paul Griffiths, New York Times

    …explores an endless variety of instrumental combinations in a traditional Chinese rhythmic structure. Foremost, however, was the inventiveness and sheer excitement of the score, which features some delightfully ferocious tuttis, and a tiny final gesture of sparkling wit.
    –Mark Satola, The Plain Dealer, Cleveland

    For sheer visceral effect, nothing matched Chen’s “Spring Dreams.” The idea of ‘petals falling’ was conveyed through rhythmic whispers and chatters, birds by pulsating whistles. In the midst of this cumulative din the sound of voices actually singing came as a jolt. Chen has the ability to create a minor sensation with the simplest of means.
    –Paul Horsley , The Kansas City Star

    …blockbuster … The music is so immediately alluring that it grips the ears and never lets go.
    –Donald Rosenberg, Cleveland Plain Dealer

    “Sprout” brushes sixth-century Chinese melody into a rhapsodic string-orchestra arc…
    –Matthew Guerrieri, Boston Globe

    …casts a placid harmonic spell…
    –Joshua Kosman, San Fransisco Chronicle

    Slowly unpacking itself through imitation, the music ecstatically builds in layers then fades beautifully away.
    –Andrew Druckenbrod, Gramophone

    …examination of the score reveals a musical palette that belies the work’s apparent simplicity. … Textures are intricately woven from myriad musical strands; every section of the ensemble is given multiple musical and technical challenges … Chen Yi’s craft is so masterful, that despite the work’s inherent challenges for performers, to listeners, the musc sounds effortless and unpretentious.
    –Gary Hill, WASBE Newsletter

    This is thrilling, cinematic music that, although challenging at times, is always gripping.
    –Patrick Neas, Kansas City Star

    …a dark, pulsing and deeply interesting piece … I was especially impressed by some eloquent passages for mixed percussion – death rattles from the snare drums, followed by the remnants of a chime, repeated again and again in a long and brutal fade out.
    –Tim Page , Washington Post

    The rite (ceremony) begins, slowly the music sets in, which imitates the Chinese instruments Suona and Sheng. The piece with the title Praying for Raingets faster and faster. The moment intensifies, the runs and motives get wilder, more urgent, until the long anticipated rain sets in … The lifelong study of traditional Chinese music leads Chen Yi to settings of Chinese melodic structures … The second movement…is touching in its simplicity. Song of the Chuconjures up far away lands and old times. The finale Shifan Drums and Gongs is highly expressionistic, the percussive elements reminding of Stravinsky’s “Sacre,” but still having their own expressive power…
    –Von Markus Dippold, Stuttgart Daily

    …The rhetorical force and dark beauty of Chen Yi’s “Symphony No. 2” are undeniable …. a memorably powerful statement whose emotional and even philosophical impact emerges from carefully crafted musical materials.
    –San Francisco Chronicle

    It is an ever-cresting surge of slithering bass sonorities, high ghostly string harmonics, filigree woodwind lines, bright splashes of brass, pointillistic flecks of percussion … feast for the ears, and its strongest images lingered.
    –New York Times

    …full of interest and enjoyable to hear … lively quirkiness, vitality and fun … Chen uses skilled imagination with instrumental timbres…
    –Philippa Kiraly, Seattle Post-Intelligencer

    …a dazzler … Technically assured and full of surprising sonorities, this symphony brings together Eastern and Western melody and harmony with some imaginative and effective scoring…
    –Melinda Bargreen, Seattle Times

    …a sturdy composition with moments of intense color.
    –Kenneth LaFave, Arizona Republic

    …confident orchestration, shimmering tonalities, and a beguiling palette of emotional and expressive gestures for the flutist.
    –Paul Ingram , Fanfare

    …original … There is a subtle co-mingling between Eastern and Western idioms which gives the three-movement work its unique flavor.
    –Edward Reichel, Deseret Morning News

    …a richly colored evocation of the Chinese bamboo flute.
    –Joshua Kosman, San Francisco Chronicle

    The flute soloist, Donna Orbovich, captivated the audience with her tongue tricks and ease in free pitches from Western constraints. Chen showed brilliance in mixing brass passages and loud orchestral thuds with the solo flute.

