I am a full-time cat lover,
and I compose sometimes.
Latest News
Bailey Merlin interviewing Yangfan Xu
September 28, 2023
Composition Doctoral Student Yangfan Xu's "Bya" Premiered by New Jersey Symphony
ABOUT ME
I am a full-time cat lover, and I compose sometimes.
Yangfan Xu (b. 1998) holds a deep passion and love for cats. Whenever she hears a string player glissando in the upper registers, she can’t help but think of a cat's meow. In addition to her feline obsession, Xu is a Chinese-born US-based composer who comes from a musical family in Lanzhou, Gansu province, with a spoiled cat who eats better than everyone else.
Xu has received major commissions from the Texas New Music Ensemble, Impulse New Music Festival, Boston New Music Initiative, Horizon Ensemble, and the New York City Ballet. Her compositions have been performed by many professionals including the New Jersey Symphony Orchestra, Albany Symphony Orchestra, Pacific Chamber Orchestra, Sydney Contemporary Orchestra, New Juilliard Ensemble, New England Philharmonic, Friction Quartet, Hausmann Quartet, SFCM New Music Ensemble, Choral Chameleon, and more.
Xu received her bachelor’s degree in composition from the San Francisco Conservatory of Music and her master’s degree in composition from the Juilliard School. She is currently a DMA candidate at the New England Conservatory of Music.
List of Compositions
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Benam (2026) - orchestra | 6’
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Interstellar Zoo (2024) - orchestra | ca. 7’
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Orbital Oasis (2024) - orchestra | ca. 12’
3.3.3.3.,3.3.3.3., 4.3.3.1., 1 piano, 1 electric piano, 1 harp, 1 timp, 3 perc, strings
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Bya (2021) - for orchestra | ca. 8’
3.3.3.3.,3.3.3.3., 4.3.3.1., 1 piano, 1 harp, 1 timp, 3 perc, strings
Premiered by the New Jersey Symphony Orchestra in 2023
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Liang Si (2019-2020) - for string orchestra and percussion | ca. 11'
Premiered by the Horizon Ensemble in 2024 - string orchestra and 3 perc
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Shen Hua (2018-2019) - for orchestra | ca. 15’
(No public performance) 3.3.3.3.,3.3.3.3., 4.3.3.1., 1 piano, 1 harp, 1 timp, 3 perc, strings
(Now Listen) Jungle Sway (2023) - clarinet, harp, violin, cello, percussion, and choreography | ca. 7’ .Commissioned by the New York Choreographic Institute, affiliation with New York City Ballet
Program Note:
"Jungle Sway"; is a piece inspired by a vivid dream I had on October 3, 2022. In this dream, I explored the hazy border between grassland and jungle on a sultry summer night, enveloped by the fragrant humidity of nature. The night blurred the line between the two landscapes, illuminated by brilliant shooting stars and colorful bright spots on the horizon, as if the starry sky had been imprinted on the ground. Amid this mesmerizing scene, an elephant and two baby elephants suddenly nudged me to run, guiding me away from a mudslide to a small rocky mound. Exhausted, the elephants lay down, and I thanked them by gathering leaves and dew to feed them before covering them with leaves as a quilt. The jungle hotel where I used to stay, as well as the entire jungle town, had been completely destroyed, and the night had suddenly become so peaceful and quiet. Since then, I had become a jungle wanderer. A week later, on another summer night, I was kidnapped by a group of men dressed as future cops. They put me on a cyberpunk train, and I didn’t know where we were headed.
This surreal adventure inspired the creation of "Jungle Sway"; where I sought to capture the dream's vibrant energy and mysterious atmosphere. The music incorporates rhythmic elements and aesthetics from African music, featuring cross-rhythms, 12/8 time signatures, and percussion instruments like congas and bongos.
"Jungle Sway"; embodies the fusion of world music influences, reflecting my journey as a composer bridging Eastern and Western cultures. Through this piece, I aim to transport listeners to a fantastical world, celebrating the interconnectedness of nature, adventure, and the bond between humans and animals.
The piece debuted at the New York Choreographic Institute's spring performance in 2023, in collaboration with choreographer Shane Urton, and was showcased in a dance film “Now Listen” by the New York City Ballet.
Duration: 7’
Recording: Recording available on streaming platforms and New York City Ballet official website.
YouTube link: Sudio Recording https://www.youtube.com/watch?v=AAKFs2YkHwo
Jordan Hall Live Recording: https://www.youtube.com/watch?v=RBMxOqn9YbI
New York City Ballet link: https://www.nycballet.com/discover/stories/the-art-and-artists-of-the-latest-institute-session
Score and Parts: Available for rental or purchase directly from the composer.
