The epilogue of 'The Walls' is titled 'No More Walls' and serves as a poignant conclusion to the piece, addressing the theme of separation and barriers.

The music of 'The Walls' allows for emotional expression and interpretation, creating a space for listeners to engage with the themes of division and unity without explicit political statements.

The fourth movement, 'West Bank Wall', features an evocative Arabic theme and incorporates Jewish melodies, highlighting the complex cultural narratives surrounding the wall.

Sergio Assad's third movement, 'Berlin Wall', combines twelve-tone composition with Beethoven's 'Ode to Joy', reflecting on the historical significance of the Berlin Wall's fall.

During rehearsals, one orchestra member shared his emotional connection to the piece, revealing that he was born in Nogales, Mexico, on the other side of a wall, and expressed how the music moved him to tears.

I commissioned Sergio Assad to write a piece titled 'The Walls' for solo guitar and guitar orchestra, which portrays four historic barriers: the Great Wall of China, Hadrian's Wall, the Berlin Wall, and the Israeli West Bank Barrier.

The first movement of 'The Walls' represents the Great Wall of China, while the second movement depicts Hadrian's Wall, the third movement illustrates the Berlin Wall, and the fourth movement focuses on the West Bank Wall in Jerusalem.

In the second movement titled 'Hadrian's Wall', Sergio Assad evokes the Roman essence with a sound reminiscent of a Ben Hur soundtrack, incorporating elements that imitate bagpipe music.

The climax of the piece features minor seconds that create a sharp and harsh sound, but they are part of a nice chord progression.