Recital
February 14, 2024, 7pm
Eight Pieces for Clarinet, Viola and Piano, Op. 83 No. 5 (1910)
Max Bruch (1838-1920)
V. Rumänische Melodie: Andante
Aleena Zhong, Clarinet
Eireen Lu, Viola
Daniel Shi, Piano
Trio in D Major, Op. 61 (1889)
Heinrich von Herzogenberg (1843-1900)
IV. Allegro
Jesse Hu, Oboe
Karlin Rhees, French Horn
Joseph Yoo, Piano
Terzetto in C Major, Op. 74 (1887)
Antonin Dvorak (1841-1904)
I. Introduzione: Allegro ma non troppo
IV. Tema con variazioni
Nicole Lin, Violin
Angela Chen, Violin
Sean Yeh, Viola
Ex Machina (2016)
Marc Mellits (1966-
II. Flowing
I. Let the funk out
Eddie Kim, Soprano Saxophone
Aydin Miller, Alto Saxophone
Albus Shih, Tenor Saxophone
Nathan Kwan, Baritone Saxophone
Music Hall Suite (1964)
Joseph Horowitz (1926-2022)
I. Soubrette Song
II. Trick-Cyclists
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
String Quartet No. 2 (1881)
Alexander Borodin (1833-1887)
I. Allegro Moderato
Joel Kim, Violin
Nyansu Chen, Violin
Ariana Hung, Viola
Angelina Wu, Cello
Rhapsody in Blue (1924) & Prelude I (1926)
George Gershwin (1898-1937)
arr. Ioan Dobrinescu
Ian Kim, Clarinet
Rick Chi, Clarinet
Aleena Zhong, Clarinet
Dylan Rosen, Bass Clarinet
Quartet No. 8 in c minor, Op. 110 (1960)
Dmitri Shostakovich (1906-1975)
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo
Joshua Kim, Violin
Angela Chen, Violin
Vito Samaniego, Viola
Emily Ren, Cello
Max Bruch (1838-1920)
V. Rumänische Melodie: Andante
Aleena Zhong, Clarinet
Eireen Lu, Viola
Daniel Shi, Piano
Trio in D Major, Op. 61 (1889)
Heinrich von Herzogenberg (1843-1900)
IV. Allegro
Jesse Hu, Oboe
Karlin Rhees, French Horn
Joseph Yoo, Piano
Terzetto in C Major, Op. 74 (1887)
Antonin Dvorak (1841-1904)
I. Introduzione: Allegro ma non troppo
IV. Tema con variazioni
Nicole Lin, Violin
Angela Chen, Violin
Sean Yeh, Viola
Ex Machina (2016)
Marc Mellits (1966-
II. Flowing
I. Let the funk out
Eddie Kim, Soprano Saxophone
Aydin Miller, Alto Saxophone
Albus Shih, Tenor Saxophone
Nathan Kwan, Baritone Saxophone
Music Hall Suite (1964)
Joseph Horowitz (1926-2022)
I. Soubrette Song
II. Trick-Cyclists
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
String Quartet No. 2 (1881)
Alexander Borodin (1833-1887)
I. Allegro Moderato
Joel Kim, Violin
Nyansu Chen, Violin
Ariana Hung, Viola
Angelina Wu, Cello
Rhapsody in Blue (1924) & Prelude I (1926)
George Gershwin (1898-1937)
arr. Ioan Dobrinescu
Ian Kim, Clarinet
Rick Chi, Clarinet
Aleena Zhong, Clarinet
Dylan Rosen, Bass Clarinet
Quartet No. 8 in c minor, Op. 110 (1960)
Dmitri Shostakovich (1906-1975)
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo
Joshua Kim, Violin
Angela Chen, Violin
Vito Samaniego, Viola
Emily Ren, Cello
Program Notes
Displaying impressive talent and musical mastery from a young age, Max Bruch was a German composer whose music falls into the Brahms-embodied category of Romantic Classicism. Blessed with longevity, Bruch composed over two hundred works, including symphonies, operas, choral works, concertos, and chamber music. Of his chamber works, the most well-known is his rich collection of Eight Pieces for Clarinet, Viola, and Piano, which was composed later in his career which were written for his own son, young professional clarinetist Max Felix. Taking inspiration from his son and wielding maturity from his old age, the Eight Pieces are notably intimate with the traditional Romantic style Bruch internalized. Each item weaves together the unique timbres of its unique instrumentation into various melodies, of which seven are in minor keys, with lyrical, mellow voices.
