By: Ali W
In a compelling reflection of contemporary classical music’s evolving landscape, violinist and violist Xiaohui Yan continues to showcase her passion for bringing original compositions to audiences. Her recent performance of Marko Bajzer’s The Sacrifice of Prometheus with the Reno Philharmonic on March 22 and 23 offered a thoughtful interpretation of a complex work, further solidifying her presence in the world of new music.
The weekend performances at Reno’s Pioneer Center for the Performing Arts drew enthusiastic audiences, who experienced a creative exchange between Bajzer’s compositional ideas and Xiaohui’s interpretive approach. The two-night event invited listeners to explore the intricate relationship between composer and performer—one that extends beyond a single concert and into the ongoing evolution of musical expression.
The Sacrifice of Prometheus, part of Bajzer’s broader project From Sea to Shining Sea: A Musical Journey through America’s National Parks, originated during his 2023 artist residency at Great Basin National Park. The piece draws on themes of natural majesty and mythological narrative, creating a sonic experience that requires a blend of technical control and emotional insight from its interpreters.
Xiaohui Yan’s performance on viola brought out emotional dimensions in the score that might have otherwise remained understated. Her interpretation—at times introspective, at times bold—highlighted the expressive range written into Bajzer’s work, allowing audiences to engage with the piece on multiple levels.
“What makes Xiaohui’s playing so impactful is her ability to connect with the emotional essence of new compositions,” remarked one audience member, a longtime supporter of the Reno Philharmonic. “She offers a perspective that makes even complex modern music feel more accessible while staying true to the composer’s intent.”
Xiaohui’s journey as an interpreter of new music includes a series of premieres that have helped shape her unique artistic voice. Her defining moments include transformative appearances at the Sewanee Music Festival in 2021 and the Brevard Music Festival in 2022—festivals known for championing emerging works.
At the Sewanee Music Festival, Xiaohui stood out for her involvement in multiple world premieres that pushed traditional boundaries. By collaborating closely with emerging composers, she earned recognition for her openness to experimentation and strong ensemble communication. Her contributions sent a clear signal to the contemporary music community: here was an artist eager to explore uncharted sonic terrain.
The following year at the Brevard Music Festival, Xiaohui’s growing reputation as a new music specialist gained additional momentum. As part of a forward-thinking chamber ensemble, she was involved in the debut of nearly ten original compositions. This body of work showcased not only her technical command but also her ability to interpret diverse compositional languages. Critics described her playing as reflecting “notable adaptability” and “keen sensitivity to modern musical forms.”
Beyond festivals, Xiaohui has cultivated a career rooted in exploration. As a founding member of several chamber ensembles, she has helped commission and premiere numerous works, creating meaningful platforms for composers with underrepresented voices.
Following the performance of The Sacrifice of Prometheus, Xiaohui and composer Marko Bajzer discussed the interpretation and development of the piece—a dialogue that reflects her collaborative philosophy. Together, they expressed shared enthusiasm for nature-inspired music and discussed the possibility of future creative projects.
Her involvement in such performances continues to reflect why composers and ensembles seek her out: for her thoughtful musicianship, attention to detail, and deep respect for artistic collaboration. These traits have positioned her as a key figure in contemporary classical performance, offering interpretations that add depth and dimension to each new score.
From her early days as principal violist of the University of Kansas Symphony Orchestra to her current work with the Nightingale String Quartet, Xiaohui Yan’s musical path has been marked by exploration and achievement. Her accolades—including first place at the Rocky Mountain String Competition and gold prizes at the Global Genius Music Competition—reflect the strength of her technical foundation and creative insight.
Now pursuing her doctorate at the University of Nevada, Reno, she balances performance with scholarship. As an Editorial Board Member for Arts Studies and Criticism, a journal published by Singapore’s Frontier Publishing House, Xiaohui helps shape critical discussions in the arts. Her dual role as performer and academic enriches her understanding of contemporary works, adding scholarly context to her musical interpretations.
As the founder of the Asian Classical Music Initiative and a jury member for international competitions, Xiaohui has become an advocate for cultural dialogue in classical music. Her work has helped create performance opportunities for underrepresented composers—particularly those of Asian descent—contributing to a more inclusive and dynamic musical landscape.
The March 22–23 concerts with the Reno Philharmonic were more than just a performance—they were part of Xiaohui Yan’s ongoing mission to promote new voices in music. Every premiere she participates in represents a step toward deeper connection between composers and audiences, tradition and experimentation.
With her continued commitment to original compositions and her refined ability to explore their expressive potential, Xiaohui Yan remains a powerful force in the future of classical music—a future built on collaboration, creativity, and a spirit of exploration. As those in attendance at the Reno Philharmonic discovered, that future is being shaped one note at a time.
Published by Joseph T.