2019-2021 (in progress)



Music by Du Yun
Libretto by Michael McQuilken
Produced by Beth Morrison Projects

First Performance
Prototype Festival, NYC, January 2022

First West Coast Performance
Los Angeles Opera, April 2022

Told through the perspective of a new father, In Our Daughter’s Eyes shows the journey of the protagonist as he wrestles with truly becoming a man that his daughter would be proud of. He imparts passages from the journal he keeps — a gift for his unborn daughter — as the moments of this journey unfold before him.  The story traces his wife’s joyful and fraught pregnancy, the legacy of the family’s past, and his personal demons that he vows to vanquish before assuming the role of a father.  Along the way, mounting complications take the story through unexpected and sobering turns that test our flawed hero as he discovers a strength of self and purpose that he never imagined possible.

(In Our Daughter’s Eyes is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.)




Composed by Raven Chacon and Du Yun
Libretto by Aja Couchois Duncan and Douglas Kearney

Directed by Yuval Sharon
Co-Directed and Costume Design by Cannupa Hanska Luger

Produced by The Industry

Duration: Feast Track 60 mins | Train Track 62 mins | Total: 2 hours 2 mins

The Arrivals wash up on the shore. They make contact with another civilization they call “the Hosts.” And from there, the story splinters, following diverging perspectives. Starting as a procession through the LA State Historic Park, Sweet Land becomes an opera that erases itself.

2011 / 2015



Music by Du Yun
Libretto by Royce Vavrek

Duration: 87 mins

Cast: Mrs. X.E. (Mezzo Soprano), Mr. X.E. (Baritone), Boy Angel (Tenor), Girl Angel ( A female punk voice), A choir of 7 people, and male soprano / countertenor

Angel’s Bone tells the story of two fallen angels who are found in a middle-class couple’s garden, who nurture the wounded cherubs back to health only to force them into prostitution to earn back their plucked feathers.

2004 – 2005


— chamber opera

Music and Text by Du Yun

Duration: 55 mins

Female Voice, Narrator, Tenor, Flute, Clarinet, Percussion, Violin, Viola, ‘Cello, recorded ensemble, and electronics

In Zolle (It., big chunk of earth), a dead woman is a land-watcher. She wanders through the shadowy space between memory and reality, tracing the lines of her identity through the land she once walked: an immigrant in death as in life. In her haunted travels between the worlds of life and the afterlife, she is unable to choose between the living and the dead, at loss to let go of either. Finally, with her sorrows, solitudes, and peacefulness, she lets go of both, turning into a part of the earth.

Soloist(s) & Orchestra


Where We Lost Our Shadows

— A triple concerto for voices, percussion soloist and video

Duration: 30 mins

First Performance January 20, 2019 by the Aurora Orchestra at Southbank Centre, London, UK

Co-Commissioned by the London Southbank Centre, Carnegie Hall, American Composers Orchestra, Kennedy Centre for Performing Arts, Cal-Performances



— for Orchestra and two voices

Duration: 25 mins

First Performance February 6, 2019 by the Los Angeles Philharmonic at Walt Disney Hall, Los Angeles, CA
with DiaoQiang Troup singers

Commissioned by the Los Angeles Philharmonic Association as part of its centennial celebration.



Hundred Heads


— for Orchestra

Duration: 16 mins

2+pic.2+ca.2+bcl.2+cbn / 4.3.2+btbn.1 / 3perc / hp.pf(cel) / str

First Performance: June 4, 2014
at Benaroya Hall, Seattle, US
Conductor: Ludovic Morlot

Commissioned by the Seattle Symphony




— for Orchestra

Duration: 14 mins

2(afl)+pic.2(kazoo)+ca.2+bcl.2+cbn / 4.3.2+btbn.1 / timp(kazoo).2perc / hp / str (

First Performance: May 10, 2012
at Orchestra Hall, Detroit, US
Conductor: Leonard Slatkin

Commissioned by the Detroit Symphony Orchestra



— for Orchestra

Duration: 15 mins / 4.3.2+btbn.1 / timp. 3 perc / hp / str (

First Performance October 2007 at Shanghai Concert Hall, Shanghai, China
Conductor: Zhang Guoyong

Commissioned by the Shanghai Symphony Orchestra

Still by Qiu Anxiong


Slow Portraits

— for Orchestra and video

Duration: 15 mins

First Performance: April 5, 2013 at Carnegie Hall, Zankel
Conductor: George Manahan