    …truly delightful and substantial flute concerto … Although the idiom of the concerto is firmly rooted in the present, the inspirations are the sounds of ancient Chinese wind instruments, and the piece grows organically from the rootstock of pure Chinese folk music … It is a pleasure to welcome this important new work to the flute repertoire.
    –Leslie Sheills, Pan Magazine

    “To the New Millenium” is a joyous addition to the choral literature.
    –Janelle Gelfand, The Cincinnati Enquirer

    The music proved entirely gripping.
    –San Fransisco Chronicle

    for Flute and Guitar
    …trademark style of technical flourish in a context that evokes the Chinese culture…
    –Daniel Coombs, Audiophile Audition

    A highlight was “Tibetan Tunes” … Recorders and the two-stringed Erhu were Chen’s inspirations here, and the trio [Violin, Cello, Piano] mimicked both with serene trills, chime-like chords and a spine-tingling glide up the cello.
    –Zachary Lewis, Cleveland Plain Dealer

    for Organ Solo
    The music reflected the mystery and sometimes the brutality of the life those totem poles represent. It moved from full organ to a middle section of celeste chords with a haunting melody; the final section, which was very dissonant, returned to the full organ of the opening, with interjections of the celeste and the haunting melody again, ending with a lovely softness.
    –The American Organist

    [a] dark and angry work, dedicated to the New York firefighters who died on 9/11 … Chen’s emotional directness and lack of pretense is very refreshing.
    –David Hurwitz,

    Dedicated to the New York City firefighters in the September 11 tragedy, her piece proved a powerfully, impassioned outcry.
    –John Rockwell, New York Times

    …a fierce 14-minute outcry. Written as both a howl of pain in response to the attacks of September 11, 2001, and a tribute to the New York firefighters who lost their lives, “Tu” takes off with a crash and rarely flags in its unbridled energy.
    –Joshua Kosman, San Fransisco Chronicle

    …dramatic intensity to the 9+1+1 rhythmic motif that underscores “Tu” (composed in response to the attack on the World Trade Center).
    –Art Lange, Fanfare

    For Solo Violin and Two Percussion
    …confidently unpretentious.
    –Miriam Seidel, Philadelphia Inquirer

    …a witty rhythmic jest for violin and percussion, makes a crisp, transparent effect.
    –Joshua Kosman, San Fransisco Chronicle

    …a very rhythmic folk dance piece featuring vocalised percussive sounds from all three players, a range of percussion instruments, and the violin singing a sweet song.
    –Clinton White, City News

