Wen-Yeh Chiang, also known by his Japanese name Bunya Koh, rose to prominence in the 1930s by integrating elements of traditional Chinese music into modern classical compositions. Trained in Japan, Chiang returned to themes inspired by his homeland of Taiwan throughout his career, from the award-winning orchestral piece Formosan Dance that made his name to the nostalgic suite The Song of Ali Mountain, which capped his career. His fascination with the possibilities of religious music led to Confucian Temple Rites, a reimagining of ancient sacred practices as a monumental symphonic work, as well as settings of psalms and Mass parts in the vernacular. Chiang’s compositions for solo piano similarly drew on his affinity for Taiwan and his cultural heritage.