Film: Portraits in the Dramatic Time by David Michalek

Film stills by David Michalek




— for Large String Orchestra

Duration: 19 mins

First Performance January 20, 2011 at Zellerbach Concert Hall, Berkeley, CA
Conductor: Joana Caneiro

Commissioned by the Berkeley Symphony Orchestra


Impeccable Quake

— for Chamber Orchestra


Duration: 10 mins

First Performance November, 2004 in Montréal, Canada, Nouvel Ensemble Moderne
Conductor: Lorraine Vaillancourt

Booklet still from Dinosaur Scar album



Every Grass A Spring《草木皆春》


Duration: 4’41”
— for bass bariton, pipa, and sheng


Give Me Back My Fingerprints《我指纹的归还》


Duration: 9’30”
— for violin and a performer


i am my own achilles heel


Duration: 12 mins
— for string quartet

Commissioned by the Brooklyn Rider
First Performance: Brooklyn Rider, 2019


Tattooed in Snow


Duration: 17 mins
— for string quartet

First Performance by the Shanghai Quartet at PEAK Performances, Montclair January 2015

Commissioned by PEAK Performances for the Shanghai Quartet


The Man Who Swallowed A Snake


Duration: 12 mins
— for contrabass soloist, with optional vocal and drum

First Performance by Du Yun and Bearthoven,
The Kitchen, April 2015



Duration: 14 mins
— for oboe, horn, violin guitar, harp, percussion

premiered at Cal Performances, January 2015
Commissioned by the TenFourteen Project conductor: Steven Schick

( San Francisco Contemporary Chamber Players )


Your eyes are not your eyes


Duration: 15 mins
— soprano, ob, vln, gtr, hp,

premiered at South Americas Society, April 2013
Commissioned by the Americas Society
( International Contemporary Ensemble )


10pm, Ixtab


— bassoon and playback

Duration: 4 mins

released on Rebekah Heller’s CD, 100 names. New Focus. June 2013.

( Rebekah Heller )


Keep something broken

Duration: ~14 mins
— fl, ob, tpt, tba, perc, pno,
( Stony Brooke New Ensemble, premiered at Symphony Space 2012 and Stony Brooke )


The Hidden Face

— for cl, erhu, pipa, zheng, violin, cello

Duration: 14 mins

First Performance: Merkin Concert Hall, March 2012
Commissioned by the Ecstatic Music Festival 2012
( Music from the Copland House, and Music from China )


A Few Stops on the N train

— for narrator and string quartet, electronics

Duration: 15 mins

premiered at the Kitchen, March 2011
Commissioned by the 21c Liederabend Festival
( ACME, Du Yun )


Fallen Warriors


— chamber ensemble, electronics

Duration: 14 min
Commissioned by the Metropolis Ensemble
First Performance: Le Poisson Rouge, Jan 2011


A Cockroach’s Tarantella


Duration: 19 mins
— for string quartet and a narrator

Commissioned by the Chamber Music USA

First Performance at Symphony Space, by iO Quartet and Du Yun Feb 2010




Duration: 3’06”
— for clarinet, violin, ‘cello, and narrator

First Performance at The Tank, NYC, Oct 2007
( New York Minituarist Ensemble)


by… of, Lethean


Duration: 13 mins
— for mixed ensemble (fl, cl, perc, zheng, vln, vla, vc, cb)

First Performance in Münich, Germany, May 2007
( commissioned by the Shanghai New Music Festival, Shanghai New Ensemble )


Air Glow

Watch| Listen

Air Glow 2006/2018

Duration: 15 mins
— for trumpet ensemble with electronics

Commissioned by the Festival of New Trumpet

First Performance at FONT, NYC, Sep 2006


morsel • eroding

Duration: 8 mins
— for a bass clarinet (doubling E-flat) and a Tam-Tam

First Performance: Stone, New York City, Dec. 2003
( Josh Rubin & David Schotzko )


Vicissitudes No.1

Listen (World Premiere recording by International Contemporary Ensemble)

Duration: 14 mins
— for Clarinet or Alto Saxophone, Cello, Contrabass, Percussion, Piano and a Steel Guitar

First Performance: Harvard, Cambridge, May 2002
( Bang On a Can All-Star )


Avec et’Cetera

Duration: 10 mins
— Duet for Flute and Clarinet (flautist doubling piccolo and alto flute)

