Luminance by Shuying Li

In This Breath (2025)

“My nature is the nature of the cloud – the nature of no birth and no death. Just as it is impossible for a cloud to die, it’s impossible for me to die. I enjoy contemplating my continuation body, just as the cloud enjoys watching the rain fall and become the river far below. If you look closely at yourself, you will see how you too are continuing me in some way. If you breathe in and out, and you find peace, happiness, and fulfillment, you know I am always with you, whether my physical body is still alive or not. I am continued in my many friends, students, and monastic disciples.” – Thich Nhat Hanh, The Art of Living.

  This quotation comes from Thich Nhat Hanh’s The Art of Living. This book is a collection of the Vietnamese monk's ruminations on life and death that guided my partner Glen Adsit through his personal struggles when confronted with his own mortality. As well as being my beloved life partner and musical collaborator, Glen was a beloved figure in the music community who touched the lives of countless collaborators and students. In the wake of Glen’s sudden passing in January 2024 we have all become the rain to Glen’s cloud. His inextinguishable spirit and profound influence continue to resonate deeply within all of us. Although his physical body is no longer with us, we now constitute his continuation body and are charged with continuing his legacy of support and love for one another.

  This piece is a tribute to Glen, the physical life we shared together, and the new life we share as I continue his legacy in my own way. It reflects the profound love and connection we share, both personally and through our collaborative musical endeavors. The piece is lyrical and tender, inviting listeners into the intimate emotional spaces Glen and I navigated together. It captures the essence of Glen's loving spirit — missed by many, cherished by those who experienced his warmth and guidance, and still apparent in the life and work of his family, colleagues, and students. It is both a celebration of Glen's life and the enduring bond he and I share and a tribute to the legacy of love and artistic collaboration that he left behind for all of us to continue together.

   Glen Adsit was a conductor and trombonist. He served as the Director of Bands at The Hartt School and the national president of the College Band Directors National Association.

Luminance (2023)

Luminance explores the interplay between light and darkness both musically and thematically. Inspired by the concept of "luminance," this work seeks to evoke a sense of radiance and brilliance through its music.

At its core, Luminance addresses issues relevant to contemporary society. By exploring themes of hope and despair, inclusion and exclusion, and power and powerlessness, the piece seeks to provide a platform for reflection and conversation. Through its use of evocative tonalities and dynamic contrasts, Luminance aims to inspire audiences to find strength in moments of darkness and embrace the light within themselves.

Luminance was commissioned by a consortium of 43 bands organized by Andy Collinsworth, Sonoma State University, and Thomas Seddon, Washburn University.

Starry Ocean (2024)

Starry Ocean is a musical journey that takes listeners deep into the depths of the ocean, capturing the alluring spectacle of marine life as it mirrors the mystical allure of a star-filled sky. The narrative in the music seeks to depict the enchanting undersea landscape that resembles Van Gogh's "Starry Night." The piece begins with a tranquil, serene depiction of the undersea world, gradually building in complexity as the marine life becomes more active and vibrant. The music reflects this flurry of activity within this undersea cosmos, creating a soundscape that is as intriguing as the bioluminescent creatures in the deep ocean.

Starry Ocean was commissioned by a consortium organized by CBDNA West/Northwest Regions (Bridgework Commission).

Kung Fu (2019)

When people talk about Kung Fu, they often think of China. However, as a composer born and grew up in China, my understanding of Kung Fu was somewhat ambiguous. True, Kung Fu has a strong link with Martial Arts, which has attracted hundreds of thousands of admirers and followers worldwide. However, on the other hand, Kung Fu has become an umbrella term that has come to encompass many aspects of Chinese people's daily lives, such as popular culture, exercise regimens, interpersonal relationships, aesthetics, philosophies, and so on.

It was not until I encountered a documentary on Bruce Lee's journey with Kung Fu and Hollywood that I started to comprehend the core spirit that Kung Fu has in guiding one's endeavors and life pursuits. As a result, I decided to compose a work with my own reflection of Kung Fu and its spirit.

In three movements, Kung Fu explores the different styles and levels of what Kung Fu represents to people in a universal way. A more general summary of the Wushu spirit in the first movement, a contrasting second movement focusing on the soft yet powerful Tai Chi, both lead to the final movement of "Jiang Hu." As Bruce Rusk, a professor in the Department of Asian Studies at the University of British Columbia, interpreted, "Jianghu...refers to a social space in which people are away from familial and local ties for extended periods that are governed by informal rules (officials away from home are not in jianghu). I couldn't find a good catchall translation. In this case, it could be "the scene," as Kaiser Kuo suggests, or even "everyone" (implicitly, everyone involved in martial arts)." Jianghu, in this case, is also a representation of my ultimate understanding of Kung Fu. It represents a universal rule, belief, and practice rooted in all of us. It catalyzes to connect people in different backgrounds for a more harmonized society.

Kung Fu was commissioned by a consortium of 20 wind bands led by conductor Glen Adsit and the Hartt Wind Ensemble.

Slippery Slope (2014)

As a composer, the first decision I have to make concerns the process. The first note of Slippery Slope was put to paper only after I had the whole second movement in mind—at that time, this was one and only movement. And it was not until I had almost finished the movement that I developed ideas about the third movement, and the first, chronologically.

There are several different levels or definitions interpreted about “slippery slope” in the piece. While the second movement, or the main movement explores various relationships between two different musical personalities (one rigid and angular, the other lyrical and emotional), and constraints every possible growth from developing into a final climax until the very last moment, the third movement offers the audience straightforward and undisguised excitement with the partially humorous, partially passionate journey as it takes so much effort to arrive the peak (the second movement is indeed the longest) before slipping down the slope. Consider the first movement as a mystifying preparation interrupted by several “trailers”—fragments from the subsequent two movements, that either reveal or obscure what will happen next.

