April - July 2026 (for clarinet, violin, and piano)Written for and premiered by Graeme Steele Johnson, Tien-Hsin Cindy Wu, and Henry Kramer on July 5th, 2026 at Emerging Composers Intensive.Inspired by Dickinson’s brief poem, this piece reflects my frequent meditation on the brevity of human life and the fragility of time. What begins as jagged, anxious, and fragmented—as though relentlessly…

Jan. 2026 (for SATB choir)“I Loved You First” is a tender three-minute setting of Christina Rossetti that reflects on love as a shared force that dissolves boundaries, rather than a possession that is measured or compared. 2025-26 Winner of the San Francisco Choral Artists’ New Voices Project for Composers Under 30. [Read more on my blog]Recording coming soon!

June - Dec. 2025 (for four voices (SATB), piano, violoncello, and electronics)Commissioned by Luna Composition Lab and River & Rail Theatre, premiered on March 22nd, 2026.  🎼 Meghan Cluskey (soprano), Nicole Dayton (alto), Sean Whitson (tenor) Deshawn Stevens (bass), Christy Lee (piano) and Jackson Sharp (cello)I translated and adapted the story of “Tsuru no ongaeshi” (つるの恩返し) into a 15-minute…

Oct. - Nov. 2025 (for bicycle and percussion) Written for Sō Percussion in Steve Mackey’s Advanced Composition class, this piece is a sonic illustration of my college life at Princeton. The rhythmic motif introduced by the kick drum (“1, 2, 1-2-3”) is a common rhythm found in the Deaf community’s artistic practice called “percussion song,” this piece explores the many avenues through which that…

Jan. 2025 (for countertenor, violin, and piano)I was intrigued by the flowing and dreamy quality of James Russell Lowell’s poem “The Sirens” and decided to set an excerpt from it to music. The wave-like obstinato of the piano sets the scene of tranquil water as the violin chimes in with sometimes alluring and vocal, and other times bird-like chirping lines above it. And the countertenor joins in…

Sept. - Dec. 2024 (for narrator, clarinet, typewriter, violin, percussion, bass guitar, and piano)In the fall of 2024, I took a class called Opera without the Singing: Fables, Fairy Tales and Narrated Musical Theater, co-taught by Steve Mackey and guest professor and author, Adam Gidwitz. Directly inspired by Prof. Mackey’s recent piece, Memoir (2024), we were tasked with writing a chamber piece…

June-July 2024 (for piano quintet)Some Christmases ago, I asked Santa for Toothless the Dragon (from DreamWorks Animation’s “How to Train Your Dragon”). Unfortuantely, my serious request went unanswered. As years passed, my disappointment became indifference—amusement at myself, even.The concept of growing up mostly elicits a positive connotation; a google search defines it as to “advance to…

May 2024 (for piano trio)To hold onto a perfect life is a mistake, as the act of holding on is an active rejection of growth, and perfection itself is an illusion. Through this piece, I sought to construct a state of ordinary peace, only to shatter it with heightened hysteria. This representation of degradation is not a nihilistic statement, but rather an encouragement to take risks in life and…

May 2024 (for solo piano)In hopes that this piece can be a shoulder for you to cry or rest on, if you need.Commissioned by Composers Unveiled’s Joshua Lee.  

March 2024 (for SATB choir)For the lovely Princeton University Glee Club seniors I'll miss dearlyIn August 2023, I arrived on Princeton campus with high hopes, aspirations, and a flexible but calculated plan for my undergraduate years. What I wasn’t prepared for was the wonderful family of kind and inspiring peers in the Glee Club who welcomed me with open arms. I have never been upset at people…