Recital
Thursday, March 28, 2024
Pavane Op. 50 (1887/arr.2018)
Gabriel Fauré (1845-1924)
Arr. François Bogaert & Aurélien Gignou
Lucas O’Brien, Trombone
Talon Lu, Marimba
Aubade (1906)
Paul de Wailly (1854-1933)
Alwin Cui, Flute
Michelle Hsu, Oboe
Sherlock Xu, Clarinet
Grand Trio pour Trois Flutes (1828)
Friedrich Kuhlau (1786-1832)
IV. Finale. Allegro poco agitato
Sophia Zhou, Flute
Felix Yin, Flute
Vincent Zhang, Flute
Deux Interludes (1946)
Jacques Ibert (1890-1962)
II. Allegro vivo
Angela Wang, Flute
Jonathan Lan, Violin
Justin Brewer, Piano
Quintet No. 3 (1999)
David Maslanka (1943-2017)
III. Very Fast
Joseph Yoo, Flute
Jesse Hu, Oboe
Ian Kim, Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
Pause
Trio Sonata in D Minor, RV 63 “La Folia” (1705)
Antonio Vivaldi (1678-1741)
Joshua & Joel Kim, Violin
Angelina Wu, Cello
Brian Slack, Double Bass
Sylvia Wang, Harpsichord
Orchestral Suite No.2 in B Minor, BWV 1067 (1738-39)
Johann Sebastian Bach (1685-1750)
I. Overture
IV. Bourrees I & II
V. Polonaise & Double
VII. Badinerie
Flute
Joseph Yoo
Violin I
Joshua Kim, Jonathan Lan
Violin II
Nicole Lin, Angela Chen
Viola
Vito Samaniego, Ariana Hung
Cello
Angelina Wu, Eric Wang
Harpsichord
Don Wong
Viola Concerto in G Major, TWV 51:G9 (c. 1715)
George Philipp Telemann (1681-1767)
I. Largo
II. Allegro
Solo Viola
Vito Samaniego
Violin I
Joel Kim, Jonathan Lan, Aston Kim
Violin II
Angela Chen, Nicole Lin, Nyansu Chen
Viola
Ariana Hung, Eireen Lu, Sean Yeh, Emily Liu
Cello
Angelina Wu, Eric Wang
Harpsichord
Don Wong
Concerto for Recorder and Flute, TWV 52:e1 (c. 1705-6)
George Philipp Telemann (1681-1767)
IV. Presto
Flute
Tammy Pao
Recorder
Aaron Huerta
Violin I
Nicole Lin, Jonathan Lan, Joshua Kim
Violin II
Angela Chen, Nyansu Chen, Astton Kim, Joel Kim
Viola
Vito Samaniego, Ariana Hung, Sean Yeh, Eireen Lu, Emily Liu
Cello
Angelina Wu, Eric Wang
Harpsichord
Don Wong
Guitar
Cynthia Liu
Gabriel Fauré (1845-1924)
Arr. François Bogaert & Aurélien Gignou
Lucas O’Brien, Trombone
Talon Lu, Marimba
Aubade (1906)
Paul de Wailly (1854-1933)
Alwin Cui, Flute
Michelle Hsu, Oboe
Sherlock Xu, Clarinet
Grand Trio pour Trois Flutes (1828)
Friedrich Kuhlau (1786-1832)
IV. Finale. Allegro poco agitato
Sophia Zhou, Flute
Felix Yin, Flute
Vincent Zhang, Flute
Deux Interludes (1946)
Jacques Ibert (1890-1962)
II. Allegro vivo
Angela Wang, Flute
Jonathan Lan, Violin
Justin Brewer, Piano
Quintet No. 3 (1999)
David Maslanka (1943-2017)
III. Very Fast
Joseph Yoo, Flute
Jesse Hu, Oboe
Ian Kim, Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
Pause
Trio Sonata in D Minor, RV 63 “La Folia” (1705)
Antonio Vivaldi (1678-1741)
Joshua & Joel Kim, Violin
Angelina Wu, Cello
Brian Slack, Double Bass
Sylvia Wang, Harpsichord
Orchestral Suite No.2 in B Minor, BWV 1067 (1738-39)
Johann Sebastian Bach (1685-1750)
I. Overture
IV. Bourrees I & II
V. Polonaise & Double
VII. Badinerie
Flute
Joseph Yoo
Violin I
Joshua Kim, Jonathan Lan
Violin II
Nicole Lin, Angela Chen
Viola
Vito Samaniego, Ariana Hung
Cello
Angelina Wu, Eric Wang
Harpsichord
Don Wong
Viola Concerto in G Major, TWV 51:G9 (c. 1715)
George Philipp Telemann (1681-1767)
I. Largo
II. Allegro
Solo Viola
Vito Samaniego
Violin I
Joel Kim, Jonathan Lan, Aston Kim
Violin II
Angela Chen, Nicole Lin, Nyansu Chen
Viola
Ariana Hung, Eireen Lu, Sean Yeh, Emily Liu
Cello
Angelina Wu, Eric Wang
Harpsichord
Don Wong
Concerto for Recorder and Flute, TWV 52:e1 (c. 1705-6)
George Philipp Telemann (1681-1767)
IV. Presto
Flute
Tammy Pao
Recorder
Aaron Huerta
Violin I
Nicole Lin, Jonathan Lan, Joshua Kim
Violin II
Angela Chen, Nyansu Chen, Astton Kim, Joel Kim
Viola
Vito Samaniego, Ariana Hung, Sean Yeh, Eireen Lu, Emily Liu
Cello
Angelina Wu, Eric Wang
Harpsichord
Don Wong
Guitar
Cynthia Liu
Program Notes
