The final movement, 'No More Walls', expresses a hopeful message against division, incorporating Mexican folk music and a performance aspect where orchestra members form a human wall.

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

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.

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 intense scrutiny and division surrounding my music highlight a rare moment of unity among people with differing views, which is often overshadowed by societal conflicts.

Music is the universal language that connects us deeply, often evoking emotions that other art forms cannot.

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.

Sergio Assad's composition reflects the role of the artist in expressing feelings about the current international political environment through music, allowing for a nuanced exploration of complex issues without taking a definitive side.