As part of my DMA graduation requirements at Boston University, I presented a Self‑Prepared Recital, a unique format in which students must independently select, study, and prepare a full solo program without any coaching. I was fortunate to collaborate with pianist Pin‑Han Huang for this performance, and together we explored four contrasting works that span modernist clarity, lyrical nostalgia, and electroacoustic innovation:
Mieczysław Weinberg (1919–1996): Sonata for Clarinet and Piano, Op. 28 (1945)– A post-war work of lyrical intensity, shaped by Jewish folk melodies and Shostakovich-like drama.
Jean Françaix (1912–1997): Theme and Variations (Tema con variazioni) (1974)– A witty and refined neoclassical gem, full of charm and transparent textures.
Mario Davidovsky (1934–2019): Synchronisms No. 12 (2006)– A bold and immersive piece that integrates clarinet with live electronics, heightening spatial and rhythmic contrasts.
Yuensuo Yang (b. 1985): Ripening (那些年) for B♭ Clarinet and Piano (2018) – U.S. Premiere– A four-movement narrative piece blending personal memory, humor, and stylistic fusion.
I extend my sincere thanks to Prof. Rob Patterson and Prof. Linda Toote, who served as the recital committee for this milestone, and to Pin‑Han Huang, whose artistry brought clarity and warmth to this challenging program.
Special Highlight: Yuensuo Yang’s Ripening (那些年)
One of the most meaningful parts of this recital was presenting the U.S. premiere of Ripening, composed by Yuensuo Yang—a renowned clarinetist, composer, and educator. He currently serves as the Executive Director of Chiasong Ensemble, and one of the Curators at Cloud Gate and the New Convergence Foundation.
Adapted from his Clarinet Quartet No. 1, Ripening was written in 2018 as a musical tribute to Yang’s formative years with Taiwan’s Magic Clarinet Quartet. Each movement captures a vivid scene or emotion:
Fugue-ish Party (跑趴賦格) – A playful, imitative celebration evoking the spontaneity of student gatherings.
Warm Quiet Chamber (逛書店) – A theme and variations shaped like a quiet walk through a favorite bookstore.
Bad Habits (擇友) – A mischievous scherzo with bluesy moments and rhythmic surprise.
Options (選擇題) – A funk-infused finale full of energy, ambiguity, and youthful indecision.
Though our rehearsal time was short, Yang’s writing speaks so naturally to clarinetists that it felt instinctive. I’m deeply grateful to him for granting me permission to bring this work to American audiences for the first time.