Slippery Slope was dedicated to Glen Adsit, and was a gift to The Hartt Wind Ensemble, where I served as pianist during my undergraduate school time. It was the winner of the 2014 ASCAP/CBDNA Frederick Fennell Prize.

The Last Hive Mind (2018)

The Last Hive Mind was written for conductor Glen Adsit and the Foot in the Door Ensemble at the Hartt School. Inspired by the British TV series, Black Mirror, and the general idea of recent increasing debate around artificial intelligence and how it will affect our daily lives as human beings. I put some of my thoughts, perspectives, and imagination into this work. Thanks to Glen for coming up with the dynamic and matching title—it also helped in the shaping of how musical narrative navigates its way throughout.

Mainly, I was struck by the idea in one episode of "Black Mirror," the "Metalhead." After the unexplained collapse of human society, a group of people tried to flee from the robotic "dogs," a vast hive mind with metal built bodies and powerful computerized "brains." The failure was almost predictable. However, a detail that struck me the most was the reason that these human beings got trapped in the crazy chase was because of their effort of searching a comforting gift for a very sick child—a fluffy teddy bear. In The Last Hive Mind, two forces fight with each other — the robotic, rhythmic, seemingly unbreakable "hive mind" music, versus the dreamy, melodic, and warm "lullaby" tune. Lastly, presented by the piano, the "lullaby" music is also a quote from my mini piano concerto, Canton Snowstorm. As the title indicates, this work depicts the struggle between the artificial intelligence, or the hive mind, and the dimming humanity; furthermore, the work implies the final collapse and breakdown of the last hive mind followed by its triumph.

Growing up in China, I had never even heard of a wind ensemble. It wasn’t until college at the Hartt School that I discovered this vibrant medium—first as a pianist in Glen Adsit’s Hartt Wind Ensemble and James Jackson III’s Symphony Band. I remember the thrill of playing Michael Daugherty’s Desi and Niagara Falls—music that grooved, pulsed, and lit up the room with energy. Those moments opened my eyes to a new kind of expression, one that was bold, rhythmic, and full of possibility.

When Glen later asked me to write for the Hartt Wind Ensemble, I was both honored and terrified. That piece, Slippery Slope, became a milestone: a sprawling, complex, emotionally-charged work filled with every technique I had. At the time, I was beginning graduate study with Michael Daugherty at the University of Michigan, and I was still learning how to let my authentic voice take center stage. The piece went on to win the 2014 ASCAP/CBDNA Frederick Fennell Prize and became my entry point into the wind band world.

Since then, writing for winds has been one of the most fulfilling parts of my creative life. The energy of the medium, the willingness to experiment, and the generosity of its performers and conductors have all made it a space where I feel free to be adventurous, playful, and honest. Kung Fu, Luminance, and Starry Ocean each gave me the opportunity to explore new ideas and connect with incredible collaborators—conductors and student ensembles whose talent and warmth continue to inspire me.

This album brings together live performances of these works, capturing the exciting, unfiltered energy that can only happen in real time—with breath, adrenaline, and spirit infusing every phrase. These performances are snapshots of moments where music came alive, shared between people in a room, and that’s what makes them special.

The album opens with In This Breath, a lyrical and tender work written during a time of deep personal grief. Composing it helped me find clarity and peace, and reminded me that music can hold space for what words often cannot. It marks my return to composing after a painful pause—and reaffirms why I keep creating. The final track, The Last Hive Mind, captures an earlier moment in my journey, when I was beginning to find my unique voice and take creative risks. Together, these bookends reflect not only how far I’ve come, but how much I still want to say.

I’m grateful for the conductors and ensembles who brought this music to life, and for the wind band community that continues to welcome, challenge, and champion me. This album is a celebration of that journey—past, present, and still unfolding.

—Shuying Li

Eric Wilson: In the midst of unexpected tragedy, music can provide society respites of reflection to help process grief and loss. In similar fashion, Shuying Li’s In This Breath is a deeply intimate and poignant response borne from personal circumstance. The work’s transparent vulnerability is juxtaposed with impassioned declarations of love and loss. In This Breath is a moving and powerful tribute that both reveals and honors life’s most precious blessings.

Jason Fettig: Li's music is both viscerally engaging and endlessly colorful.  She captures the essence of her emotional subject matter and never lets go of that focus through the development of her pieces.  Interacting with Luminance--especially through multiple performances--allowed the ensemble and me to experience the fascinating evolution of those qualities with every reading and with each different audience.  She writes beautifully for the special capabilities of winds, and I have every expectation that her works will continue to be an essential part of our contemporary canon.

Jason Caslor: ASU Wind Bands is profoundly thankful for Shuying's willingness to share her unique and powerful voice with the wind band world, enriching our repertoire and inspiring musicians and audiences alike. Starry Ocean is a shining example of how she can create a soundscape that takes all involved on a wonderful journey.

Kevin M. Geraldi: I have had the privilege of performing and collaborating with Shuying Li on several of her works, and found her music to be of exceptional expressive depth, vibrant instrumental color, and detailed compositional craft. Performers and audiences alike respond to her unique voice, and her works for wind ensemble are fantastic contributions to our repertoire. In Kung Fu, Shuying captures the spirit and philosophy of this aspect of her Chinese culture that connects it with an aspiration for a universal, harmonious society.

Luke Camarillo: In her first work for winds, Shuying Li fashions a provocative landscape of taut, rapid textural interplay inspired by the logical fallacy from which it takes its name. The Dionysian opening gives way to probing splashes of color—pointy, mercurial, and cleverly transformed. Slippery Slope reaffirms that she is, without doubt, one of the most distinctive and compelling composers currently writing for winds.