The fifth piece, titled “Rumänische Melodie”, is an Andante in F minor shaped by Romanian folk music. Beginning with the piano’s chords, the viola delivers the melody as if it were telling a story. The soulful line is then passed to the clarinet, and the counterpoints of the viola and piano intertwine like a conversation to illustrate the character of the piece. In unison, they deliver the final melody, which is a reiteration of the first, though it is now a reminiscence of the past.
Eireen Lu, Viola, Class of 2026
Heinrich von Herzogenberg was born in Austria and later lived in Leipzig, Germany. During his lifetime, Herzogenberg befriended Brahms, and the two became close friends. The intimacy of their relationship is reflected in Herzogenberg's Trio in D Major, which has a style similar to Brahms' trio for violin, horn, and piano. Herzogenberg eventually married Elisabeth von Stockhausen, a pupil whom Brahms was quite partial to. Although Herzogenberg was originally educated in subjects such as law and philosophy, he decided to pursue music and became a composer. Throughout his career, Herzogenberg composed various pieces for choir, chamber ensembles, and other instrumentations. After Elisabeth’s passing, Herzogenberg focused his energies on composing church music. The lyrical style of the Romantic period is embodied in Herzogenberg's Trio in D Major. The playful voices engage in an intricate dance, painting a spirited scene. The notes interweave with each other, producing a charming multi-layered song that leaves listeners enthralled. The fourth movement of the trio serves as the grand finale. Allegro opens with a strong musical statement and then transitions into a lively call-and-response between the three musicians. Herzogenberg's trio features a harmonious balance of the three voices, each flitting in and out to create beautiful and seamless melodies. Featuring horn fillips and playful runs throughout the the piece, the piece gives off a carefree, cheerful mood.
Christine Lee, Flute, Class of 2019
Antonin Dvorak’s Terzetto was originally created to be played by Dvorak and two of his friends. This four-movement work, scored for two violins and viola, is a unique chamber piece with an unusual combination of instruments. Dvorak’s decision to omit the traditional cello bass line from the ensemble creates a transparent and intimate dialogue among the instruments. The Terzetto not only serves as an example of Dvorak’s distinctive voice, blending classical forms with folk-like inspirations from his native Czech Republic, but also embodies the musical intimacy shared among the composer and his friends.
The Terzetto opens with a sweet, lyrical theme. Unfolding in an A-B-A form, the first part is charming and dance-like, while the second is energetic, building on the materials introduced in the first part. The final movement, marked by several changes of tempo, brings the Terzetto to a triumphant close, leaving the audience with a sense of thrill and ecstasy.
Angela Chen, Violin, Class of 2025
Ex Machina was composed for a various array of saxophone quartets in 2016 by American composer and musician Marc Mellits. Mellits has an extensive history of music study at a variety of educational institutions such as The Eastman School of Music, The Yale School of Music, and Cornell University. Known throughout mainly the Americas and some parts of Europe, Mellits’ works have acquired a reputation of minimalistic composition. This can be observed in movement one labeled Machine I: Let the Funk Out. To convey his minimalist ideas, Mellits uses repetitive rhythmic patterns and layering to create complexity, groove, and charm throughout the movement. In contrast, he presents Machine II: Flowing for the opposite effect. Utilizing simpler rhythms and slower, scalar movement, he wove a beautifully minimalistic idea with intricate layering, allowing the melody carried by the soprano voice to flow throughout the movement and create a weightless and floating feeling for the listeners.
Aydin Miller, Alto Saxophone, Class of 2026
Joseph Horovitz was an Austrian composer who emigrated to England to enhance his musical studies. There he won the Farrar Composition award for his composition The Emperor’s Clothes. While Joseph studied under Nadia Boulonger in France he learned to imitate the neoclassic manner of Stravinsky which brought emphasis to rhythm and a contrapuntal texture. Proceeding his education he found passion in conducting ballet’s as well as composing ballets. He would have a total of 16 ballets, one of which was Alice in Wonderland for the 1953 London Festival Ballet. He began his teaching career in 1961 at the Royal College of Music. Horovitz had also established himself as a guest conductor for the Tanglewood Festival. It was during this time he composed the Music Hall Suite. This piece in particular was inspired by the aspects of Burlesque theatre which consists of comedic and provocative subjects. “Soubrette Song” portrays the role of a lively and flirtatious girl who is often present in the Burlesque plays. The Soubrette’s voice is bright and contains a sweet timbre. “Trick Cyclists” however turns the lights from rosy red to a wild zesty yellow. Unpredictable entrances and untold dynamics jump out of the music erratically. This piece of twists and turns has since then become a standard in brass quintet repertoire.