First Performance at Avignon, France, July 1999
( Centre Acanthes Music Festival )



Duration: 20 mins
— for Seven Contra Basses, one Oboe and two PVC Pipes

First Performance: Oberlin College, OH, May 1999
( Oberlin Bass Ensemble & Zheng Huang )



Duration: 8 mins
— duet for Baritone and Piano

First Performance at Shanghai, China, 1993

1990 / 2001


Duration: 15 mins
— trio for Xiao, Er-Hu and Yang-Qin (three Chinese instruments)

First Performance at Shanghai, China, 1990
(Mao Yu-Long, Ying Ming & Yao Xin-Feng )

Duration: 15 mins
— Version for Violin, Alto Flute and Harp (2001)

First Performance at Oberlin, OH, May 2001
( David Bowlin, Claire Chase & Yinuo Mu )



The Rest is Our World

Duration: 4 mins
— for harp solo, and voice (optional)

Video premiere: Gillian Benet Sella and Mischa Sella


Under a tree, an Udātta

Duration: 9 mins
— for Violin solo and playback

First recording: David Bowlin Bird As Prophet


An Empty Garlic

Duration: 19 mins
— for Bass Flute and electronics

commissioned by Project&
( Claire Chase, Worldwide tour of Density 2036, part ii )

First Performance at the Kitchen, New York, Oct 2, 2014
( Claire Chase )


The Veronica

Explore the Work | Watch

Duration: 12 mins
— for violoncello solo

commissioned by Matt Haimovitz
( Matt Haimovitz, worlddie tour
the Bach Overture project)


When a Tiger meets a Rosa Rugosa

Explore the Work | Listen

Duration:6 mins
— for Violin solo and piano

Worldwide tour
commissioned by Hilary Hahn, for the encore project
( Hilary Hahn )


The Ocean Within (2011)

Duration: 7 mins
— Harp solo

premiered at Le Poisson Rouge, Jan 2011
Commissioned by Bridget Kibbey
( Bridget Kibbey )


Run in a Graveyard

Duration: 15 mins
for bass flute solo and electronics

Commissioned by the Fromm Foundation
written for Claire Chase



Duration: 12 mins
for violoncello solo and electronics

First Performance: Frances-Marie Uitti

— version for Percussion solo and electronics

First Performance NYC, April 2003
( David Schotzko )


Zigzaggg (2001)

Duration: 17 mins
— Solo for Contrabass
First Performance in Oberlin, OH, May 2001
( Randall Zigler )

1999 / 1997

Dinosaur Scar

Duration: 9 mins
— version for Alto Saxophone Solo (1999)

First Performance in Ann Arbor, Michigan, Nov 1999
( Dave Reminick )

— version for Oboe Solo

First Performance at Oberlin, OH, Nov. 1997
( Zheng Huang )



ca. 6’ min
—for Inside Piano and Voice (one performer)

First Performance in Oberlin, OH, Oct.1997
( Du Yun )


Hong-dou-dou (1992)

ca. 9’ min
— Sonata in three Movements for Cello and Piano

First Performance in Shanghai, China, 1992
( Xie Guang-Yu & Du Yun )


16 Piano Etudes and Suites (1988-1993)

Theatre | Stage | Musical


Dim Sum Warrior


Book by Colin Goh and Yenyen Woo
Music by Du Yun
Lyrics by Colin Goh and Du Yun

Duration: 2 hours (with intermission)

Produced by Shanghai Above Theatre
Opened in Shanghai in August 2017.



Writing in Water – 《水中之书》mandarin

Duration: 2 hours
Credit: composer for Stan Lan’s play, Writing On the Water
Direction by: Stan Lai 赖声川

Shanghai Above Theatre, Shanghai, China, May 2016


Kung Fu

Duration: 2 hours
Credit: composer for David Henry Hwang’s play, KungFu
Direction by: Leigh Silverman

Signature Theatre, New York City, Feb -March 2013


Cihu, Assassinating the Tiger General

ca. 30’ min
— revamping the Kunqu Opera

Oct 2011, Asia Society, NYC
( Qian Yi and Du Yun Quartet )


Sound design for Portraits in Dramatic Times

ca. 3 hr
— Sound design, David Michalek’s forty short films projected outdoors.