Performance History: World Premiere: New York Choreographic Institute 2023 Spring session
Touching the Sun (2020) - string quartet and choreography| ca. 8'. Written for Juilliard Chreo/Comp project
Program Note:
Touching the Sun marks my first collaboration with a choreographer, and together with Aaron Choate, we sought to explore something beautiful about humanity through music and dance. This journey led us to the ancient Chinese myth of Kua Fu, a man who chased the Sun in his pursuit of light.
In the story, Kua Fu lives in perpetual darkness, never having seen the light. One day, he glimpses the Sun for the first time when a giant bird parts the clouds, revealing the radiance beyond. That moment awakens a desire within him, and Kua Fu begins his relentless pursuit. He chases the Sun for nine days, without rest, food, or water, until he finally touches it—only to see the Sun set as he succumbs to dehydration. Kua Fu's body transforms into mountains, rivers, and forests, becoming one with nature.
As a child, I saw Kua Fu’s journey as tragic. But revisiting the myth as an adult, I found it imbued with a sense of beauty. The idea that the act of chasing, regardless of the outcome, holds its own significance resonated with me. The pursuit itself becomes an indelible part of the human experience, a memory that transcends the destination.
In Touching the Sun, I aim to capture the intensity, beauty, and ultimate transformation that comes with pursuing something deeply meaningful. Through the intertwining of strings and movement, the piece reflects the emotional landscape of Kua Fu’s journey, evoking both the struggle and the sublime nature of striving for what we desire most in life.
Duration: 8’
Recording: Juilliard choreo/Comp Video Recording
Youtube link: https://www.youtube.com/watch?v=t6VrLIBCHjU
Score and Parts: Available for rental or purchase directly from the composer.
Performance History: World Premiere: Juilliard choreo/Comp 2020
Choreography by Aaron Choate
Shen Nong’s Dream on the Mountains - clarinet, bassoon, horn, 2 violins, viola, cello, bass | 15’
Program Note:
Written for the Beacon Ensemble x The Boston troubaDours collaboration Shen Nong, his drug dream, and a bizzare journey on the mountain...
Narration text: Text by Yangfan Xu
Part 1
This is the story of Shen Nong.. the divine farmer of ancient times, who traveled through mountains and forests tasting herbs to understand their powers. One day, deep in the mountains, Shen Nong encountered a strange grass he had never seen before.
Its shape was thin and pale.
Its smell was sharp and unfamiliar.
He tasted it.
Moments later, poison spread through his body.
His vision blurred. His steps grew heavy.
Shen Nong collapsed on the mountain path, between towering trees and drifting clouds, and he fell into a deep sleep.
Part 2
In his dream, the mountain remained the same, but the air began to move.
The wind gathered and swirled, and from it appeared Fengbo the god of wind.
Fengbo carried a large cloth bag tied with a rope.
He loosened the knot.
And wind rushed out in all directions, climbing trees, circling rocks, and lifting Shen Nong to his feet.
Fengbo released the bag, and the wind calmed. Shen Nong and Fengbo began walking up the mountain together.
Part 3
As they climbed higher, they encountered a human figure standing among the rocks.
She wore strange clothing and carried unfamiliar tools.
She said she was an oceanographer from the 21st century.
A scientist who studies the sea. She did not know how she arrived on the mountain.
She only remembered waves, instruments, and open water.
The three continued upward.
Soon after, they met another being.
Their body was small and unfamiliar.
Their skin reflected light like metal.
They explained that they were an alien, captured on Earth by humans from the future and brought to this place by accident.
Not far behind them walked a three-humped camel.
Its fur was covered with dust from distant deserts.
No one knew where it came from or how it had reached the mountain.
The camel spoke to no one, but continued climbing beside the others, as though it had been drifting for centuries without a destination. Together, the five climbed the mountain.
Part 4
At the summit, they stopped.
From above, they saw the stars spread across the sky, steady and distant.
They saw the ocean far away, dark and endless.
They saw the mountain beneath them, ancient and silent.
Fengbo tied the wind back into his bag.
The oceanographer looked toward the sea.
The alien and the three-humped camel gazed at the stars.
Shen Nong stood quietly among them...
Part 5
Shen Nong awoke on the mountain path.
The forest was still.
The strange grass lay nearby.
He rose slowly and continued his journey, carrying the memory of the dream with him.
From that day on, he tasted the herbs of the world with greater care.
Duration: 15’
Recording: A recording of its Beacon Ensemble premiere is available upon request.
Score and Parts: Available for rental or purchase directly from the composer.
Performance History: World Premiere: Beacon Music Festival by Beacon Ensemble, June 7, 2026 at Church of the Covenant, Boston, MA.
