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With no reeds, no mouthpieces, no strings, no sticks, the variety of sounds they were capable of making was virtually unlimited.

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In addition, he studied flute, violin, and oboe, mostly for the sake of composition.

He started composing as a child, and by the time he reached high school he had studied composition at Interlochen and also had private composition instruction.

is an American composer, conductor, and music administrator.

A prolific and eclectic composer, he is best known nationally as the composer of innovative operas, including his a cappella adaptation of Shakespeare's A Midsummer Night's Dream (2011).

borrows snatches of Puccini tunes and weaves them into his own conservative-eclectic idiom, tossing in bits of American pop ... The vocal writing is expert, the orchestration light enough to allow the singers to project the text clearly.

Buoso is charming and unpretentious ...." Opera News noted that Ching uses "a more modern musical mode, yet avoiding excessive atonality.

The score subtly introduces brief tongue-in-cheek quotations from other works, ranging from Mozart to Sondheim, plus one unmistakable interjection of Shostakovich." Ching also supplied his own libretto to his one-act opera Faith, based on the short story of the same title by award-winning science-fiction author James Patrick Kelly.

The opera follows the story of the titular character, a divorced and depressed woman who meets a man via a personal ad, discovers he talks to plants, and begins to fall in love again.

It premiered in June 1985 at Houston Grand Opera's Texas Opera Theater, and subsequent venues included South Street Theater in New York City in October 1985.

His fourth opera, Cue 67, a one-act 35-minute contemporary murder-mystery ghost story set in a theater, was commissioned and premiered at Virginia Opera in 1992, paired in a double bill with Gian Carlo Menotti's The Medium.s final chords and carries the plot forward by following the sinister dealings of Buoso Donati's family, who apparently had poisoned Buoso, and the continued machinations of Schicchi, who tries to exploit this growing suspicion on his part.

Many people love Porgy, but nobody ever tries to write an opera like it.

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