Kenneth Gong, Trombone, Class of 2026
Due to his career as a chemist and physician, most of Alexander Borodin’s compositions took years to finish. However, his String Quartet No. 2 in D Major did not take long at all to compose—just a few months during summer vacation. Perhaps it was the inspiration behind the piece, the affection and admiration he felt towards his pianist wife Ekaterina Protopova, that spurred his rapid writing; all four of the movements were dedicated towards their twentieth wedding anniversary. The performed movement, Allegro moderato, features the work of a genius musical mind, one that perfectly depicts the textbook definition of sonata form. An iconic, lyrical theme introduces the piece and, simultaneously, a world filled with tender grace and passionate love. Throughout the work, the theme is repeated by different voices, reflecting various intensities of the same sentiment. Often, dialogue is exchanged as a communication between instruments, a plausible mirror of the sweet relationship between Borodin and his wife. Borodin’s string quartet acts as a perfect medium for the entwinement of everlasting love from husband to wife and the timeless melodies of classical music.
Angelina Wu, Cello, Class of 2025
George Gershwin was an early 20th century American composer and pianist from Brooklyn, New York, and began his musical career at a young age. Gershwin's early exposure to the melting pot of cultures in New York City, combined with his innate musical talent, heavily influenced his unique composing style. Gershwin’s experiences in American music such as jazz, blues, and Broadway tunes, providing diverse rhythms, melodies, and harmonies influenced him, as he incorporated these elements into his own compositions.
Gershwin’s most iconic work is “Rhapsody in Blue”, exemplifies his style unique of combining themes of European and American music. Characterized by its syncopated rhythms and improvisation-inspired passages, the piece reflects the dynamic and fast-paced nature of American life. Some other famous pieces by Gershwin include "An American in Paris," "Porgy and Bess," "Summertime," "I Got Rhythm," and "Three Preludes." He had originally planned to write 24 preludes, inspired by Bach's two sets of Well-Tempered Claviers, but eventually narrowed it down to seven, then five, and finally three. These preludes hold the distinction of being the only concert works for solo piano published during Gershwin's lifetime. More importantly, they showcase Gershwin's versatility as a composer, as he blended classical, jazz, and popular music genres to create masterpieces that continue to captivate audiences around the world. Tonight, you'll be hearing the 1st prelude, along with the opening excerpt from the Rhapsody in Blue arranged for clarinet quartet.
Ian Kim, Clarinet, Class of 2024
Dmitri Shostakovich's String Quartet No. 8 is a poignant blend of haunting melodies, reflective of the struggles during the period. The piece was composed over three days in 1960 in Dresden, a German city whose destruction was said to have “inspired” the music. Though the piece is inscribed “In memory of victims of fascism and war,” there is much ambiguity in the true message of the work. The quartet may be viewed as an outcry against totalitarianism at large, or perhaps as a disguised protest against the Soviet state. Another interpretation lies in the personal references throughout the piece, hinting that it might indeed be a reflection of Shostakovich's struggles against Stalinist totalitarianism. The quartet consists of five continuous movements that each incorporate the four-note DSCH motif (D, E-flat, C, B) constructed from an abbreviation of the composer’s name.
The elegiac atmosphere established in the initial movement is abruptly disrupted by the subsequent rapid and intense second movement from which various iterations of the DSCH motif surface. The third movement is a bitter, chilling waltz, resembling a dance of skeletons, followed by the fourth movement, which begins with dissonant chords reminiscent of gunshots or suggesting the ominous knock of the KGB at Shostakovich’s residence. The work concludes with a numb fugal elegy. The intense themes woven throughout the quartet express profound suffering, and the composition coincided with a period of deep despair in the composer’s life, leading some to interpret the piece as potentially intended to serve as a suicide note. Regardless of the interpretation, the music is a concentrated expression of raw emotion, delivering a profound experience.
