Illusions: Music of Man-Ching “Donald” Yu by Man-Ching "Donald" Yu

Yu's earlier works show influences of neo-classicism and neo-romanticism, whereas his more recent pieces show eclectic techniques drawn from a variety of musical fields.

As an educator, Yu teaches advanced piano performance, music theory and composition in Hong Kong. He is the music director of the Hong Kong Integrated Arts Association and Cross-Over Music Group. His works are performed frequently throughout Hong Kong and are receiving increasing performances and attention in the rest of the musical world.

Yu has received commissions from various prominent performers, and has signed an exclusive publishing contract with Gold Branch Music, Inc.

For further information on Yu, visit: http://www.societyofcomposers.org/user/man-chingdonaldyu.html

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Hell and Heaven for piano

The work is a programmatic meditation its title. Through the use of contrasting registers, trills and motivic materials, these two opposites are depicted. The first movement begins with heavy tone cluster and then decorates with some prominent musical cell. In the next sections, ostinato patterns build the piece towards several climaxes. The following section is totally contrasting in character. The tonal areas at the end present the eternal life â€" being in heaven with the shining of God.

Fantasy on “The Lady of Shalott” for piano

The work is inspired by the poem by Alfred Lord Tennyson. It is in three short, inter-connected movements. They relate directly to the storyline of the poem. The first movement depicts the Lady in her chamber. The second movement shows the mirror in which she sees the Shadow of the World. The last movement portrays her encounter with the knight and her ensuing death. A large tone cluster represents the moment when the mirror breaks, and her life starts fade away.

Sonata No. 4, “Chaos”

“Chaos” is a scientific term for describing the disorder and unpredictably in the universe. The piece’s energetic drive attempts to project a sense of mystery and an abstract impression of chaos.

Uncertainty for piano

The title Uncertainty was inspired by the ambiguous quantum theoretical events discovered in 20th century science. The most noteworthy elements are repeated rhythmic pattern utilizing entirely “non-retrogradable” rhythms â€" a technique influenced by French composer Oliver Messiaen. With the accompaniment of the ostinato melodic cell, tone-row techniques are employed in a symmetrical manner. The entire piece, both in terms of global form and local details, is cast in an “arc” form.

Sonata No. 1, “Grand Concert Fantasy” for piano

This work utilizes a “neo-classical” and “neo-romantic” harmonic language. The first theme is full of fire and energy, and the second theme provides lyrical contrast. After an extended development section, a recapitulation occurs. The slow introduction eventually returns before an energetic coda closes the work.

Five Japanese Lyrics for soprano and piano

This song cycle uses texts by the Japanese poet Kumagai Naoyoshi. The opening song, Human Life, is sad and inward. The second, Snow, depicts a beautiful winter scene. The third, Beautiful Night, portrays a serene nightscape. The fourth song, On the Shore of the Nagara River, is a sad scene between the poet and the ferryman. The final song, Swallows, depicts their joyous return.

Illusion for oboe and piano

The work is inspired by the mysterious and abstract notion of the unrealistic scientific quantum theoretical events in universe. It is cast in a ternary form, in which the main motivic melodic cells are brought out in an elegant manner by the oboe, while the piano creates an ostinato pattern. The piano figurations build the piece to the climax as it progresses through various key areas. Soon, the first section returns in a relaxed atmosphere, and the work fades away to the end.

Dark Rhapsody for cello and piano

This work begins with a piano introduction of significant thematic elements â€" fiery and filled with furious emotion. The cello then enters, presenting the main theme. The middle section represents the highest point of the piece in terms of musical texture intensity. The original theme returns in the final section. The overall character is dark and pessimistic.

Five Miniatures for piano

Each movement in this work represents a different emotion. The first movement is energetic, the second is angry, the third is calm and serene, the fourth regains the agitation, and the fifth is lively.

Sonata No. 2, “Humoresque” for piano

This “neo-classical” sonata begins with a simple introduction, a lively first theme, and a lyrical second theme. After the development section, only the first theme returns. In the second movement, the main theme is highly lyrical. After the climax, it connects directly to the last movement.

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