French composer, professor, and organist Gabriel Fauré was most known for his tenure as head of the Paris Conservatorie. As a composer who lived in the late 19th century, Fauré’s music incorporated many inspirations from other Romantic composers such as Chopin and Schumann. His short composition for solo piano, Pavane, highlights many Romantic elements for lyrical melodies, seventh chords, and 2:3 polyrhythms. The right hand introduces the melodic theme of the piece that soars over the left hand’s rhythmic ostinato. In its developmental section, cascading melodies cross from the right hand to the left hand, and the tonal center frequently shifts every few measures. Resolving in its original key, it incorporates more complex harmonies and rhythmic variations until the mysterious and solemn ending.
Shortly after its debut in 1887, Pavane was popularized by its 1888 arrangement for orchestra and optional choir. From then on, many musicians have created their own arrangements of Pavane for various chamber ensemble combinations: 2 pianos, flute trio, cello and piano, etc. François Bogaert and Aurélien Gignoux’s 2018 arrangement for trombone and marimba convey the same contrasts as Fauré’s original work. In this rendition, the trombone carries the piano’s floating right hand melody, and the marimba serves as both the motor and melodic accompaniment. The different timbres produced by this wind-percussion duet compliments the original themes from the 1887 piano solo. More importantly, Pavane’s ability to transcend multiple instrumentations serves as a testament to its timelessness and longevity.
Edward Kim, Saxophone, Class of 2024
French avant-garde composer Paul de Wailly was one of the rare students of the famous composer-organist Cesar Franck, whose signature compositional style is sometimes apparent in de Wailly’s own music. In Aubade, a term that refers to music appropriate for the dawn or early morning, combinations of the traditional 19th-century French Romantic style and homophonic writing create a mixture of lyrical melodies and technical flourishes. Wailly also incorporates a shifting of harmonies between the flute, oboe, and clarinet, which are also characteristics of his mentor’s musical style. The piece opens with lively sixteenth-notes passages exchanged between the flute and clarinet, and the oboe joins in with a frilly yet solemn melody. The piece then transitions to a slower, lyrical middle section dominated by a flowing harmony. Through an expressive mood emphasized by strong dynamics and phrasing, the oboe and clarinet drive the return to the original tempo and finally lead the piece to a rousing, spirited ending. Despite his relative lack of popularity, de Wailly allowed his reputation as a composer to remain alive through his exciting musical style.
Alyssa Wu, Cello, Class of 2022
Friedrich Kuhlau is regarded by many as a well-known German-Danish composer and pianist during the Danish Golden Age of Music. He gained popularity for his operatic works for Elvehøj (1828) and his introduction of Beethoven’s work to Copenhagen audiences after fleeing French conscription during the Napoleonic Wars. Born in Germany, Kuhlau showed an early interest in music. At a young age, his mother recognized his talent and arranged a solid musical education for him. He began studying both piano and violin, in which he later moved to Hamburg, where he studied with various remarkable musicians. Despite losing his right eye in an accident, he continued to pursue his passion for music and left behind beautiful compositions for future generations to play. Kuhlau’s music often reflects the classical style of his time period, highlighting his counterpoint of rhythms and structure as seen in his Flute Trio in B minor. In his publication of the Flute Trio in B Minor Op. 90, Kuhlau sought to dedicate the piece to French Flautist, Tranquille Berbiguier. In the opening of the finale, or last movement, audiences are introduced to mysterious melodies and dynamic contrasts, which then feature lively light-hearted harmonies to follow. The finale of his composition highlights the characteristics of his flute pieces during the transitional period of classical to romantic, balancing soaring harmonies and lighthearted rhythmic patterns. His ability to balance these contrasting points ultimately connects his Trio in B minor as a significant piece for chamber flute repertoire.
