Wednesday, May 22, 2024
7:00 pm
String Quartet No. 1 in E-Flat Major, Op. 12 (1829)
Felix Mendelssohn (1809-1847)
II. Canzonetta
Jonathan Lan, Violin
Michelle Yeh, Violin
Eireen Lu, Viola
Eric Wang, Cello
String Quartet No. 3 (1985)
Philip Glass (1937-
IV. Mishima
Nyansu Chen, Violin
Aston Kim, Violin
Emily Liu, Viola
Emily Ren, Cello
Flute Quartet in D Major K. 285 (1777)
Wolfgang Amadeus Mozart (1756-1791)
I. Allegro
Tammy Pao, Flute
Joshua Kim, Violin
Sean Yeh, Viola
Angelina Wu, Cello
String Quartet No. 2 in D Major (1881)
Alexander Borodin (1833-1887)
III. Notturno – Andante
Joel Kim, Violin
Nyansu Chen, Violin
Ariana Hung, Viola
Emily Ren, Cello
Benediction (2004)
Power (1978)
John D. Stevens (1951-
Lucy Wu, Euphonium
Alex Hong, Euphonium
Ace Tecson, Tuba
Patrick Zhang, Tuba
Summer Music, Op. 31 (1956)
Samuel Barber (1910-1981)
Joseph Yoo, Flute
Jesse Hu, Oboe
Ian Kim, Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
Sonatine en trio, Op. 85 (1935)
Florent Schmitt (1870-1958)
I. Assez animé
Sophia Zhou, Flute
Aleena Zhong, Clarinet
Justin Brewer, Piano
Piano Quintet in G Minor, Op. 57 (1940)
Dmitri Shostakovich (1906-1975)
I. Prelude - Lento
Angela Chen, Violin
Nicole Lin, Violin
Vito Samaniego, Viola
Eric Wang, Cello
Jason Chun, Piano
Piano Quartet No. 1in G Minor, Op. 25 (1861)
Johannes Brahms (1833-1897)
IV. Rondo alla Zingarese - Presto
Joshua Kim, Violin
Vito Samaniego, Viola
Angelina Wu, Cello
Don Wong, Piano
Program Notes
Felix Mendelssohn’s Op. 12, String Quartet No. 1 in E-flat Major perfectly captures the young composer’s vigor and inventiveness. The second movement, "Canzonetta” translates to “a little song” in Italian, and it follows its namesake with a light, dance-like quality that conjures images of a spirited folk dance. Created when Mendelssohn was only twenty years old in 1829, the Canzonetta’s quick pace, lightness, and staccato create vivid images of country dances, while the choice of E-flat Major sets a joyous tone. However, despite the seeming simplicity, Mendelssohn showcases his musical skill and knowledge by using skillful interplays that manage to create a complex yet also accessible musical conversation. Noteworthy to mention is the movement’s loyalty to the traditional canzonetta style, characterized by a simple, almost song-like melody that is repeated. Mendelssohn's interpretation is both respectful of this tradition and innovative, as he introduces subtle complexities in rhythm and harmony fuses classical rigor with romantic expressiveness, resulting in a piece that is loved by both performers and listeners alike.
Jonathan Lan, Violin, Class of 2026
Philip Glass's String Quartet "Mishima" is a compelling musical exploration that melds structured minimalism with dramatic narrative, mirroring the tragic life of Japanese writer Yukio Mishima. Composed in 1985 as a soundtrack to Paul Schrader's film, "Mishima: A Life in Four Chapters," the work is divided into sections that correspond to different phases of Mishima's life and works. Each segment of "Mishima" is a reflection not only of his personal journey but also of his intricate philosophical and aesthetic beliefs.
The composition is particularly minimalistic, using repetitive motives and rhythmic cycles that evolve as the piece progresses creating a complex combination of sounds through each movement. This piece shows Glass’s signature touch of minimalism with a mixture of traditionally used chords and harmonies. A contrast of modernity and tradition, reflecting his complicated life.