Lincoln Center Festival 2011, Façade of David Koch Theatre, July 5th 2011-July 2011


Mutant Nomads

Duration: 20 mins
— for dance

Park Avenue Armory
NYC Nov 2008
( Moving Theatre )


I have been to Hiroshima, Mon Amour

Duration: 1 hour 30 mins
— for a Play

( playwright: Chiori Miyagawa; director: Jean Wagner; based on Maguerite Duras’ 1959 screenplay Hiroshima mon amour)
( co-comissioned by Voice & Vision Theater and Jamaica Arts Center of New York City )

Installation | Performance | Sound


How Are You doing,
the past that is around the corner


— Featuring Diaoqiang Opera Troupe

First Performance: Shanghai Symphony Hall, Chamber Hall

October 2017


How are you doing,
the future that has never left

— Featuring Shanghai Opera Amateur performers

A Collaboration with Thomas Tsang
Commissioned by the Shanghai Project 2017

First Performance: Shanghai Himalayas Center, April 2017


Disruption As Rapture

— music for Video Installation, 7.1 surround collaboration with visual artist Shahzia Sikander



— Sound Installation, 16-channels with 32-speakers


Pivot, with Shahzia Sikander

— 3 channel HD animation, 5760×1080 pixels, 24p. 5.1 surround sound, 15:40 min



— Music for 3-channel video and 5.1 surround sound, Animation by Shahzia Sikander

First Shown: at Sharjah Biennial, United Arab Emirate


Parallax, performance

— 3-channel video and 5.1 surround sound with Shahzia Sikander

Performed live at the opening of Sharjah Biennial 2013, featuring the Emirati poets Abdullah Al Hedeyeh, Shaikha Al Mutairi, the Palestani poet Hamsa Younis, and the shehhnai player, Mohamed Lashkuri

Hamsa Younis, performing Du Yun’s work at the Sharjah Biennial



— Performance art, with Claire Chase

commissioned by the Guangzhou 2012 International Art Triennial Guangzhou Opera House, Sep 28th, 2012 travels to the Guangdong Art Museum

Sep 28th through Dec 2012

John Cage 4'33" – Guangzhou Triennial



ca. 12’ min
— for a video

collaboration with visual artist Shahzia Sikander


The Last Post

— music for Video Installation, collaboration with visual artist Shahzia Sikander

( commissioned by the Shanghai Rockbund Art Museum, exhibition: By Day By Night, Shanghai Rockbund Art Museum Oct 2010-Jan 2011; Tokyo Contemporary Art Museum, San Francisco Art Institute March 2011 – May 2011 )

Du Yun performs with the Video of The Last Post



— for Video Installation, collaboration with visual artist Shahzia Sikander

( commissioned by the Shanghai Rockbund Art Museum, exhibition: By Day By Night, Shanghai Rockbund Art Museum Oct 2010-Jan 2011; Tokyo Contemporary Art Museum, San Francisco Art Institute March 2011 – May 2011 )


Music for Alice Guy Blache

Duration: 30 mins
— scored for three silent films: Madamme a des Envoy, Sage de Femme and The Thief

for Alice Guy-Blache’s retrospective at the Whitney Museum of American Art
premiered at the Crossing the Line Festival, Florence Gould Hall, FIAF, and screened at the Whitney Museum of Art, Oct 2009 through Jan 2010

commissioned by the Whitney Museum Live



Shark in You, LP

— a pop album released in 2011, on New Focus.

Du Yun, Shark in You (2011)
Du Yun, Shark in You (2011)



Du Yun Composer Portrait at Miller Theatre

written by Lara Pellegrinelli

Miller Theatre commissioned writer Lara Pellegrinelli to create this season’s Composer Portraits program notes, featuring a snapshot of each composer in words through exploration of the many possible meanings of the term “practice.”
(Works covered: An Empty Garlic, Ixtab 10 pm, Dinosaur Scar, Under a Tree, an Udātta, Zinc Oxide, Air Glow, Vicissitudes No.1, Impeccable Quake)


Du Yun Keynote: “The Multiplicities of Our Bloodlines”

The symposium “Curating Diversity in Europe”, which can be attended both on- and offline, offers a platform for keeping the discourse on diversity in contemporary music in Europe alive, developing potentials for transformation during a time of limited international encounters and swelling nationalistic currents. The focus of the symposium is on processes and profiles of curating that critically question power structures and Eurocentric patterns of thought, to implement political, collective or participatory strategies in the curatorial decision-making process.