Sophia Zhou, Flute, Class of 2027
Born and raised in Paris, composer Jacques Ibert was interested in both music and theater. In addition to his musical training, he took acting lessons after graduating from high school. Although his parents were reluctant to allow him to pursue his livelihood in the theater, Ibert was able to enroll in Paris Conservatory as a music student at the age of 20. He continued to pursue his passions in music and theater after graduating from the conservatory, serving as director and composer for the Academy of France. Ibert’s compositions were extremely versatile, covering many different genres such as opera, ballet, film, chamber, and incidental music. Deux Interludes was derived from incidental music composed in 1946 for Le Burlador (Mocker), a play based on the myth of Don Juan from the female perspective. The piece starts with a lyrical melodic line, but shifts to a more energetic rhythm later; this contrast exemplifies the qualities of early impressionistic French music. Though the piece was originally written for harpsichord, flute, and violin, it is also often played on piano. Ibert’s music is described as “festive and gay, lyrical and inspired, or descriptive and evocative, often tinged with gentle with humor”; Deux Interludes is a prime example of Ibert’s compositional idiosyncrasies, and demonstrates both his talent for composing both lyrical and festive melodies.
Gloria Choi, Viola, Class of 2020
David Maslanka Wind Quintet No. 3
In recent years I have developed an abiding interest in the Bach Chorales, singing and playing them daily as warm-up for my composing time, and making my own four-part settings in the old style. The chorales now regularly find their way into my music, and have become a significant “leaping off” point for me.The third movement is exceptionally demanding for the performers because of its speed and length. It is something of a sonata form. However, the second theme, which sounds like a chorale melody, becomes the subject of a set of variations. The movement finishes with a partial recapitulation and an extended coda.
Program Note by David Maslanka
The popularity of the trio sonata, written for two melodic instruments with an accompaniment, was seen throughout Italy during the Baroque period.
Composers became intrigued by different metric patterns and themes while striving to prove themselves as professional composers. Vivaldi’s Trio Sonata in D Minor, RV 63 was heavily influenced by Corelli’s variations on a popular Spanish tune, La Folia. ‘La Folia,’ a Portuguese term for insanity, was originally a wild Spanish dance set in triple time first documented in the 15th century. Since then, it has been included in the works of over 150 different composers including Lully, Bach, and Liszt, whose Rhapsodie espagnole will be featured later. Vivaldi’s composition takes a one-‐ movement formula for two violins and continuo as seen in Corelli’s work. It begins with a sequence of four chords supporting the main theme in adagio. Each of the following 19 variations consists of two sections of eight measures all focusing on La Folia. Vivaldi’s success as a Baroque composer has led his compositions to continue to be performed to this day.
Clarissa Antoine, Oboe, Class of 2018
Bach composed dozens of suites featuring a variety of solo instruments, such as piano, cello, or violin. They usually begin with an impressive opening movement, in the case of all the orchestral ones: a grand overture in the French style, followed by a series of shorter dances in different moods, tempos, and meters. The Second Suite in B Minor, although also a set of dances, can also be viewed as a concerto for flute. The work is scored simply for strings and solo flute. At this late stage of his career Bach was experimenting with hybrid compositions and continuing his imaginative mixing of many different cultural styles and elements: the French dance suite, the Italian concerto style, and German contrapuntal ingenuity. The lengthy first movement is an imposing piece in the French Overture tradition. The dances that follow are two Bourrées (the second prominently featuring the flute soloist) and a slower, yet majestic Polonaise. The Suite concludes with a Badinerie (meaning “jest” or “trifle”), a free movement in two parts that is less of a dance, but more of an exciting conclusion to a concerto.