The last movement of Glass’s string quartet, captures the dramatic and turbulent final moments of Mishima’s life. With the motive being repeated throughout the piece and the rhythm being repeated throughout the piece at a fast tempo of 144 bpm. This movement serves as a climatic conclusion with the string quartet driving the piece forward in a simple minimalistic fashion, showing off the way Glass uses his unique style of composition to resonate with the dramatic legacy of the subject.
The piece shows Glass’s unique and masterful way of composition. Although very simple, it expresses deep and complicated emotion that parallels Mishima’s emotions and his existential crisis as an extreme nationalist. The piece pays homage to Mishima’s life, capturing its essence in a signature “Philip Glass” style.
Aston Kim, Violin, Class of 2026
Mozart’s First Flute Quartet was commissioned by Ferdinand De Jean—a Dutch merchant who also initially commissioned a couple of other flute quartets along with three concertos. Unfortunately, Mozart found great difficulty in meeting De Jean’s requests due to his dislike for the flute. This was mentioned in a letter to his father, in which he says, “Moreover, you know I become quite powerless whenever I must write for an instrument I cannot bear!” Despite his hardships, Mozart eventually sent him two flute concertos (K. 313,314), one flute quartet with three movements, and one flute quartet with two movements. K. 285, the first flute quartet, includes three movements, with the first movement Allegro being in sonata form. The opening joyful melody reflects a concertante style with an accompanying string trio filled with soloistic parts creating a variety of textures. Then, a minor mode is introduced during the development providing a color and tone shift. Closing the first movement is the elaborated recapitulation which brings back the opening theme. Throughout the piece, light, airy articulation accompanied by embellishing ornaments offers an epitome example of classical music. His work would later serve as the foundation for many, including Beethoven’s duets for Bassoon and Clarinet (WoO 27).
Tammy Pao, Flute, Class of 2024
Borodin’s String Quartet No. 2 in D Major was composed quickly one summer in dedication to his wife, Ekaterina. The third movement, Nocturne, the most famous of the quartet, possesses an indelibly crafted theme intricately weaved throughout the beginning and end of the piece. Borodin and Ekaterina emerge most prominently within the voices of the cello and first violin, respectively, with Borodin expressing himself in the opening melody with the gentle accompaniment of the second violin and viola. The peaceful atmosphere established by the cello and first violin is disturbed by the agitation and sense of decisiveness set by the middle theme of F Major; however, resolution is established by the closing canons between the cello and first violin and then the two violins. Arguably one of his most famous works, Nocturne was later adapted into many orchestra arrangements, the musical Kismet, and the score of Disney’s short film The Little Matchgirl.
Tanya Yang, Cello, Class of 2018
Benediction was an original work by John D. Stevens, a member of the low brass faculty at the University of Wisconsin, Madison. It was premiered and commissioned to the tuba and euphonium quartet, Sotto Voce. Inspired by the resonant “amen” vocal, this piece showcases the tranquil and exquisite melodies that contrast other rock-inspired pieces Stevens wrote. The piece introduces a shockingly beautiful lyrical theme from the tuba. Then it passes to the rest of the quartet, creating a seamless, yet captivating transition that engages the listeners. It demonstrates a wide range of both tuba and euphonium musicality, pushing the boundaries of John Stevens’ traditional writing style. From each dedicated phrase to intricate rhythm, each quartet member delivers their unique voice to the piece. As a result, John Stevens’ Benediction became one of the most frequently performed pieces for tuba and euphonium quartet, capturing the hearts of audiences worldwide.
Lucy Wu, Euphonium, Class of 2024
Power was composed by John D. Stevens when he was a graduate student at Yale University (1973-75). Power was originally composed for 4 tubas due to the lack of a euphonium player at Yale, but the piece later branched out to various instrumentations between tuba and euphonium. It was later premiered at his master recital and later recorded on New York Tuba Quartet’s album, “Tubby’s Revenge.” Power has been strongly influenced by jazz and popular music. The piece begins with an exhilarating and clear opening that guides a sense of “groove” throughout the rest of the piece, which establishes John Steven’s signature writing style. He also uses irregular rhythmic patterns as a driving factor, perhaps resulting from his background in jazz. Despite not having traditional training in composition, he sought out Yale’s music theory faculty Tom Fay to offer critical commentaries for his pieces. Their collaboration became the pioneering pinnacle of the tuba and euphonium quartets in a time when there was barely any music for them. John Stevens’ Power became one of the first hits in tuba and euphonium quartet music, influencing countless other composers.