  • Concertos for String Instruments CONCERTOS FOR STRING INSTRUMENTS
    BMOP/sound (1058); July 1, 2018
    Performer(s): Lizhou Liu, viola; David Russell, cello; Wang Guowei, huqin; Mira Wang, violin; Boston Modern Orchestra Project, Gil Rose, conductor
    Work(s): Fiddle Suite
    Spring in Dresden
    Suite for Cello and Chamber Winds
    Xian Shi
    Castillos de Viento CASTILLOS DE VIENTO
    Innova Records (982); February 23, 2018
    Performer(s): Duo Damiana (Molly Alicia Barth, flute; Dieter Henning, guitar)
    Work(s): Three Bagatelles from China West
    Paradigm Lost PARADIGM LOST
    XAS Records (XAS 103); September 22, 2017
    Performer(s): Prism Quartet
    Work(s): Not Alone
    Songs From Our Ancestors SONGS FROM OUR ANCESTORS
    Globe Music (GM-001); September 1, 2016
    Performer(s): Xuefei Yang, guitar
    Work(s): Shuo Chang
    Chinese Rap CHINESE RAP
    Centaur Records (CRC3440); June 10, 2016
    Performer(s): Kennesaw State University Symphony Orchestra, Michael Alexander, conductor; Kennesaw State University Chamber Singers, Leslie J. Blackwell, conductor; Kennesaw State University Wind Ensemble, David Th…
    Work(s): Chinese Rap
    Romance and Dance
    Set of Chinese Folk Songs Vol. I; Vol. III
    Tu for Wind Ensemble
    Echoes of China ECHOES OF CHINA
    Naxos (8.570616); August 14, 2015
    Performer(s): Susan Chan, piano
    Work(s): Northern Scenes
    Wind Band Classics: Chen Yi WIND BAND CLASSICS: CHEN YI
    Naxos (8.572838); July 1, 2015
    Performer(s): Texas Tech University Symphonic Wind Ensemble
    Work(s): Feng
    KC Capriccio
    Suite for Cello and Chamber Winds
    Tu (version for wind ensemble)
    Woodwind Quintet
    Zhou Long / Chen Yi: Symphony ZHOU LONG / CHEN YI: SYMPHONY “HUMEN 1839”
    Naxos (8.570611); May 1, 2015
    Performer(s): New Zealand Symphony, Darrell Ang, conductor
    Work(s): Symphony ‘Humen 1839’
    Pieces & Passages PIECES & PASSAGES
    Albany Records (TROY1546); March 1, 2015
    Performer(s): Scott Conklin, violin; Alan Huckleberry, piano
    Work(s): Fisherman’s Song
    Adirondack Songs ADIRONDACK SONGS
    Mark Masters (51320); February 10, 2015
    Performer(s): The Crane Wind Ensemble, Brian K. Doyle, conductor
    Work(s): Dragon Rhyme
    Bridge Chamber Virtuosi BRIDGE CHAMBER VIRTUOSI
    Con Brio Recordings (CBR21440); December 15, 2014
    Performer(s): Wei He, violin, Amos Yang, cello, Shenshen Zhang, pipa
    Work(s): Ning for Violin, Cello and Pipa
    China West CHINA WEST
    Tonar Music (TON-CD-CHINA); May 15, 2014
    Performer(s): Manuel Barrueco & Beijing Guitar Duo
    Work(s): China West Suite
    An American Tour: Weiss-Kaplan-Newman Trio AN AMERICAN TOUR: WEISS-KAPLAN-NEWMAN TRIO
    Bridge Records (9407); April 8, 2014
    Performer(s): Weiss-Kaplan-Newman Trio
    Work(s): Tunes from My Home
    Refuge REFUGE
    Albany Records (TROY1484); April 1, 2014
    Performer(s): Virginia Figueiredo, clarinet; Füreya Ünal, piano
    Work(s): Chinese Ancient Dances
    25 X 25: Twenty-Five Premieres for Twenty-Five Years 25 X 25: TWENTY-FIVE PREMIERES FOR TWENTY-FIVE YEARS
    Soundbrush Records (); October 8, 2013
    Performer(s): New York Virtuoso Singers, conducted by Harold Rosenbaum
    Work(s): Reach a New Height
    East  Meets West EAST MEETS WEST
    Albany Records (TROY1377); November 1, 2012
    Performer(s): Jun Qian, clarinet, Kent McWilliams, piano
    Work(s): Chinese Ancient Dances
    Monologue (Impressions on The True Story of Ah Q)
    The Eight Sounds THE EIGHT SOUNDS
    BIS Records (BIS1821); December 1, 2011
    Performer(s): Stuttgart Chamber Orchestra, Robin Engelen, conductor, Raschèr Saxophone Quartet
    Work(s): Ba Yin (the Eight Sounds)
    Across the Sea ACROSS THE SEA
    BIS Records (BIS1739); October 1, 2011
    Performer(s): Sharon Bezaly, flute, Singapore Symphony Orchestra, orchestra, Lan Shui, conductor
    Work(s): The Golden Flute: Concerto for Flute and Orchestra
    Convergance CONVERGANCE
    Luminescence Records (LUM002); December 1, 2010
    Performer(s): Strike (Jeff Meyer, piano, Paul Vaillancourt, percussion)
    Work(s): China West Suite
    New Dialects NEW DIALECTS
    Centaur Records (CRC3038); April 27, 2010
    Performer(s): Gregory Oakes, clarinet
    Work(s): Monologue (Impressions on The True Story of Ah Q)
    Antiphony ANTIPHONY
    Innova Records (767); March 30, 2010
    Performer(s): PRISM Saxophone Quartet, Music From China
    Work(s): Septet
    Eight Visions: A New Anthology for Flute and Piano EIGHT VISIONS: A NEW ANTHOLOGY FOR FLUTE AND PIANO
    Naxos (8.559629); December 1, 2009
    Performer(s): Marya Martin, flute, Colette Valentine, piano
    Work(s): Three Bagatelles from China West
    The Music of Chen Yi THE MUSIC OF CHEN YI
    New Albion Records (NA 090); November 24, 2009
    Performer(s): Chanticleer, The Women’s Philharmonic, JoAnn Falletta, conductor
    Work(s): Chinese Myth Cantata
    Duo Ye, No. 2
    Ge Xu (Antiphony)
    Symphony No. 2
    Intermediate Masterworks for Marimba INTERMEDIATE MASTERWORKS FOR MARIMBA
    Bridge Records (9311A/B); November 10, 2009
    Performer(s): Gordon Stout, marimba
    Work(s): Jing Marimba
    Wild Grass WILD GRASS
    Naxos (8.570604); June 1, 2009
    Performer(s): Beijing New Music Ensemble
    Work(s): Chinese Ancient Dances
    Romance of Hsiao and Ch’in