Emily Ren, Cello, Class of 2024
The fifth piece, titled “Rumänische Melodie”, is an Andante in F minor shaped by Romanian folk music. Beginning with the piano’s chords, the viola delivers the melody as if it were telling a story. The soulful line is then passed to the clarinet, and the counterpoints of the viola and piano intertwine like a conversation to illustrate the character of the piece. In unison, they deliver the final melody, which is a reiteration of the first, though it is now a reminiscence of the past.
Eireen Lu, Viola, Class of 2026
Heinrich von Herzogenberg was born in Austria and later lived in Leipzig, Germany. During his lifetime, Herzogenberg befriended Brahms, and the two became close friends. The intimacy of their relationship is reflected in Herzogenberg's Trio in D Major, which has a style similar to Brahms' trio for violin, horn, and piano. Herzogenberg eventually married Elisabeth von Stockhausen, a pupil whom Brahms was quite partial to. Although Herzogenberg was originally educated in subjects such as law and philosophy, he decided to pursue music and became a composer. Throughout his career, Herzogenberg composed various pieces for choir, chamber ensembles, and other instrumentations. After Elisabeth’s passing, Herzogenberg focused his energies on composing church music. The lyrical style of the Romantic period is embodied in Herzogenberg's Trio in D Major. The playful voices engage in an intricate dance, painting a spirited scene. The notes interweave with each other, producing a charming multi-layered song that leaves listeners enthralled. The fourth movement of the trio serves as the grand finale. Allegro opens with a strong musical statement and then transitions into a lively call-and-response between the three musicians. Herzogenberg's trio features a harmonious balance of the three voices, each flitting in and out to create beautiful and seamless melodies. Featuring horn fillips and playful runs throughout the the piece, the piece gives off a carefree, cheerful mood.
Christine Lee, Flute, Class of 2019
Antonin Dvorak’s Terzetto was originally created to be played by Dvorak and two of his friends. This four-movement work, scored for two violins and viola, is a unique chamber piece with an unusual combination of instruments. Dvorak’s decision to omit the traditional cello bass line from the ensemble creates a transparent and intimate dialogue among the instruments. The Terzetto not only serves as an example of Dvorak’s distinctive voice, blending classical forms with folk-like inspirations from his native Czech Republic, but also embodies the musical intimacy shared among the composer and his friends.
The Terzetto opens with a sweet, lyrical theme. Unfolding in an A-B-A form, the first part is charming and dance-like, while the second is energetic, building on the materials introduced in the first part. The final movement, marked by several changes of tempo, brings the Terzetto to a triumphant close, leaving the audience with a sense of thrill and ecstasy.
Angela Chen, Violin, Class of 2025
Ex Machina was composed for a various array of saxophone quartets in 2016 by American composer and musician Marc Mellits. Mellits has an extensive history of music study at a variety of educational institutions such as The Eastman School of Music, The Yale School of Music, and Cornell University. Known throughout mainly the Americas and some parts of Europe, Mellits’ works have acquired a reputation of minimalistic composition. This can be observed in movement one labeled Machine I: Let the Funk Out. To convey his minimalist ideas, Mellits uses repetitive rhythmic patterns and layering to create complexity, groove, and charm throughout the movement. In contrast, he presents Machine II: Flowing for the opposite effect. Utilizing simpler rhythms and slower, scalar movement, he wove a beautifully minimalistic idea with intricate layering, allowing the melody carried by the soprano voice to flow throughout the movement and create a weightless and floating feeling for the listeners.
Aydin Miller, Alto Saxophone, Class of 2026
Joseph Horovitz was an Austrian composer who emigrated to England to enhance his musical studies. There he won the Farrar Composition award for his composition The Emperor’s Clothes. While Joseph studied under Nadia Boulonger in France he learned to imitate the neoclassic manner of Stravinsky which brought emphasis to rhythm and a contrapuntal texture. Proceeding his education he found passion in conducting ballet’s as well as composing ballets. He would have a total of 16 ballets, one of which was Alice in Wonderland for the 1953 London Festival Ballet. He began his teaching career in 1961 at the Royal College of Music. Horovitz had also established himself as a guest conductor for the Tanglewood Festival. It was during this time he composed the Music Hall Suite. This piece in particular was inspired by the aspects of Burlesque theatre which consists of comedic and provocative subjects. “Soubrette Song” portrays the role of a lively and flirtatious girl who is often present in the Burlesque plays. The Soubrette’s voice is bright and contains a sweet timbre. “Trick Cyclists” however turns the lights from rosy red to a wild zesty yellow. Unpredictable entrances and untold dynamics jump out of the music erratically. This piece of twists and turns has since then become a standard in brass quintet repertoire.
