Prof. Yu-Hui Chang (MUS), associate professor of composition, described to the?Justice via e-mail how she goes about creating a musical work, as well as her newly finished piece for cello and piano. The piece, which was commisioned by cellist Rhonda Rider and titled "Through Time ... With Su Shr," is about six minutes long. At present, Chang is on leave from Brandeis and is devoting her time to writing a piece co-commisioned by the Triple Helix Piano?Trio.JustArts: Can you tell me a little about that new piece? I understand it was a commission, but artistically, where did the impetus come from?

Yu-Hui Chang: When I receive a commission from a performer with whom I collaborated before, I usually try to tailor the new piece around the strength of this particular performer. This process can be quite satisfying, because I can clearly envision how this performer will react to a specific passage or interpret the piece in general. So there is more a personal connection between the musician and I through the piece. Rhonda Rider, a former Lydian String Quartet cellist, is a cellist of great energy and virtuosic skills, and I am excited about writing a cello and piano piece for her. I have long admired the power and elegance that coexist in her performance. I wish to showcase such [qualities] in this piece.

JA: How do you bring together your studies of Eastern and Western music when you create your compositions?

YC: I do not regularly incorporate Eastern elements into my composition (which is mostly based on the Western tradition), unless I am inspired by a specific topic for a particular project. However, I am very aware of the influence of my cultural heritage in my music, which is embedded in a deeper level as a reflection of my aesthetic and taste.

JA: When you compose, do you usually start with a title and concept, or do you fit the concept to your musical ideas?

YC: I usually start with an extramusical concept and then find the best musical ideas to present it. The title often comes last.

JA: How did you first get started in music? In composition?

YC: At the age of six, I entered an intensive music training program and studied music theory and performance for the next 12 years before entering college. This program is sponsored by the Taiwanese government, with a purpose of providing professionally vigorous training for musically talented kids. On top of the normal grade 1-12 curriculum, kids in this program have to learn two instruments and be reviewed by a jury every semester for their progress. They also regularly take music theory, sight-singing and ear training, chorus, orchestra, music appreciation and history, and some Chinese music courses. As far as I can remember, I composed my first piece when I was eight (a piano piece describing a sand storm in an Arabian desert.) I eventually took on composition as my main focus when I was fourteen.

JA: What are some of your favorite composers and musicians to listen to?

YC: At this point, I don't really favor any particular composers, as I learn very different things from a variety of music. I not only listen to music that I like, but often to pieces that are stylistically remote from my own, as I find it extremely stimulating.

JA: Do you have any particular ensembles or individuals that you've enjoyed working with?

YC: I have had great fortune to work with many excellent ensembles and musicians in the U.S. and other parts of the world. But I have most personal connection with members of the Empyrean Ensemble, an ensemble in residence at UC Davis which I directed for six years prior to my arrival at Brandeis in 2006. I also have a long history collaborating with the Left Coast Chamber Ensemble in San Francisco. All of these musicians are not only wonderful to work with, they seem to be able to read my mind and to present my music exactly as I intend it to be. I am very grateful for all the care and support they have shown to my music.