    Chen Yi: Sound of The Five CHEN YI: SOUND OF THE FIVE
    New World Records (80691); March 23, 2009
    Performer(s): Third Angle New Music Ensemble, Ron Blessinger, Artistic Director
    Work(s): Burning
    Happy Rain on a Spring Night
    The Sound of The Five
    Tibetan Tunes
    Michala Petri 50th Birthday Concert MICHALA PETRI 50TH BIRTHDAY CONCERT
    OUR Recordings (8.226905); March 1, 2009
    Performer(s): Michala Petri, recorder; Kremerata Baltica, Daniil Grishin, conductor
    Work(s): The Ancient Chinese Beauty
    Starsplitter STARSPLITTER
    Mark Masters ( 7871-MCD); November 18, 2008
    Performer(s): DePauw University Band, Craig Paré, conductor
    Work(s): Tu
    Invisible Curve INVISIBLE CURVE
    New World Records (80683); January 1, 2008
    Performer(s): The Azure Ensemble
    Work(s): …as like a raging fire…
    Night Thoughts
    Wu Yu
    United States: LifeMusic 2 UNITED STATES: LIFEMUSIC 2
    Quartz (QTZ2055); November 13, 2007
    Performer(s): The Ying Quartet
    Work(s): At the Kansas City Chinese New Year Concert
    Array ARRAY
    Capstone Records (CPS-8766); January 1, 2006
    Performer(s): Jane Solose, piano
    Work(s): Ji-Dong-Nuo
    Eclectric ECLECTRIC
    Centaur Records (CRC2752); September 27, 2005
    Performer(s): Chicago a cappella
    Work(s): The West Lake
    New Music from Bowling Green, Vol. IV NEW MUSIC FROM BOWLING GREEN, VOL. IV
    Albany Records (TROY743); May 31, 2005
    Performer(s): Penny Thompson Kruse, violin; Bowling Green Philharmonic, conducted by Emily Freeman Brown
    Work(s): Chinese Folk Dance Suite
    A Jubilant Song A JUBILANT SONG
    University of Utah Singers (UUS-003); January 1, 2005
    Performer(s): University of Utah Singers
    Work(s): A Set of Chinese Folk Songs
    Amy Lin Interprets Contemporary Piano Works AMY LIN INTERPRETS CONTEMPORARY PIANO WORKS
    ABW Classics (ABW1001); January 1, 2005
    Performer(s): Amy Lin, piano
    Work(s): Ba Ban
    Duo Ye
    Spectrum 4: 66 Miniatures for Piano Solo SPECTRUM 4: 66 MINIATURES FOR PIANO SOLO
    Usk Recordings (USK 1227CDD); January 1, 2005
    Performer(s): Thalia Myers, piano
    Work(s): Singing in the Mountain
    Pied Piper Fantasy PIED PIPER FANTASY
    Koch International Classics (KIC-CD-3-7566-2); November 21, 2004
    Performer(s): Alexa Still, flute; New Zealand Symphony Orchestra, James Sedares, conductor
    Work(s): The Golden Flute
    Think Of THINK OF
    XUA Records Japan, Inc. (XUAR-2350); May 24, 2004
    Performer(s): Xu Ke, erhu and jinghu, Li Wang, piano
    Work(s): Fisherman Song
    The American Cello THE AMERICAN CELLO
    Albany Records (TROY648); April 27, 2004
    Performer(s): Paul Tobias and Virginia Symphony, JoAnn Falletta, conductor
    Work(s): Eleanor’s Gift
    Dances of Our Time DANCES OF OUR TIME
    BIS Records (BIS1192); February 1, 2004
    Performer(s): Singapore Symphony Orchestra, orchestra, Lan Shui, conductor
    Work(s): Duo Ye
    Momentum MOMENTUM
    BIS Records (BIS1352); July 1, 2003
    Performer(s): Singapore Symphony, Lan Shui, conductor; Yi-Jia Susanne Hou, Cho-Liang Lin, violins; Kimberly Marshall, organ
    Work(s): Chinese Folk Dance Suite
    Dunhuang Fantasy
    Romance and Dance
    Chanticleer: A Portrait CHANTICLEER: A PORTRAIT
    Teldec Classics (927497022); March 18, 2003
    Performer(s): Chanticleer
    Work(s): Tang Poems
    Oriental Landscapes ORIENTAL LANDSCAPES
    BIS Records (BIS1222); December 1, 2002
    Performer(s): Evelyn Glennie, percussion, Singapore Symphony, Lan Shui, conductor
    Work(s): Percussion Concerto
    Compassion, A Tribute to Sir Yehudi Menuhin COMPASSION, A TRIBUTE TO SIR YEHUDI MENUHIN
    Angel Records (7243-5-57179-24); June 19, 2001
    Performer(s): Ulf Hoelscher, Nachum Erlich, violins; Karlsruhe Ensemble, Andreas Weiss, conductor
    Work(s): Romance of Hsiao and Ch’in
    A Wonder of Naxi A WONDER OF NAXI
    Hugo Productions (Hong Kong) ( HRP7204-2); November 21, 2000
    Performer(s): Hong Kong Sinfonietta, Tsung Yeh, conductor
    Work(s): Duo Ye #2
    Chinese Traditional & Contemporary Pipa Music CHINESE TRADITIONAL & CONTEMPORARY PIPA MUSIC
    Nimbus Records (UK) (NI 7043/4); January 11, 2000
    Performer(s): Wu Man, pipa
    Work(s): The Points
    Asian Choral Works I ASIAN CHORAL WORKS I
    Singapore Youth Choir Recordings (); January 1, 2000
    Performer(s): Singapore Youth Choir, Jennifer Tham, conductor
    Work(s): Three Poems from the Song Dynasty
    Crossroads CROSSROADS
    San Francisco Girls Chorus Recordings (SFGC 0001); January 1, 2000
    Performer(s): San Francisco Girls Chorus, Sharon J. Paul, conductor
    Work(s): Chinese Poems
    Colors of Love COLORS OF LOVE
    Teldec Classics (3984245702); March 26, 1999
    Performer(s): Chanticleer
    Work(s): Written on a Rainy Night
    Sparkle SPARKLE
    CRI/New World Records (CD 804); February 16, 1999
    Performer(s): Members of the Manhattan String Quartet; Claire Heldrich, conductor; New Music Consort; New York New Music Ensemble, Jeffrey Milarsky, conductor
    Work(s): As in a Dream
    Duo Ye
    Near Distance
    Song in the Winter
    Wondrous Love: A World Folk Song Collection WONDROUS LOVE: A WORLD FOLK SONG COLLECTION
    Teldec Classics (16676-2); May 27, 1997
    Performer(s): Chanticleer
    Work(s): A Set of Chinese Folk Songs
    Sakura, Sakura

