We are here for tenor saxophone, electric guitar, piano and percussion (2021)
-commissioned by Hypercube

Hypercube- cubelab3 (live stream) in NYC, 2021 (WP)

Fever dream for bassoon and piano (2021)
-commissioned by Jessica Kunttu

I. Together, alone
II. Synchronized

Program note
Fever dream for bassoon and piano was composed in collaboration with bassoonist Jessica Kunttu. The recent incidents of Asian hate crime, increasing since the outbreak of COVID-19, has been one of my biggest present concerns. As I continue to instill my passion for social justice into my creative work, I feel the need to address and draw people’s attention to this issue; with the aim to gather our voices together and speak out against AAPI hate crimes. The piece is a tribute to encourage people to get involved in the #stopasianhate movement. Whether we are a victim, an ally, an advocate or even an activist, “everyone has a part to play. We have the power. You can do it.” (Maxine Waters Quotes)

Jessica Kunttu Faculty Recital at Duke University in Durham, NC, 2021 (WP)

SIDE-BLOW for solo percussion improviser (2021)
-commissioned by Josh Perry

Program note
SIDE-BLOW for solo percussion improviser was composed in collaboration with percussionist Josh Perry. The compositional concept comes from the saying “in a fight the innocent bystander gets hurt [suffers a side blow].” Reflecting on the political situation throughout the last few years in the U.S., we often observe the most powerless ones, who are unable to escape from a situation, become the biggest victims within our community. The piece is a requiem for these innocent victims.

Hot Air Music Festival 2021 at San Francisco conservatory of music (live stream) in San Francisco, 2021 (WP)

5 Miniatures for flute solo (2020)
– commissioned by Kelley Barnett

Program note
5 miniatures for solo flute (2020) was created in collaboration with flutist Kelley Barnett. Each movement explores a different sonic world of flute sounds through various flute extended techniques. The piece received its premiere by live streaming in May, 2019 in Brooklyn, NY by flutist Kelley Barnett.

Kelley Barnett Flute solo recital (live stream) at Mise-en place in NYC, 2020 (WP)

Red-blue-very white for flute, clarinet and piano (2019)
– commissioned by Parhelion trio

Program note

Ever since Trump’s immigration reform took place, I’ve been wanting to compose a piece to support people who are hidden in fear and isolation. Red-blue-very white for flute, clarinet and piano is composed for the people who have lost their voice as undocumented immigrants but who are seeking to voice themselves. The piece talks about breaking the silence (1st mov), recovering the ability to speak for oneself (2nd mov) and finally the recovery of a safe community (3rd mov.) 


CREART Music series, Greenwich house music school in NYC, 2019* (WP)

Sun Dogs Collabs Music series, Greenwich house music school in NYC, 2020

Sun Dog Collabs presents Unheard-of//Ensemble & Parhelion Trio. @Renee Weiler Recital. Hall. New York, NY. (**Canceled due to COVID19** April 18, 2020. 8pm, Friday.)

Sun Dog Collabs presents The Furies violin duo & Parhelion Trio. @Spectrum. Brooklyn, NY. (**Canceled due to COVID19** June 20, 2020. 8pm, Saturday.)

Familiar tune for 2 performers (2019)
– commissioned by Dinner party ensemble


Pitt Grad Students from the Music Department-Dinner party ensemble, Frick Fine Arts Auditorium in Pittsburgh, 2019* (WP)

The other untold story for flute, bass clarinet, piano, violin and viola (2019)

Program note

The other untold story for flute, bass clarinet, piano, violin, and viola is composed in response to one of my previous work #MeToo for bass clarinet and percussion (composed in 2018). Often in movies or books untold stories become the key to resolve the drama after it’s finally revealed to the audience. As human beings we all carry untold stories within ourselves and often these untold stories are essential to truly understanding a person or even a community. Music or visual arts, though both are abstract languages, can speak a person’s story and often are the metaphorically speaking “untold stories.” For me as a composer, my compositions are my untold stories; which potentially provide a clue to the audience who I truly am. 


Composer’s conference 2019, at Brandeis university in MA, 2019* (WP)

Collocation for solo percussionist (2018)
– commissioned by Ensemble mise-en

Program note

Collocation was composed in collaboration with ensemble mise-en percussionist Josh Perry. With aims to blur traditional thoughts of timbre, the work tries to re-collate the standard conjugation of percussion sounds.  