Georg Philipp Telemann’s famous Viola Concerto, the first for that instrument, is one of nearly 200 he composed while serving in Frankfurt as city music director (1712–21). This work consists of four movements in the classic sonata da chiesa pattern typical of many of Telemann’s concerti, in which the movements alternate slow-fast-slow-fast. All four movements are also related to Italian ritornello form, which is characterized by the orchestra or piano stating thematic material and the solo part responding to that statement with its own unique material. The opening Largo is characterized by a stately theme utilizing a sarabande rhythm. The second movement Allegro features a jaunty arpeggiated theme which is constantly traded off and developed by both solo and tutti parts in the ensemble.
Telemann’s concerto for flute and recorder presents a subtle contrast of the sonorities of these two kinds of wooden flutes. The two solo parts are interwoven in fascinating and delightful ways throughout the concerto, which highlight the similarities and differences of their timbre. The folk character of the final movement, Presto, suggests the influence of Telemann's time at the court at Sorau (1705-6). When he would make excursions into the Polish countryside, he would listen for days to the improvisations of folk fiddlers and bagpipe players. Inspired by what he heard, he wrote concertos and other works which he, according to his own account, "dressed in an Italian coat."
Shortly after its debut in 1887, Pavane was popularized by its 1888 arrangement for orchestra and optional choir. From then on, many musicians have created their own arrangements of Pavane for various chamber ensemble combinations: 2 pianos, flute trio, cello and piano, etc. François Bogaert and Aurélien Gignoux’s 2018 arrangement for trombone and marimba convey the same contrasts as Fauré’s original work. In this rendition, the trombone carries the piano’s floating right hand melody, and the marimba serves as both the motor and melodic accompaniment. The different timbres produced by this wind-percussion duet compliments the original themes from the 1887 piano solo. More importantly, Pavane’s ability to transcend multiple instrumentations serves as a testament to its timelessness and longevity.
Edward Kim, Saxophone, Class of 2024
French avant-garde composer Paul de Wailly was one of the rare students of the famous composer-organist Cesar Franck, whose signature compositional style is sometimes apparent in de Wailly’s own music. In Aubade, a term that refers to music appropriate for the dawn or early morning, combinations of the traditional 19th-century French Romantic style and homophonic writing create a mixture of lyrical melodies and technical flourishes. Wailly also incorporates a shifting of harmonies between the flute, oboe, and clarinet, which are also characteristics of his mentor’s musical style. The piece opens with lively sixteenth-notes passages exchanged between the flute and clarinet, and the oboe joins in with a frilly yet solemn melody. The piece then transitions to a slower, lyrical middle section dominated by a flowing harmony. Through an expressive mood emphasized by strong dynamics and phrasing, the oboe and clarinet drive the return to the original tempo and finally lead the piece to a rousing, spirited ending. Despite his relative lack of popularity, de Wailly allowed his reputation as a composer to remain alive through his exciting musical style.
Alyssa Wu, Cello, Class of 2022
Friedrich Kuhlau is regarded by many as a well-known German-Danish composer and pianist during the Danish Golden Age of Music. He gained popularity for his operatic works for Elvehøj (1828) and his introduction of Beethoven’s work to Copenhagen audiences after fleeing French conscription during the Napoleonic Wars. Born in Germany, Kuhlau showed an early interest in music. At a young age, his mother recognized his talent and arranged a solid musical education for him. He began studying both piano and violin, in which he later moved to Hamburg, where he studied with various remarkable musicians. Despite losing his right eye in an accident, he continued to pursue his passion for music and left behind beautiful compositions for future generations to play. Kuhlau’s music often reflects the classical style of his time period, highlighting his counterpoint of rhythms and structure as seen in his Flute Trio in B minor. In his publication of the Flute Trio in B Minor Op. 90, Kuhlau sought to dedicate the piece to French Flautist, Tranquille Berbiguier. In the opening of the finale, or last movement, audiences are introduced to mysterious melodies and dynamic contrasts, which then feature lively light-hearted harmonies to follow. The finale of his composition highlights the characteristics of his flute pieces during the transitional period of classical to romantic, balancing soaring harmonies and lighthearted rhythmic patterns. His ability to balance these contrasting points ultimately connects his Trio in B minor as a significant piece for chamber flute repertoire.