  • 2019: Elected to the American Academy of Arts and Letters
    2018: Honorary Member Award, Society for American Music
    2016: Honorary Doctorate, University of Hartford, CT
    2012: Kauffman Award in Faculty Service, the UMKC Conservatory
    2012: First prize, China National Composition Competition (for Symphony Humen 1839 co-composed with Zhou Long)
    2010: Honorary Doctorate, The New School University, New York City
    2009: Honorary Doctorate, University of Portland, OR
    2008: Honorary Doctorate, Baldwin-Wallace College, OH
    2006: Kauffman Award in Artistry/Scholarship, the UMKC Conservatory
    2006: Finalist, Pulitzer Prize in Music (with 2005 Roche Commission work Si Ji for Cleveland Orchestra)
    2005: Elected to the American Academy of Arts and Sciences
    2002: Friendship Ambassador Award, Edgar Snow Memorial Fund, UMKC
    2002: Elise Stoeger Award, Chamber Music Society of Lincoln Center, New York City
    2002: Honorary Doctorate, Lawrence University, WI
    2001: Concert Music Award, ASCAP
    2001-2004: Charles Ives Living Award, the American Academy of Arts and Letters
    1999: Adventurous Programming Award, ASCAP(with Music From China)
    1999: Eddie Medora King Composition Prize, University of Texas-Austin
    1997: Alpert Award in Music, California Institute of the Arts, CA
    1997: Koussevitzky Music Foundation Commission, Library of Congress
    1996: Sorel Medal for Excellence in Music, the Center for Women in Music, NYU
    1996: Goddard Lieberson Fellowship, the American Academy of Arts and Letters
    1996: John Simon Guggenheim Fellowship
    1995: Fromm Music Foundation Commission Award, Harvard University
    1994: Composer Fellowship, National Endowment for the Arts
    1993: Lili Boulanger Award, the National Women Composers Resource Center
    1985: First prize, China National Composition Competition (with Duo Ye for piano solo)

