Concerto No. 2 for Marimba and Strings
World Premiere: October 8, 2006  by National Taiwan Symphony Orchestra conducted by Amy Chang. Marimba Soloist: Chia-hsin Dai
Commissioned by the National Taiwan Symphony Orchestra, this concerto consists of three movements and was completed in August 2006 in Taipei City.  In 2005 and 2006, Chung composed two marimba concertos.  The Concerto No. 1 is for solo marimba and wind ensemble and was served as the compulsory work of a marimba competition presented by the Taiwan Band Assoication.  It requires high skills, especially in the fugue at the end of the second movement.  Concerto No. 2 is not as difficult as No. 1 and is for soloists of college level.  The composer always associates floods and forests with the Taiwanese indigenous people. Therefore, the flowing sixteenth-note figure is the main element of the first and third movements.  One always associates forests with wood. As a result, the beautiful marimba sound and string pizzicato sound become the core tone color of this concerto.  The second movement is the composer’s response to the beautiful singing voices and songs of the indigenous people.
Orchestral Suite Echoes in Mountain Valleys
World Premiere: October 8, 2006  by National Taiwan Symphony Orchestra conducted by Amy Chang

This work was also commissioned by National Taiwan Symphony Orchestra and was completed in September 2006 in Taipei City.  The work is based on many indigenous people’s songs in five movements:

1. Sun Shooting

According to ancient Atayal tribal legend, there were two suns making people unable to live in peace. This movement illustrates that there were three brave warriors volunteering to shoot down one sun in order to prevent the tribe from extinction.

2. Nursery Rhymes

This movement consists of two sections.  The essence of the first one is the lively Bunun children song Who Is Shooting the Gun in the Mountain?  The second sections is based on several nursery rhymes.

3. Floods

The most well known legend about the origin of the Taiwanese indigenous people is the flood legend of Atayal Tribe.  This is the only movement without any indigenous people’s songs as basic material.

4. Ritual Dance

With the introduction based on the Song of Praying for Millet Harvest of Bunun Tribe, this movement is a lively two-beat joyous dance based on the Song of Happiness and Dance Song of Harvest Year Rite of Amis Tribe.  Finally, the brass section plays Chu Cao Song of Tsou Tribe as the transition to the next movement.

5. Tsou Tribe Triumphant Song

Upon the continuous eighth-note march figure played by the piano, timpani and low strings, the composer develops this grand and intense finale by using several war songs’ motives of Tsou Tribe.

For Eva Concerto for Guitar and String Orchestra RealAudio demo 
World Premiere: October 19, 2004 at the Melina Mercury Cultural Center, with the Athens State Orchestra conducted  by Costis Papazoglou. Guitar Soloist: Eva Fampas

For Eva Concerto for Guitar and String Orchestra was commissioned by and dedicated to the renowned Greek guitar soloist Eva Fampas. The first performance was given by Eva Fampas on guitar and the Athens State Orchestra conducted by Costis Papazoglou at the Melina Mercury, Athens Cultural Center, on October 19, 2004. 