Apentemma Jam (2025) - flute, clarinet, trumpet, trombone, piano, strings, and percussion | 6’
Program Note:
Inspired by the vibrant rhythmic traditions of the Ashanti people in Ghana, Apentemma Jam explores polyrhythmic interplay.
At its core is the bell timeline pattern from Kete, a traditional dance-drumming music. This pattern, often heard in the percussion and piano parts, anchors the groove and drives the momentum forward. The rest of the ensemble draws from and transforms the apentemma drum part into playful variations that bounce off the timeline, creating a layered, syncopated texture. These shifting patterns generate a rhythmic dialogue that captures the communal and improvisatory spirit of Ghanaian drumming, while blending it with the composer’s own musical language. Apentemma Jam is a celebration of groove, cultural memory, and joyful collaboration in performance.
Duration: 6’
Recording: Recording by the Texas New Music Ensemble: Youtube LInk: https://www.youtube.com/watch?v=JPeB33KeAYs
Score and Parts: Available for rental or purchase directly from the composer.
Performance History: Premiered at the 2025 Texas New Music Festival in Houston, Texas.
Wild Lanterns (2025) - chamber orchestra | ca. 5’
Program Note:
Wild Lanterns is a celebration of light and motion, weaving together inspirations from global traditions. Drawing especially from the Chinese Lantern Festival, the breathtaking lantern celebrations I witnessed in Thailand, and the fire rituals of Indigenous cultures, the piece honors the shared human impulse to gather, to illuminate the night, and to celebrate life through ritual.
Rather than focusing on a single tradition, Wild Lanterns brings together the spirit of diverse cultures into one vibrant procession. Melodies flicker and rhythms surge like lanterns carried on wild winds, glowing with life, energy, and joy. In this music, light is not something still or delicate. It is alive, restless, and exuberant, sparking a communal celebration that transcends borders and time.
Duration: 5'
Recording: A recording of its Albany Symphony Orchestra premiere is available upon request.
Score and Parts: Available for rental or purchase directly from the composer.
Performance History:
World Premiere by the Albany Symphony Orchestra in Albany, NY.
Performed by the Pacific Chamber Orchestra at the Winning Scores 2025 Concert in Livermore, CA.
Fantastic Creatures of the Mountains and Seas (2022) - New Juilliard Ensemble | ca.12’
1.1.1.1.,1.1.1.1.,1.1.1.1., 1 piano, 1 harp, 1 perc, strings
Commissioned and premiered by the New Juilliard Ensemble
Program Note:
Fantastic Creatures of the Mountains and Seas is a fantasy created by Yangfan Xu. The creatures in this piece are all recorded in Chinese mythology. Yangfan’s inspiration came from the Chinese classic Shan Hai Jing (山海经), which is a compilation of mythic geography and beasts. Lu Shu (鹿蜀), Shu Hu (孰湖), Di Jiang (帝江), Ran Yi Yu (冉遗 鱼) and Luo Yu (蠃鱼) are among the creatures featured in this piece. The storyline is original. Fantastic Creatures of the Mountains and Seas is a dream world, a curious vision, as well as a reflection on the interaction between humans and nature from ancient times to the present. Hope you can enjoy the wonderful journey into the ancient Chinese traditional mythology and Yangfan's imaginary world.
Artworks are by Jinger Zhu.
It looks like a horse but has a white head. The markings on its body look like tigers and
its tail is red. When it roars it sounds like a human singing. The name is Lu Shu (鹿蜀). People can bear more children if they wear its fur.
Its shape is the body of a horse but with wings of a bird. It has a human face and a snake tail. It likes to scoop up people and hold people in its arms. The name is Shu Hu ( 孰湖).
His appearance is like a yellow pocket, his glow is red like fire and he has six enormous feet. In place of his face are four wings and chaos. There is a god living in the mountains, and all primitive singing and dancing originated with him. His name is Di Jiang (帝江).
Ran Yi Yu (冉遗鱼) has the body of a fish, the head of a snake, and six feet. Its eyes are long like horse ears. Eating it can make people sleep without nightmares.
Luo Yu (蠃鱼) has the body of a fish and the wings of a bird. When it sings it sounds like a mandarin duck. Wherever Luo Yu goes, there will be floods.
Duration: 12’
Recording: A recording of its New Juilliard Ensemble Lincoln Center premiere is
available upon request.
Recording by the Sydney Contemporary Orchestra:
Youtube link: https://www.youtube.com/watch?v=TnHty8C9Kh8
Score and Parts: Available for rental or purchase directly from the composer.
Performance History: World Premiere: By the New Juilliard Ensemble at Lincoln Center, New York.