  • Ba Yin (The Eight Sounds)
    for Saxophone Quartet and String Orchestra
    Ba Yin (The Eight Sounds)
    for Saxophone Quartet and Wind Ensemble
    Ballad, Dance, and Fantasy
    for Cello and Orchestra
    Blue, Blue Sky
    for Orchestra
    Caramoor’s Summer
    for Chamber Orchestra
    for Orchestra
    Chinese Folk Dance Suite
    for Violin and Orchestra
    Chinese Myths Cantata
    for Male Chorus, Four Chinese Instruments, and Orchestra
    Composer Scrapbook
    Concerto for Reeds
    for Oboe, Sheng and Chamber Orchestra
    Dragon Rhyme
    for Symphonic Band
    Dunhuang Fantasy
    Concerto for Organ and Chamber Wind Ensemble
    Duo Ye
    for Chamber Orchestra
    Duo Ye, No. 2
    for Orchestra
    Early Spring
    for Mixed Choir and Chamber Ensemble
    Eleanor’s Gift
    for Solo Cello and Orchestra
    Faith and Perseverance
    for Orchestra
    Fiddle Suite
    for Huqin and Orchestra
    Fountains of KC
    for Orchestra
    Four Spirits
    for Piano and Orchestra
    From the Path of Beauty
    A Song Cycle for Mixed Choir and String Quartet
    Ge Xu (Antiphony)
    for Orchestra
    Happy Rain on a Spring Night
    for Flute, Clarinet, Violin, Cello, and Piano
    Introduction, Andante and Allegro
    for Orchestra
    Jing Diao
    for Orchestra
    KC Capriccio
    for Wind Ensemble and Mixed Chorus
    for Orchestra
    Mount A Long Wind
    for Orchestra
    Overture for Orchestra
    Percussion Concerto
    Piano Concerto
    Prelude and Fugue
    for Chamber Orchestra
    Prospect Overture
    for Orchestra
    Rhyme of Fire
    for Orchestra
    Romance and Dance
    for Two Solo Violins and String Orchestra
    for String Orchestra
    Si Ji (Four Seasons)
    for Orchestra
    Southern Scenes
    A Double Concerto for Flute, Pipa and Orchestra
    for Octet
    Spring in Dresden
    for Violin and Orchestra
    for String Orchestra
    Suite for Cello and Chamber Winds
    Suite for Viola and Chamber Winds
    Suite from China West
    for Wind Ensemble
    Symphony ‘Humen 1839’
    for Orchestra
    Symphony No. 2
    for Orchestra
    Symphony No. 3
    for Orchestra
    The Ancient Beauty
    for Chinese Dizi, Erhu, Pipa, Zheng, and String Orchestra
    The Ancient Chinese Beauty
    for Recorders and String Orchestra
    The Golden Flute
    Concerto for Flute and Orchestra
    Three Dances from China South
    for Dizi/Piccolo, Pipa, Zheng, and Erhu
    for Orchestra
    for Wind Ensemble
    for Wind Ensemble
    Xian Shi
    for Viola and Orchestra