My senior piano recital in Barnes Hall at Cornell University. Special thanks to my piano teachers - Ryan, Xak, Andrew - and for all who supported me these past four years!

Program:

0:00 Welcome
0:38 Coulthard - Preludes for Piano no. 3, 'Quest'
2:37 Rachmaninoff - Prelude in G minor, op. 23, no. 5
6:44 Beethoven - Sonata in C Major, op. 2, no. 3
6:54 I. Allegro con brio
17:10 II. Adagio
23:56 III. Scherzo: Allegro
26:52 IV. Allegro assai
32:30 Kapustin - Prelude no. 16 from '24 Preludes in Jazz Style', op. 53
34:04 Vierne - 'Seul', no. 12 from 12 Préludes, op. 36
37:41 Liszt - Hungarian Rhapsody no. 12 in C-sharp minor
47:35 Liszt - Hungarian Rhapsody no. 15 in A minor 'Rákóczi March'

Program Notes:

Jean Coulthard’s “Quest” is a mysterious prelude that escalates quickly but dissipates even quicker, leaving the listener with little time to process the journey that just occurred before them. Coulthard was one of the most prominent Canadian composers of the 20th century, studying with contemporaries like Béla Bartók, Aaron Copland, and Arnold Schoenberg. She was also from my hometown of Vancouver, Canada, so it’s only fitting that I perform one of her works.

Rachmaninoff’s Prelude in G minor is one of my favourite Rachmaninoff pieces, consisting of an exciting march and a mesmerizing middle section. It’s the first piece I performed at Cornell in my freshman year, so it felt appropriate to bring it back for my senior recital. It’s also super fun to play (especially when I hit all the right notes)!

I learned Beethoven’s Piano Sonata no. 3 a few semesters ago, but never got the chance to perform it due to the pandemic. The sonata is dedicated to Joseph Haydn, and the homage to his teacher is clear throughout, showing off a lot of Haydn’s humour and containing some structural similarities. Overall, the piece is deceptively challenging and complex to play, but as the listener, you can just sit back and enjoy the music.

I was never the biggest fan of jazz, but Kapustin’s jazz-style compositions are starting to change my mind. His Jazz Preludes are written as pairs of preludes in relative keys and follow the circle of fifths. I found no. 16 particularly intriguing due to the quirky, fleeting character and swinging rhythm.

Louis Vierne, a student of César Franck, was blind and primarily an organist. His 12 Preludes are a set of distinct, emotion-evoking works. “Seul,” meaning “alone,” surprised me with its unique harmonies and colours, and is an impressive piece for both the listener and the performer. The ending is a magical experience and a fitting conclusion to the set of preludes.

Liszt’s Hungarian Rhapsodies are some of my favourite pieces to play due to their virtuosity and grandiosity. Most people are familiar with nos. 2 and 6, but I think some of the later ones are underrated works. No. 12 has sections that are intense, lyrical, and full of character. It was given to me by my late piano teacher Donna Fishwick, so it holds a special place in my heart. No. 15 is a unique one in the set, breaking the typical lassan and friska structure, and instead more closely resembles the Hungarian March in Berlioz’s Damnation of Faust, which was based on the same traditional Hungarian tune.

I think these pieces truly encapsulate me as a pianist and provide a good summary of my musical journey at Cornell. I wanted to extend a special thank you to my teachers, Xak Bjerken, Andrew Zhou, and Ryan McCullough, for their dedication to the craft and for shaping me as a musician. I hope you enjoy the result of their labour!