The Consort of Twelve, 2025; Jersey Chamber Orchestra, 2025; PRISMA Festival, 2022–23, Houston Symphony Chorus, 2022–23; Taipei Music Academy and Festival, 2021; San Francisco Symphony Youth Orchestra, 2019–21; Curtis Summerfest, 2019
The summer after my sophomore year of high school, I was at my grandparents’ house in Rhode Island. As I sat in the comfortable blanket of humidity on their front porch, I opened Spotify and searched “orchestral music”. I clicked on Ravel’s Daphnis et Chloé Suite No. 2 at random, and with my headphones on I started listening. I was instantly amazed at what I heard. The flute line flowing like water, the basses undulating like a shadow. And then the strings, starting softly but quickly climbing and climbing into the most beautiful climax I’d ever heard, and the bells twinkling like the excitement I felt in my heart. I was in awe that these first 40 seconds of music had already taken me into a world so different from the physical one I was in. That the tapestry of notes, harmonies, and rhythms over time had knit the most exquisite imagery. I had already been playing bassoon for a few years at this point, but this is the moment that I knew I wanted to devote my life to classical music. I wanted to explore this beauty and be a part of creating it.
A couple of classmates from my undergrad and a good friend from a summer festival were in TŌN, so I checked it out and realized what an amazing opportunity it was!
I’m not entirely sure how to achieve this, but I truly hope that the people of my generation will be able to experience the emotional breadth and beauty of this wonderful music we play, and not be alienated by the pretentiousness or classism that can exist within “high art” spaces. And in tandem, I hope we can eliminate said pretentiousness and classism in our concerts, and discover ways to allow people to listen uninhibited.
When I graduated from the San Francisco Conservatory of Music, I applied to a lot of masters programs, but only got into one school that I ultimately didn’t want to go to. I was devastated and felt so behind. I almost wanted to quit. But I took a gap year and I kept practicing, making reeds, and taking lessons. The next year, I was admitted to many of the schools I applied to, including the Royal Academy of Music in London, a conservatory I didn’t even think to apply to the year prior! This gave me the amazing opportunity to study in another country, and I’m so glad I put in the work to get there.
On my last-ever concert with my high school orchestra, during our Russia tour, I was so worked up that I forgot to bring my reeds onstage! I ran backstage right as the oboist was giving the tuning A, and walked back onstage right before my conductor did.
I think I’d love to be a zookeeper, or start a farm animal sanctuary or cat rescue! I just adore animals and want to make sure they’re safe and happy.
The bassoon has 27 keys, 13 of which are controlled only by the thumbs!
Just how exaggerated we have to be in our expression to have it come across to the audience, especially in a large hall. I’ve had teachers describe it like wearing stage makeup! It may sound crazy up close, but it allows people all around the hall to hear the expression in all its detail.
Playing an instrument is a very difficult craft to master, and classical music is an art which requires a lifetime of exploration. So don’t be too hard on yourself when you don’t have it all figured out. Keep going, and enjoy the journey!