SECOND STAGE: Lihao Guo, piano | Portrait of Rhythm | Graduating Student Project

Wolfgang Amadeus Mozart (1756–1791)
Piano Sonata No. 8 in A minor, K. 310 (1778)

Composed in Paris during a difficult period in Mozart’s life—following the death of his mother—this sonata stands as one of his few works in a minor key. The opening Allegro maestoso is dramatic and turbulent, reflecting the composer’s personal grief. The Andante cantabile offers a lyrical respite, while the fiery Presto finale returns to the unsettled intensity of the first movement. It is a rare glimpse into Mozart’s emotional depth beyond his classical elegance.

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Frédéric Chopin (1810–1849)
Waltz No. 1 in E-flat major, Op. 18 — “Grande valse brillante” (1831)

This was Chopin’s first published waltz, and it remains one of his most dazzling. Written in the brilliant style (style brillant), it captures the glittering atmosphere of the Parisian salon. The piece is a whirlwind of virtuosic passagework, elegant melodies, and rhythmic vitality—a true portrait of dance transformed into pure poetry.

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Frédéric Chopin (1810–1849)
Andante spianato et Grande polonaise brillante in E-flat major, Op. 22 (1830–1835)

The title tells the story: “spianato” means smooth and level. The opening Andante is a serene, nocturne-like introduction, evoking a calm night scene. This gives way to the Grande polonaise, a magnificent and heroic dance. With its triumphant fanfares, brilliant runs, and nationalistic spirit, the piece embodies the pride and grandeur of Poland, Chopin’s homeland.

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Maurice Ravel (1875–1937)
La valse, M. 72 (1919–1920)

Originally conceived as a choreographic poem for the Ballets Russes, La valse is Ravel’s haunting tribute to the Viennese waltz. The piece begins softly, with fragments of waltz rhythms emerging from a murky haze. Gradually, the music builds into a majestic, swirling dance—only to disintegrate into chaos and distortion. It has been interpreted as a metaphor for the collapse of European society after World War I, a magnificent dream turning into a nightmare.

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György Kurtág (1926–)
Selections from Játékok (1973–present)

Játékok means “Games” in Hungarian. This ongoing collection of miniatures represents Kurtág’s lifelong exploration of musical gestures in their purest form. These short pieces are not virtuosic showpieces but intimate, often fragmentary sound worlds—whispers, exclamations, silences, and echoes. They invite both performer and listener to rediscover the childlike joy of playing, while simultaneously expressing profound emotional depth.

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Nikolai Kapustin (1937–2020)
Variations, Op. 41 (year unknown)

Kapustin was a unique voice in 20th-century piano music, classically trained but deeply immersed in jazz. His Variations, Op. 41 perfectly embody this fusion. A clear theme is presented, followed by a series of dazzling transformations—each variation exploring a different jazz idiom: swing, blues, boogie-woogie, and improvisatory fantasy. The result is a brilliant synthesis where the rigor of classical form meets the freedom of jazz spontaneity.

I am an artist dedicated to music education and performance, always adhering to the teaching philosophy of unlimited innovation within defined boundaries. I firmly believe that music is not only a display of technical skill but also a deep expression of emotions and inner communication. My performance style emphasizes “speaking through music,” focusing on conveying thoughts and emotions through sound, allowing each melody to tell a touching story. My professional goal is to use music as a bridge to connect people, transmitting the beauty of the world and emotional resonance. I aim to tap into the inner beauty of each person through music, helping every listener find their own unique sense of beauty within the melodies. Whether in teaching or performance, I strive to make art a force that touches the soul, encouraging everyone to release, discover, and elevate themselves in the world of music.