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I Lay Stardust Across the Water - clarinet, violin, viola, cello| 10’
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Oblique Blue Two Outer Planets - handbell ensemble | 7’
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Blowing Stellar Bubbles - percussion quartet (2026) | 6’
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On Being Measured (2026)- flute and metronome | 8’
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Hacha (2025)- violin duo | 5’
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Tunes From Home (2025)- string quartet | 20’
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Whisker Suite (2025) - piano four hands | 3’
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Four Portraits in Brass (2025) - brass sextet | ca. 12’
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Windswept Realms (2024) - piccolo and piano | ca. 10’
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The Our World Handbook (2024) - reed quintet | ca. 10’
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Pear Blossom Anemoia (2024) - viola duo | ca. 8’
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Yaoji, the Divine Maiden (2024) - for piano, percussion and narration/soprano | ca. 6’
Commissioned by Shalun Li
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Rice, Border, Distant Letters (2024) - flute and cello | ca. 6’
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Oh Appalachia (2024) - piano quartet | ca. 7’
Written for Rapido! Competition 2024 semi-final round
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(arr.) Ecstatic Burial (2023) - guitar and string quartet | ca. 12’
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Make Way for Ducklings (2023) - pierrot ensemble | ca. 8’
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Where Do Whales Roam? (2023) - guitar duo | ca. 5’30’’
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Uplifting Melodies of the Summer Wind (2023) - violin, piano and cello | ca.6
Commissioned by the Impulse New Music Festival
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Turn Me Into Ocean (2023) - alto saxophone and piano | ca. 9’
Commissioned by Kenneth Radnofsky
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Dogon Masks (2022) - viola and piano | ca.8’
Written for Carol Rodland's Viola Studio collaborative project
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Shiraz Nights - violin and viola duo (2021) | ca. 6'.
Commissioned and premiered by Duo Cenoria in collaboration with the RDJ Refugee Center in New York City
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Luo Jiang Yuan - A bit Blue (2019) - string quartet | ca. 7’40’’
Premiered and Recorded by the Friction Quartet
1st Prize of the Hausmann Quartet Quarantine Composers Competition
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Dryocopus Into The Forest (2018) - string quartet | ca.3’
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Ji (2018) - contrabass flute and contraforte | ca. 4’
Written and premiered by Key Kontraptions
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Ecstatic Burial (2017) - pipa and string quartet | ca. 12’
Winning composition of the Society for New Music's 2021 Israel/Pellman Award
Recorded by Shuxin Meng and the Friction Quartet
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Nyenchen Tanglha (2017) - brass quintet | ca.3’
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Shangui (2016-2017) - flute, clarinet, violin, cello, piano, percussion | ca. 15’
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Pisces (2016) - violin and piano | ca. 3’30’’’
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Aquarius (2016) - violin and piano | ca. 2’
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Taiji Said (2015) - violin, cello, clarinet, piano | ca. 11’40’’
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Yin (2015) - Sonata for violin and piano | ca. 8'
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Tropical Rain - solo percussion | 6’
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Dream in a Ceramic Vessel (2025) - solo piano | 15’
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Colors of Woodlands (2024) - solo cello | ca. 7’
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Comfort Song In Storm (2024) - solo violin | ca. 3’
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Arctic Surf Clam Rhapsody (2024) - solo piano | ca. 5’
Written for ICEBERG New Music Festival 2024 and Eunmi Ko
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Scorch (2023) - solo viola | ca.3’
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Five Folk Songs Without Words - solo guitar | ca. 10’
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In a Mellow Mood (2022) - solo violin | ca.5’
Written for Jennifer Koh's collaborative project
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You Bi (2021) - solo violin and electronics| ca. 7’
Electronics ft. Papa Molly
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Soberless Dance (In the Mountains) (2021) - solo guitar | ca. 7’
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A Folk Dance (2019) - prepared piano | ca. 3’
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Dryocopus Into The Forest (2018) - piano solo version | ca. 8’
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Songs and Poems from Shijing (2026) - soprano and piano | 35’
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We Outgrow Love Like Other Things (2022) - song cycle for soprano, tenor, and piano | ca. 15’
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Moonlight (2015) - mezzo soprano and piano | ca. 3’30’’
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Aspiciens a longe (2022) - SATB choir | ca.3’
Commissioned by Diane Meredith Belcher for the Holy Trinity Lutheran Church Choir
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Qing Yi (2018) - trumpet and SATB choir | ca. 3’
Premiered by Choral Chameleon
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Fuyou (2017) - SATB choir | ca.4’
Premiered by Choral Chameleon
Events
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Upcoming concerts, performances, and unforgettable moments with the talent of Yangfan Xu.
