Thank you!! Not at the moment, but maybe in the future :)

Thank you for your kind words Mac!

@@antoniojoseffaranda7173 thank you!! 😊

Thank you Jamarian! I was thrilled to be able to write for this instrumentation--Bartok wrote a sonata for two pianos and percussion, which subsequently inspired more composers to explore these possibilities. For me, I love seizing every chance to suggest orchestral atmospheres and textures, even in chamber music settings like this one :)

@@causticcenturion7531 thank you for listening!!

Thank you Jose! I also love the soundtrack to "Ori and the Will of the Wisps" if you know that game?

@@SamWuMusic oh yeah I know it, I can hear the inspiration

I really appreciate the effortless melodic lyricism of that soundtrack (and many other video game OSTs)--truly "simplicity is the ultimate sophistication"!

Thank you for listening Jonas!! Rautavaara is indeed a big inspiration (I love his percussion concerto "Incantations" and seventh symphony "Angel of Light" in particular).

Thank you Rossano!

@@lolllololllo 😂 thank you!

Thank you David!

Hmm... I understand the piano quintet as both a "super string quartet" and a "super piano": the piano can go as high as the violin, but much lower than the cello, so it can double, support, and highlight aspects of the strings. At the same time, the strings can sustain in ways the piano cannot (including timbral differences with vibrato usage, harmonics, etc.), and so they can keep piano resonances "alive", beyond what is possible with just a solo piano. Another way of thinking about this is finding how string and piano can "bridge" their differences--for example, an interplay between pizz and piano staccatos, or how strings can imitate and enhance the sustain pedal. By and large in "Mass Transit" most instruments are playing most of the time; I can think of piano quintet examples with more extended passages featuring subsets of the whole instrumentation (e.g. the opening to Dvorak's 2nd Piano Quintet in A major, Op. 81).

@@johnbence1750 thank you for your kind words John!

Thank you for listening!!

​@@SamWuMusic no, as a fellow composer, thank you for sharing your beautiful music.

😅 you’re too kind-thanks for listening!

@@SamWuMusic and thank you for composing

Thank you for listening!! :)

@@Bach_Jose Thank you again Jose!!

sept papillons is canon at this point (although another piece I thought a lot about is Dutilleux’s Trois strophes sur le nom de Sacher)

@@SamWuMusic hadn't heard the dutilleaux, thanks for the rec. this one is a little dainty for my taste but i enjoyed it! can certainly imagine being in an airplane while hearing this

thanks for listening!

Maybe first and second? Would work well as a 2-movement miniature.

Thank you for your kind words Jose!!

Thank you again Jose :)

Thank you for listening Joshua!

Thank you Rowan!!

Thank you for listening! These are good questions--some of my biggest inspirations are Ravel, Sibelius, John Adams, Tan Dun, and Qigang Chen. I'm not sure as much about stylistic categories, but perhaps an intersection of neo-impressionism, as you mentioned, and post-minimalism?

Thank you for your kind comment! Hello from Houston as well :)

This is very funny, but I almost left basically this exact comment on your last composition video, but I'm also a fledgling composer in Houston. Thank you for the constant source of inspiring works!

@@Ottomagne thank you!! so much wonderful music-making in Houston ❤️

Thank you Leon; I really enjoy Chris Cerrone’s opera “Invisible Cities”!

Thank you for your kind words Samir!

Thank you for your kind words and for listening!! Currently I have no plans, but I’ll look into Spotify or Bandcamp! I’m also waiting for the release of a few albums including my music-I can let you know when that happens 👍🏼

@@SamWuMusic ohhh that’s awesome! Looking forward to that then! Btw what musical inspiration did you have for this kind of 2 part solo violin writing. Might be a me thing but I don’t think I’ve really heard this kind of texture + melody thing even though it makes a lot of sense…I really dig it in any case

My primary instrument was the violin as a kid, and I remember enjoying how contrapuntal Bach's solo violin writing is (although quite challenging to play--some awkward fingering and stretches). In general, particularly in solo works, I love exploring ways to suggest / "pretend" there are more than one instrument playing. The middle section of Mendelssohn's violin concerto 2nd movement also features a similar two-voice texture; I was probably thinking about that movement as well when I composed Waterways. Here's a timestamped link: kzfaq.info/get/bejne/qrphpMt4tZfVg6c.htmlsi=fMqua2pkWSFSbLF3&t=971 (starting at 16:11).

Thank you for listening Curtis!! Honestly, if I were to write it today, I’d think hard about where I truly need time signature changes, and where I can leave more freedom (perhaps through fermatas) 🤔

@@SamWuMusic I can certainly understand that, but I would say that as I was counting along (or trying to) I found the off balance feeling a bit like traffic perhaps? Maybe there’s something there!

@@CurtisSchweitzer I can confirm the whole reason I’m fascinated by highway interchanges is because, as a kid growing up in Shanghai, I’ve spent my fair share of time being stuck in traffic on interchanges 😅

You're too kind Dallas!! Thank you for your words of encouragement--I'll keep doing my best to churn out new music :)

Thank you for listening Adrian!! Let me see where that is in the score… 🤔

Yes, I think of 65-66 as the tapering of energy after the climax, so it's a almost a sigh of relief.

@@SamWuMusic Absolutely. It reminded me of bar 300ish of Michael Tippets piano sonata 2. That satisfying moment where the form of the piece clicks into place. Ended up showing my partner your piece, her favourite part was the Garden City theme!

I'll check out the Tippett, thank you! I'm glad she likes Garden City! I thought of it as a way to put all three "forests" together, except "forest I" forms the hanging bass pitches in this last iteration.

Thank you for listening Daniel!!

@@TheSidney3 thank you for your kind words!!

@@johnbence1750 thank you for listening! 😊

Thank you Phil; great to hear from you!! How are you? Where are you based now? Wonderful memories from Interlochen--13 years ago wow!

Thank you for listening :)

😂😂 in all fairness it’s a sea of repeating notes in the strings; hard to count!

@@SamWuMusic yeah no real shade to the pianist, the performance was amazing and brilliantly written!

Thank you!! all good 😊

Thank you Fred!

@@DanFrostMusic thank you for listening Dan!

Thank you for listening!!

Thank you! I love that prelude :)

Thank you for listening and your kind words!!

That'd be super cool!! I love thinking about ways visuals can intersect with the music :)

Thank you!! Cities Skylines 1 (and Mini Metro) helped me get through the pandemic lockdowns!

thank you for listening!

Thank you Franz!!

Thank you for listening Isaac! The pianist Thomas and I did have a discussion on which registers to have the octave doublings, and at how many octaves apart. I feel the magic color is usually 2 octaves apart :)

谢谢您！我争取同步bilibili + KZfaq上传 :)

Thank you Younje!! Hope all is well in Germany :)

with some add2s!