Ensemble Mise-en, connections I Austrian- Korean composers at Austrian cultural forum NY, NYC, 2018* (WP)

Josh Perry Solo Recital at Stony Brook University in NY, 2018

ATM Festival- New music day I Ensemble Mise-en ‘Connections: Korean- Swiss composers at Culture tank in Seoul, Korea, 2018 (Asia P)

Women Composers Festival of Hartford I Music marathon at Trinity college in CT, 2019

New Mise-en place opening party at Mise-en place in NYC, 2020

New York Women Composers Festival at the national opera center in NYC, 2020

Percée for flute, clarinet, trombone, percussion, piano, violin, and cello (2018)
– commissioned by Ensemble mise-en

Program note

Percée is a reflection on the time in my life that I went through the “soundless” years (see bio). The loud, chaotic, and disorderly improvisation elements in the piece are ongoing themes throughout the work. In those chaotic sections, there exists moments of void, meaningless sound, and silence; which sometimes attempt to stop the chaos.  

Well organized segments of silence, on the other hand, provide refreshing moment to the audience in the midst of the chaos. In A traditional sense, in classical music, silence appears to be perceived as an awkward/boring moment for the audience, or functions as a moment of tension, rather than evoking a feeling of curiosity and beauty.  In that sense, I wanted to explore silence as a musical material that can have various meanings and expressive qualities through many variations of its use. I also wanted to challenge the audience to stretch their capacity to perceive silence as an organized idea rather than just an accident or a meaningless happening.

A few years ago, I composed “Sound of Soundless” for the victims of the Sewol ferry tragedy; which was premiered in Seoul, Korea by the violinist Eun Moo Heo and Ensemble Pan. In “Sound of Soundless” I wanted to express that, although the surface of the sea where the ferry sank was placid and tranquil after being submerged, I could feel the victims that were buried deep down in the sea. I felt the massive sound of mourning from their muted souls, speaking loudly for help to reveal the truth of the tragedy.

Percée, in the same sense, has a great emphasis on the metaphorical meaning of silence. Silence (or a moment of soundlessness) can speak louder than sound.

As listeners hear this piece, I hope they will have an opportunity to encounter a moment of silence in their inner-world and experience a refreshing moment of breakthrough(percée) that comes within.


Ensemble Mise-en, connections I Austrian-Korean composers at the cell in NYC, 2018* ​ (WP)

#Metoo for bass clarinet and percussion (2018)
– commissioned by Josh Perry and Vasko Dukovsky

Program note

The piece started in response to the #metoo online movement last fall. I felt strongly that I needed to break my own silence, to speak up for myself and share my story as well. I decided to tell people the story of my own experience through my composition.  Thus, the piece is derived from the story- sound in my inner world. The main idea of the piece was to find my own voice through the instrumental sound and create a unique sound pallet that involves mixed emotions and anxious feelings of post trauma. 

I find the main interest in my composition is experimenting with new sound, discovering new ways to create interesting timbres, and introducing to the audience new colors of Korean music combined with the western instrumental sound.
In this piece, I wanted to explore more possibilities specifically with multiphonics through deeper study and experimentation of the bass clarinet.  Especially, I was interested in how accurately the overtone spectrum can work when the base note is derived from the lowest register of instrument. 

I tried to discover new timbres with percussion instruments as well. Such as a new sound discovery on low register of marimba played with bass drum mallet which is a new “extended” technique on this particular instrument. Also, simple and quite traditional instruments (such as triangle, metal pipe, and cymbal) can sound fresh and like something our ear have never experienced before when they are prepared with aluminum foil. It produces an incredible spectrum of overtones when it’s played with the clarinet, which opens a new world of sound. 


Ensemble Mise-en curator series 2017/18 in Brooklyn, NYC, 2018* (WP)

Ensemble Mise-en at June in Buffalo, NY, 2018 ​

AE Do for oboe and percussion (2014)
– commissioned by Josh Perry and Sally Wall

Program note
AE Do for oboe and percussion was composed in 2014. It was commissioned by percussionist Josh Perry for The Firehouse New Music series, curated by Iktus Percussion. The piece received its premiere in March, 2014 by Iktus +, Josh Perry and Sally Wall in New York City. The title AE Do means grief process in Korean language.  Commonly, a grief process goes through many stages, sometimes shifting between multiple stages at a given time.  The piece suggests the listener to travel around with the music, visiting different sections of the piece which represent the various stages of different emotion such as: isolation, anger, bargaining, depression, and acceptance.
AE Do is published in February 2017 by the percussion studio, LLC.


Iktus Firehouse New Music Series in Brooklyn, NYC, 2014* (WP)

Rath Duo concert tour at Union High School in Tulsa, Oklahoma, 2015

Rath Duo concert tour at West Texas A&M University in Canyon, Texas, 2015

Rath Duo concert tour at Canyon High School in Canyon, Texas, 2015 ​ ​

Rath Duo at ​International Double Reed Society in Tokyo, Japan, 2015 (Asia P)