Kenneth Gong, Trombone, Class of 2026
Due to his career as a chemist and physician, most of Alexander Borodin’s compositions took years to finish. However, his String Quartet No. 2 in D Major did not take long at all to compose—just a few months during summer vacation. Perhaps it was the inspiration behind the piece, the affection and admiration he felt towards his pianist wife Ekaterina Protopova, that spurred his rapid writing; all four of the movements were dedicated towards their twentieth wedding anniversary. The performed movement, Allegro moderato, features the work of a genius musical mind, one that perfectly depicts the textbook definition of sonata form. An iconic, lyrical theme introduces the piece and, simultaneously, a world filled with tender grace and passionate love. Throughout the work, the theme is repeated by different voices, reflecting various intensities of the same sentiment. Often, dialogue is exchanged as a communication between instruments, a plausible mirror of the sweet relationship between Borodin and his wife. Borodin’s string quartet acts as a perfect medium for the entwinement of everlasting love from husband to wife and the timeless melodies of classical music.
Angelina Wu, Cello, Class of 2025
George Gershwin was an early 20th century American composer and pianist from Brooklyn, New York, and began his musical career at a young age. Gershwin's early exposure to the melting pot of cultures in New York City, combined with his innate musical talent, heavily influenced his unique composing style. Gershwin’s experiences in American music such as jazz, blues, and Broadway tunes, providing diverse rhythms, melodies, and harmonies influenced him, as he incorporated these elements into his own compositions.
Gershwin’s most iconic work is “Rhapsody in Blue”, exemplifies his style unique of combining themes of European and American music. Characterized by its syncopated rhythms and improvisation-inspired passages, the piece reflects the dynamic and fast-paced nature of American life. Some other famous pieces by Gershwin include "An American in Paris," "Porgy and Bess," "Summertime," "I Got Rhythm," and "Three Preludes." He had originally planned to write 24 preludes, inspired by Bach's two sets of Well-Tempered Claviers, but eventually narrowed it down to seven, then five, and finally three. These preludes hold the distinction of being the only concert works for solo piano published during Gershwin's lifetime. More importantly, they showcase Gershwin's versatility as a composer, as he blended classical, jazz, and popular music genres to create masterpieces that continue to captivate audiences around the world. Tonight, you'll be hearing the 1st prelude, along with the opening excerpt from the Rhapsody in Blue arranged for clarinet quartet.
Ian Kim, Clarinet, Class of 2024
Dmitri Shostakovich's String Quartet No. 8 is a poignant blend of haunting melodies, reflective of the struggles during the period. The piece was composed over three days in 1960 in Dresden, a German city whose destruction was said to have “inspired” the music. Though the piece is inscribed “In memory of victims of fascism and war,” there is much ambiguity in the true message of the work. The quartet may be viewed as an outcry against totalitarianism at large, or perhaps as a disguised protest against the Soviet state. Another interpretation lies in the personal references throughout the piece, hinting that it might indeed be a reflection of Shostakovich's struggles against Stalinist totalitarianism. The quartet consists of five continuous movements that each incorporate the four-note DSCH motif (D, E-flat, C, B) constructed from an abbreviation of the composer’s name.
The elegiac atmosphere established in the initial movement is abruptly disrupted by the subsequent rapid and intense second movement from which various iterations of the DSCH motif surface. The third movement is a bitter, chilling waltz, resembling a dance of skeletons, followed by the fourth movement, which begins with dissonant chords reminiscent of gunshots or suggesting the ominous knock of the KGB at Shostakovich’s residence. The work concludes with a numb fugal elegy. The intense themes woven throughout the quartet express profound suffering, and the composition coincided with a period of deep despair in the composer’s life, leading some to interpret the piece as potentially intended to serve as a suicide note. Regardless of the interpretation, the music is a concentrated expression of raw emotion, delivering a profound experience.
Emily Ren, Cello, Class of 2024