Three Pieces for Sheng and Bassoon brings together two instruments from very different traditions, inviting them into conversation across three short movements. Though an unlikely pairing, the sheng and bassoon share several similarities: both have remarkable agility across their respective ranges, both can act as accompaniment if needed, and both can carry melodies of varying dynamics and moods. The work’s central aim is to weave these timbres together, allowing them to meet and blend without losing the individual characteristics of each instrument. Over the course of the piece, their voices draw closer and the texture becomes more unified. The final movement, though starting out in a two-part contrapuntal setting inspired by movement two, eventually introduces a four-voice chorale, completing the synthesis.

Hybrid Sonority for Piano Solo (US Premiere)
This suite begins with material generated by MusicFX, a music creation AI developed by Google. By entering keywords such as “Piano Solo” and “Atonality,” a number of fragments were produced, one of which served as the starting point of the piece. Each movement is titled after its motif, while tempo, dynamics, and expression markings are applied to reflect the atmosphere of the music. The work develops and expands upon the motifs to fully capture their musical essence. I. Lost Memories
Based on the very first measure generated by MusicFX, this movement expresses the sense of solitude evoked by the given motif. II. Mischievous Eyes
This movement originates from two beats of material generated in the same way. The motif features an augmented third (and seventh) chord, which is expanded through chromaticism and applied throughout the piece. As the title suggests, the music focuses on playful and mischievous gestures. III. Unexpected Agony
Derived from three beats of generated material, this movement embodies the pain, loneliness, and regret experienced during the preparation of the recital.

Wreck by Kimberly Osberg was written in 2025, after a discussion her and I had together in 2024. We started off talking about rock music, which led to Vikings, which then led to the idea of shipwrecks. Thus the idea for Wreck was born. It starts off as a slow buildup to the storm, then the ship gets violently rocked around during an intense storm. Eventually, the storm prevails and the ship is gone. What’s left is the aftermath of the disaster, leading to mournful melodies, wails, and a final reminder that the storm never really goes away after a shipwreck.

"Marion Bauer (1882–1955) was an American composer, teacher, and writer who played an important role in supporting new music in the early twentieth century. Her Six Preludes, Op. 15, published in 1922, show her unique voice as a composer who was deeply influenced by European Impressionism while searching for a modern American sound.
Although each prelude is quite short, the set offers many contrasts in mood and color. The first prelude, written for the left hand alone, already shows Bauer’s creativity in texture and sonority. Throughout the set, she explores gentle harmonic shifts, modal colors, and subtle changes of atmosphere. In the fifth prelude in B minor, for example, the floating harmonies and shimmering tone remind listeners of Debussy or Ravel, yet Bauer’s expression feels more personal and introspective.
These preludes stand between Romantic lyricism and early modernist clarity. Bauer’s music avoids extreme dissonance but reflects a sensitive awareness of new harmonic possibilities. Through this work, she builds a bridge between European influences and the emerging American musical identity of her time."

Vítězslava Kaprálová was a prolific Czech composer and conductor of the 20th century. Although she had a short life, she wrote an extensive amount of music. The Dubnová Preludia Op.13, also known as April preludes, is a set of four short pieces written for the piano. It is Kaprálová’s most famous work. The Dubnová Preludia was composed in 1937 and dedicated to pianist, Rudolf Firkušný. The Dubnová Preludia explores Impressionistic sonorities as well as incorporating Czech folk lore. It showcases Kaprálová’s remarkable ability to compose musical works that are extremely contrasting in character. Some of the preludes are bold and fiery while others are serene and sensitive. Only the third prelude (Andante semplice) and the fourth prelude (Vivo) will be presented in this performance. The third prelude (Andante semplice) opens with a calm and sweet folk like tune. This folk like tune is then heard throughout the piece in conversation with the other voices. The fourth prelude (Vivo) is like a lively, playful dance, which is then expanded into a fiery and bold middle section. As the prelude progresses, it intensifies and is filled with rich sonorities. The fourth prelude ends with a bang.