Sleigh Ride (1947) composed by Leroy Anderson (1908 - 1975) Conductor: Aidan Chun The Chapman Orchestra Performed December 6, 2025 at Musco Center for the Arts
Aloha Hawai’i Ku’u Kulāiwi (2026) composed by Aidan Chun (b. 2004)
Conductor: Aidan Chun
The Chapman Wind Symphony
Premiered March 7th, 2026 at Musco Center for the Arts in Orange, California
Composed for Wind Band additionally with choir or solo soprano Handful of percussion instruments are intended to be performed with authentic Hawaiian and Pacific Islander instruments, but provided are alternative world instruments to emulate the sound and timbre if authentic instruments are not available to be used. Clarinet soloist: Matthew Chandler Soprano soloist: Grace Huynh
Program Notes: Aloha Hawaiʻi Ku’u Kulāiwi (2026) is a work trying to not only emulate, but also imagine a symphonic sound around the islands and culture of Hawai‘i. As someone who grew up in Mililani, HI, I’d always be commuting into town, whether it was for school, work, obligations, or friends. Every commute is an appreciation for the scenery and energy that the island and community around provide. Through extensive research for this piece, creating an authentic symphonic sound became increasingly difficult. Hawai‘i’s musical world is a background of vocal music, string instruments (such as the ukulele), and percussive instruments, with very minimal use of wind instruments. The attempt at pushing forward this piece into the repertoire is personally challenging for the sole reason of having very few accessible modern pieces about Hawai‘i, written by native Hawaiians. It's been frightening throughout my study, trying to hold a traditional sound and feel with respect to the music that’s come before. Aloha Hawai’i Ku’u Kulāiwi, translates to Love for Hawai’i, My Homeland. Kulāiwi literally means “plain of bones.” This single word clearly illuminates our people’s perception of our native land, this place we call home. In the mind and heart of the Hawaiian, Hawai‘i is not just where we were born and raised. Nor is it simply a place of residence. When we understand Hawai‘i as our kulāiwi, it becomes so much more than that. It is the land in which our ancestors have been buried, and where our iwi may one day return to join theirs in the earth that sustains future generations. Therefore, to love our land is to love our ancestors Aloha Hawaiʻi Ku’u Kulāiwi tries to capture my own feelings of being away from home and separated from my family, friends, and partner. It starts with the constant ocean that can be seen miles and miles onwards between Hawai‘i and the mainland. Then the memory of home hits, and the percussion that drives forward an energy of the ʻuhane hele (wandering spirit). All the vibrant colors and good vibes of home are reminisced, but then reality hits, and I am not where I want to be. Underlining oli (chants) are trying to draw me back, telling me to come back home, and soon. Slowly, I get further and further away from home, and/but then a song emerges and grabs me back. As the music of my home is being unraveled, I draw closer and closer till I’m almost there. The driving rhythms from the beginning emerge again, and I feel like I’ve returned. Though I may not be physically home, it’s my kuleana (responsibility) to keep pushing forward and never forget where my home is.
Kintsugi (金継ぎ) - for String Quartet - composed by Aidan Chun (2023)
Kintsugi (金継ぎ), or golden joinery, is the art form in Japanese culture where one repairs broken or shattered pottery with urushi lacquer mixed with gold, silver, or platinum dust. The result is a seemingly brand-new item. As simple as that may be, there’s a deeper meaning to it. Kintsugi is not only an art form for repairing pottery but also a way of life; a philosophy. Wabi-sabi is a philosophy rooted in Japanese culture. To view transience, imperfection, incompleteness as a beautiful aesthetic in nature. To cherish what we would call “flaws”, as sort of a “natural beauty”. This piece goes through the journey of life. Bringing in anguish and pain and stress with relief and resolution soon to follow behind. A vase breaking doesn’t mean the vase has no more use. With time and a careful hand, it can be remade back into a vase while showing its’ once cracks and flaws. Now seen as beauty, making it even more unique and special.