Sophia Zhou, Flute, Class of 2027
Born and raised in Paris, composer Jacques Ibert was interested in both music and theater. In addition to his musical training, he took acting lessons after graduating from high school. Although his parents were reluctant to allow him to pursue his livelihood in the theater, Ibert was able to enroll in Paris Conservatory as a music student at the age of 20. He continued to pursue his passions in music and theater after graduating from the conservatory, serving as director and composer for the Academy of France. Ibert’s compositions were extremely versatile, covering many different genres such as opera, ballet, film, chamber, and incidental music. Deux Interludes was derived from incidental music composed in 1946 for Le Burlador (Mocker), a play based on the myth of Don Juan from the female perspective. The piece starts with a lyrical melodic line, but shifts to a more energetic rhythm later; this contrast exemplifies the qualities of early impressionistic French music. Though the piece was originally written for harpsichord, flute, and violin, it is also often played on piano. Ibert’s music is described as “festive and gay, lyrical and inspired, or descriptive and evocative, often tinged with gentle with humor”; Deux Interludes is a prime example of Ibert’s compositional idiosyncrasies, and demonstrates both his talent for composing both lyrical and festive melodies.
Gloria Choi, Viola, Class of 2020
David Maslanka Wind Quintet No. 3
In recent years I have developed an abiding interest in the Bach Chorales, singing and playing them daily as warm-up for my composing time, and making my own four-part settings in the old style. The chorales now regularly find their way into my music, and have become a significant “leaping off” point for me.The third movement is exceptionally demanding for the performers because of its speed and length. It is something of a sonata form. However, the second theme, which sounds like a chorale melody, becomes the subject of a set of variations. The movement finishes with a partial recapitulation and an extended coda.
Program Note by David Maslanka
The popularity of the trio sonata, written for two melodic instruments with an accompaniment, was seen throughout Italy during the Baroque period.
Composers became intrigued by different metric patterns and themes while striving to prove themselves as professional composers. Vivaldi’s Trio Sonata in D Minor, RV 63 was heavily influenced by Corelli’s variations on a popular Spanish tune, La Folia. ‘La Folia,’ a Portuguese term for insanity, was originally a wild Spanish dance set in triple time first documented in the 15th century. Since then, it has been included in the works of over 150 different composers including Lully, Bach, and Liszt, whose Rhapsodie espagnole will be featured later. Vivaldi’s composition takes a one-‐ movement formula for two violins and continuo as seen in Corelli’s work. It begins with a sequence of four chords supporting the main theme in adagio. Each of the following 19 variations consists of two sections of eight measures all focusing on La Folia. Vivaldi’s success as a Baroque composer has led his compositions to continue to be performed to this day.
Clarissa Antoine, Oboe, Class of 2018
Bach composed dozens of suites featuring a variety of solo instruments, such as piano, cello, or violin. They usually begin with an impressive opening movement, in the case of all the orchestral ones: a grand overture in the French style, followed by a series of shorter dances in different moods, tempos, and meters. The Second Suite in B Minor, although also a set of dances, can also be viewed as a concerto for flute. The work is scored simply for strings and solo flute. At this late stage of his career Bach was experimenting with hybrid compositions and continuing his imaginative mixing of many different cultural styles and elements: the French dance suite, the Italian concerto style, and German contrapuntal ingenuity. The lengthy first movement is an imposing piece in the French Overture tradition. The dances that follow are two Bourrées (the second prominently featuring the flute soloist) and a slower, yet majestic Polonaise. The Suite concludes with a Badinerie (meaning “jest” or “trifle”), a free movement in two parts that is less of a dance, but more of an exciting conclusion to a concerto.
Georg Philipp Telemann’s famous Viola Concerto, the first for that instrument, is one of nearly 200 he composed while serving in Frankfurt as city music director (1712–21). This work consists of four movements in the classic sonata da chiesa pattern typical of many of Telemann’s concerti, in which the movements alternate slow-fast-slow-fast. All four movements are also related to Italian ritornello form, which is characterized by the orchestra or piano stating thematic material and the solo part responding to that statement with its own unique material. The opening Largo is characterized by a stately theme utilizing a sarabande rhythm. The second movement Allegro features a jaunty arpeggiated theme which is constantly traded off and developed by both solo and tutti parts in the ensemble.
Telemann’s concerto for flute and recorder presents a subtle contrast of the sonorities of these two kinds of wooden flutes. The two solo parts are interwoven in fascinating and delightful ways throughout the concerto, which highlight the similarities and differences of their timbre. The folk character of the final movement, Presto, suggests the influence of Telemann's time at the court at Sorau (1705-6). When he would make excursions into the Polish countryside, he would listen for days to the improvisations of folk fiddlers and bagpipe players. Inspired by what he heard, he wrote concertos and other works which he, according to his own account, "dressed in an Italian coat."