Memory revises me draws its title from Li-Young Lee's Furious Versions and is a contemplation on exile and longing, etched with a memory that does not preserve the past, but rewrites the self. Inspired by Huynh's time in Rome while witnessing from a distance the United States' political and cultural fracturing, the work reflects a strange, quiet devastation: the yearning for home and the relief of estrangement. Each movement takes a literary source as its catalyst. The first, ut veniant patriae, veniant oblivia vestri, borrows from Ovid's Tristia, and examines the physical, geographic nature of exile and the impossibility of forgetting. The second, I'm sure | in another dimension, draws from Frank Ocean's "White Ferrari", exploring the temporal space, fragmentation, and possibility of memory that inhabits our most private, interior worlds. Finally, a history of rain returns to Lee, treating memory as accumulated, inherited, and sedimentary matter. 

Oswald Huỳnh is a Vietnamese American composer whose music navigates Vietnamese aesthetics and tradition, language and translation, and the relationship between heritage and identity. His work is characterized by intricate contrasts of timbre and interweaving textures that are rooted in narrative, culture, and memory. Huỳnh has collaborated with the St. Louis Symphony Orchestra, Minnesota Orchestra, Seattle Symphony, Oregon Symphony, Louisville Orchestra, Alarm Will Sound, Akropolis Reed Quintet, Tacet(i) Ensemble, Music From Copland House, and more. Other accolades include the CAG Louis and Susan Meisel Prize, Luigi Nono International Composition Prize, and Musiqa Emerging Composer Commission. Huỳnh is represented by Concert Artists Guild. He is laureate of a 2026 Guggenheim Fellowship and the 2025/26 Frederic A Juilliard | Walter Damrosch Rome Prize in Musical Composition.