Franz Liszt's Transcendental Etudes are widely regarded as some of the most challenging and inspiring works in the piano repertoire. Composed during the 1830s and revised in the 1850s, these etudes were designed not only to showcase technical virtuosity but also to push the boundaries of pianistic expression. Out of the 12 etudes, I found No. 10 in F minor, often referred to as the "Appassionata," is a remarkable piece that embodies both technical brilliance and emotional depth. It stands as one of the most passionate and stirring compositions within the set of Transcendental Etudes. Liszt masterfully captures intense emotions through its dramatic melodies, powerful chords, and sweeping arpeggios. The piece alternates between moments of fiery passion and moments of tender introspection, allowing the pianist to convey a wide range of emotions. No. 10 also presents significant technical challenges. Its demanding passages include rapid octave runs, virtuosic arpeggios, and intricate fingerings that require precision, speed, and control. Music is a powerful artistic language that connects people beyond age, culture and background. Learning this etude is such an adventurous, inspiring and fulfilling musical experience for me. I hope that through my interpretation and performing of this piece, I could showcase my technical prowess, convey its passionate emotions, and leave a profound impact on both myself and my audiences.

Capricho Arabe was written in 1892 by Francisco Tarrega, who combined Spanish music with Arabian music. Playing Capricho Arabe on the ukulele means combining Spanish, Arabian, and Hawaiian influences, all in one piece.

Written by the iconic Dizzy Gillespie, “A Night in Tunisia” is a vibrant composition that draws influences from Afro-Cuban rhythms and bebop brilliance. The tune starts off with intricate harmonies and rhythms, taking the listeners on a nostalgic journey though timeless melodies.

Schulhoff composed this piece in 1923. Each movement is inspired by a folk tune. We performed this piece 100 years since it was composed, in 2023. Performed at Caroline H. Hulme Concert Hall at SFCM.

Over the last few years, we've performed Northern Lights three times in my children's chorus, and every time, I was assigned a different voice part. Because I love how nicely the different parts fit together in this particular song, I decided to record this song but with all the parts performed by me.

Carl Vine’s Five Bagatelles were written in 1994. The fifth bagatelle (not included in this performance), was written when Vine was asked by the Australian National AIDS Trust to play at their 1994 fund-raising dinner.

I chose to perform Agustín Barrio’s Julia Florida. The piece has classic harmonics and traverses through different keys seamlessly. I learned that Barrios was suffering from health and financial issues when he wrote Julia Florida.

Tsugaru Jonkara Bushi is a traditional Japanese composition meant to be performed on the shamisen, a traditional Japanese lute. Often it begins with a section known as choushi awase, in which the performer strikes the open strings to not only tune but also to indicate the start of a performance. The rest of the performance then follows, each divided into small sections that carry different levels of musical significance.

Felicidade, a bossa nova classic composed by Antonio Carlos Jobim, is an energetic, rhythmic piece that represents many aspects of the Brazilian spirit.

The Britten Cello Suites were dedicated to Mstislav Rostropovich, one of my favorite cellists, whose recording of this I have listened to countless of times.

Although many concertos focus on virtuosity--seeking to display an artist's technical prowess--one of Barber's concerto's beautiful aspects is how it focuses on emotion and expression. The second movement is a religious experience of sorts--pushing artists to find a way to transfer the feeling of an otherworldly experience for the listener.

This is a song from Songs for a New World, a musical by Jason Robert Brown. When I first heard this song, I instantly knew I had to perform it myself. That was a year ago now. The story of the song is more up for interpretation than a traditional musical since it isn’t connected to a larger plot because the musical is in the form of a musical review/song cycle.

This is a cover of Kenny Barron's Magic Dance. The piece holds a special place in my heart, as Barron's playing inspires me to reach new expressive heights. I've had the pleasure of learning from Barron at the Stanford Jazz Institute, and his instruction has instilled in me the importance of humility and connection that is at the core of jazz.

Delta Sleep has been one of my favorite bands and a huge inspiration for my drumming the last 1-2 years. I think these two songs (Lake Sprinkle Sprankle and After Dark) are exceptionally challenging with frequent time signature changes, intricate hi-hat work with interesting choices for grooves.

This is one of my favorite classical songs that I've sung. When I was first assigned this piece, I fell in love with it and immediately learned all the notes. However, I also ran into challenges during my process of honing the piece.

This is an excerpt from Dvorak's cello concerto in B minor, first movement.

This is an English acoustic guitar cover of Shoujo Rei by MikitoP. Despite the original piece being Japanese and us only understanding and speaking English, my partner and myself were both moved by its lyrics and message through reading translations. We wanted to express its story in a way that's both reminiscent to the original, while also being unique in its own way.

"Georgia on My Mind" is more than a regional longing; it is a profound exploration of connection and yearning. The lyrics convey a universal theme of missing a place that represents home and belonging, even if Georgia may not be my literal origin. When singing this song, I think about the yearning of my dreams and future.

Un dia de noviembre by Leo Brouwer was composed for a movie by the same name. His philosophy composing this piece was to reflect the emotions and not to imitate the character.

I had been learning the piano for 4 and half years by the time of the show and posted my 80 artwork videos on YouTube.