                       This concerto consists of three movements and they are linked together by a germinal motivic cell E-A-F-E which is derived from the soloist’s name “EvA  Fampas.”  Both the first and third movements are bipartite and opened with a virtuosic cadenza which can be treated like an improvisation in ancient Eastern folkloric style with free, but not arbitrary, manner recalling ritual chant. These two “sacred” and spiritual cadenzas are followed by “secular” sections with graceful melodies and lively rhythms. The nocturnal second movement is indeed a contemplative interlude. The solo part is almost continuous, requires a formidable technique, and encompasses a wide variety of clearly defined moods. Although this concerto is rooted in the native Chinese cultures, the composer does not attempt to transfer the Chinese traditional plucked-string instruments such as Pipa’s and Ruan’s techniques and sonorities to the guitar, but rather keeps the modern guitar’s nuance, colour, and idiomatic technical styles. For Eva is a synthesis of Eastern and Western cultures; however, such synthesis is built upon Chinese folk music language to expand the technical and musical horizons of modern guitar. Instead of creating musical tension by letting two cultural forces struggle with one another, the composer strives for the beauty of their co-existence in harmony.
Taiwan Panorama for Orchestra RealAudio demo 
Concerto for Timpani and String Orchestra RealAudio demo 
Under the Red Eaves  for Orchestra To play its RealAudio demo, click the right button
World Premiere: May 14, 1997 at the Shanghai Concert Hall. Shanghai Symphony Orchestra conducted  by Yousheng Lin
Music, like the complex universe, is a well-coordinated whole. The beauty of myriad things lies in their movements of change caused by the systematic yin-yang interaction, not in things in their state of being. A masterpiece should be created in accordance with the Law of Nature and be able to reproduce the complex universe in miniature by reflecting the interacting flow of yang and yin through space or time. To further elaborated these yin-yang musical concepts, I invented the I-Ching Compositional System (ICCS) based upon the Western set theory and prolongational theory in 1995. Completed in 1996 and world premiered by the Shanghai Symphony Orchestra,  Under the Red Eaves is one of the most important musical outputs after the invention of ICCS. Expressed at the outset of the composition, two yang set classes 3-3 (014) and 4-9 (0167) represented by the strings, brasses, and metal percussion instruments; and two yin set classes, 3-7 (027) and 4-23 (0257) represented by woodwinds and wooden percussion instruments, served as the yin-yang primordial musical cells. The procedure of their further interaction and development throughout the piece is guides by my own musical explanation of the orderly sequence of the sixty-four hexagrams in I-Ching.
Festive Celebration for Orchestra RealAudio demo 
World Premiere: December 8, 1993 at the National Concert Hall, Taipei.   Taipei Municipal Symphony Orchestra conducted by Lien-chang Kuo
Festive Celebration  was originally written for nine percussionists.  It was revised and orchestrated for wind orchestra in 1992 and for symphony orchestra in 1993. This piece consists of four distinctive continuous sections. The first is a solemn introduction followed by a majestic fanfare. The second is a ritual canon with accumulation of layers and instruments; its tempo is slow and harmonic vocabulary is pentatonic. The third is a vigorous ceremonial dance and is followed by the fourth section, a cadenza for the percussion section based upon traditional Chinese drumming patterns. Festive Celebration (wind orchestra version) was included in the 1995 and 1997 WASBE concert CD sets. 
Swelling Cloud, Drifting Mist Upon Rivers Xiao Xiang for Solo Cello and Orchestra To play its RealAudio demo, click the right button
World Premiere: September 20, 1998 at the National Concert Hall, Taipei.  National Symphony Orchestra conducted by I-ming Hwang.  Cello soloist: Yi-ching Cheng
Completed in Taipei, April 1998, Swelling Cloud, Drifting Mist upon River Xiao and Xiang is based on melodic fragments taken out from famous Chinese Qin classics of the same title. Having been introduced at the outset of the composition, the melodic fragments gradually unfold independently into various cantinas on different planes by means of integration of myriad things in the phenomenal world. The contrast between solid and void timbres, the main characteristic of Qin playing, is preserved in the orchestration. This composition is the universe in miniature: music is the microcosm, Nature the macrocosm. Like the Qin original, this orchestral counterpart is the meditation about nature and man, life and death, success and failure.
Symphonie Concertante for Orchestra in 5 Groups Po Zhen Yue not yet publicly performed
Based on the performance practice of the court music in Tang Dynasty, the orchestra is divided into 5 groups.  The 1st and the 2nd are made up of string instruments and percussion and placed at the left and right sides of the stage.  The 3rd consists of  wind instruments and percussion and is placed at the rear of the stage.  The 4th consists of only brass instruments and is placed at the balcony. The 5th group consists of 5 soloists, namely Eb clarinet, English horn, tenor saxophone, trombone, and percussion, placed in the middle of the stage.
In a Faraway Garden II  for Solo Violin and Orchestra RealAudio demo 
Based on a mountain song A Little Stream from the Yunnan Province of Mainland China, In A Faraway Garden II is a concertante for violin and orchestra.  The rhapsodic and improvisatory characteristics of the folklore original are preserved in the solo violin line.  The first four notes of the original mountain song A-C-D-E, stated by the orchestra at the outset, served as the germinal motivic cell and fragments of the original mountain song melody are scattered over the span of the entire work.  Although the solo part is not virtuosic as in the traditional concerto, its reflectiveness establishes the fundamental tone of an exquisite soundscape.  The orchestration is light and transparent, with little risk of the solo violin's part being overpowered by the orchestral accompaniment.  
Concertino for Piano and Orchestra To play its RealAudio demo, click the right button
World Premiere: December 20, 1999 at the Chiang Kai-Shek Cultural Center,  Kao Hsiung.   National Taiwan Symphony Orchestra conducted by Ching-hsiung Chen.  Piano soloist: Cheng Ching
Over the last two  years I have been concentrating on writing single-movement works for solo instrument and orchestra.  These works can be seen as my reassessment of certain aspects of the European concerto tradition and my personal response to traditional Chinese music aesthetics.  Concertino for Piano and Orchestra was completed in May 1999.  This 12-minute work is written in one-movement form and comprised of two sections separated by a cadenza.  I try to explore a new and subtle relationships in timbre between the soloist and the orchestra in the meditative first section. In the second half, the harsh, hammering aspects of Ligeti's piano style predominate in a quest for violent sonorities and constant propelling energy. In this concertino, the thematic materials presents a  clearly recognizable profile and modes of expression are  akin to romantic models.