The interconnectedness of our postmodern world is a major theme in my music. My experiences growing up make this pertinent: an Australian citizen who calls Shanghai home as he navigates graduate school in New York City. In an age where a night’s sleep is all it takes to travel halfway around the world, and where Bach and Mongolian throat singing can occupy adjacent YouTube tabs, I explore and seek inspiration in non-Western musical traditions, even as I write and perform works within the classical lineage. I am interested in bridging apparent differences between cultures and musicians, and in doing so, seeking the subcutaneous common ground that we share as human beings.
The globalization of culture makes it impossible for artists to exist in a vacuum. In fact, we have an obligation to be socially responsible. We produce works as citizen-artists, where we address and invite reflection upon the realities that confront us today. My recent pieces feature dialogues between instruments, and in extension, musical traditions, both foreign and familiar to me. In addition to orchestras, choruses, and chamber ensembles, I work with didgeridoo, shakuhachi, sho, pipa, erhu, yangqin / Chinese dulcimer virtuosi, as well as Mongolian throat singers. In doing so, I first highlight the differences among these instruments, before considering how I may interact with their cultural contexts.
Ultimately, I try to transcend the assumed identities of the instruments I write for, be it a cello, soprano singer, or morin khuur (Mongolian horse-head fiddle). By drawing on their rich pasts and distinct identities, I hope to synthesize a contemporary understanding of how we relate to one another in the ways we experience art. In geopolitics, borders are absolute; in music, the blurring, or even the abolishment, of boundaries can be the most beautiful.
Sam Wu's music deals with the beauty in blurred boundaries. From Shanghai, China, Sam (b. 1995) attended The Juilliard School for his M.M., after receiving an A.B., with honors, from Harvard University. His teachers include Tan Dun, Robert Beaser, Chaya Czernowin, Richard Beaudoin, and Derek Bermel.
Selected for the American Composers Orchestra's EarShot readings, winner of an ASCAP Morton Gould Young Composer Award, the First Prize at the Harbin Competition, and a SCI / ASCAP Commission, Sam Wu was also awarded Harvard's Robert Levin Prize and Juilliard's Palmer Dixon Prize.
Sam’s music has been performed across North America, South America, Europe, Asia, and Oceania. His collaborators include the Melbourne, China National, Shenzhen, Xi'an, Suzhou, Harbin Symphonies, Sarasota Orchestra, Shanghai Philharmonic, Florida Symphony Youth Orchestras, National Center for the Performing Arts in Beijing, Shanghai International Arts Festival, Sydney University Confucius Institute, Asia Society, members of the Parker and Ansonia Quartets, Princeton Pianists' Ensemble, Harvard Ballet Company, and pipa master Wu Man.
Sam also has been featured on the National Geographic Channel, Business Insider, Harvard Crimson, Yale Daily, Asahi Shimbun, People's Daily, CCTV, among others.