Lucy Wu, Euphonium, Class of 2024
Born in Pennsylvania, Samuel Barber’s prodigious talent for music cemented him as one of the first internationally accomplished American composers. Barber attended the Curtis Institute of Music at age fourteen, where he studied voice, piano, and composition. Despite the growing trend of modernistic music during his time, Barber’s works often evoke the more traditional harmonies of the romantic era. Most notably, his renowned composition for string quartet Adagio for Strings, whose heartfelt melodies were featured in the popular film Platoon.
Originally commissioned for a septet featuring strings, winds, and piano, his Summer Music was later adapted by Barber himself for a wind quintet. After attending a concert by the New York Woodwind Quintet, Barber was intrigued by their unique blend of timbres and requested a collaboration on revising Summer Music, making it his first and only piece for a woodwind quintet. Barber desired to depict the tranquil essence of summertime without emphasizing the unpleasant aspects—“It’s supposed to be evocative of summer. Summer meaning languid, not killing mosquitoes.” Summer Music does not fixate on a singular thought; rather, it gracefully drifts throughout contrasting motifs, similar to the spontaneity of a summer day.
Summer Music was premiered in Detroit in 1956 by the members of the Detroit Symphony Orchestra. Barber’s debut wind quintet piece was well received by the audience and swiftly became a standard icon in every wind quintet’s repertoire.
Aleena Zhong, Clarinet, Class of 2025
A versatile and prolific composer, Florent Schmitt was a lifetime devotee for most major forms of music. Being called everything from conservative to neo- Romantic to revolutionary, Schmitt’s works are characterized for their rhythmic energy, refined orchestration, and tonal harmony. Of his 138 compositions, he is most known for the works from his earlier years. At the age of 19, he entered the Paris Conservatoire, where he studied with Gabriel Fauré, Jules Massenet, Théodore Dubois, and Albert Lavignac. Florent Schmitt’s piano quintet in B minor uplifted his career and provided for international recognition.
He won the Prix de Rome in his fifth attempt, aged 30 with his first masterpiece, the choral-orchestral Psalm 47. Three years later he wrote a ballet, later rearranged as symphonic poem, La tragédie de Salomé, whose violence was uncommon in French music and which became his most famous piece. He was a member of the Societé Musicale Indépendante in 1908, director of the Conservatoire de Lyon and music critic for Le Temps. In 1932, he appeared as soloist in his Symphonie Concertante for piano and orchestra in Boston. In 1938 he was appointed President of the Societé Nationale de Musique. Other important works were his Piano Quintet, a string quartet, the Sonata Libre en deux parts enchainées for violin and piano, and two symphonies, the last of which was premiered only two months before his death.
Brett Yonezawa, Clarinet, Class of 2017
Soon after finishing his fifth symphony, Shostakovich began to compose his first and only piano quintet. As one of his most well known chamber compositions, the piano quintet became an immediate hit, winning him the Stalin Prize and was frequently played by Soviet musicians during the 20th century. Shostakovich himself premiered the piece as the pianist on November 23, 1940 at the Moscow Conservatory. Starting off with an iconic piano solo, the prelude eludes an intensity as well as a gentleness within its melody. With the entrance of the strings, tension is intensified, though quickly dissipated by a humorous viola and piano duet followed by a motif of the piano solo that transitions the piece back to its original fervor. Though Shostakovich was originally ridiculed by Soviet officials for his controversial symphonies, his piano quintet remained neutral in tone, with some even arguing it to be a “happy” piece, enstating him as one of the most influential and celebrated composers of his time, though he was still not seen favorably by stalin, as his works remained closely analyzed.
Jason Chun, Piano, Class of 2024
Nearing the age of thirty, a young Brahms would begin composing his first piano quartet. The writing of this piece comes at a time in which the maturing composer would produce many renowned chamber works, incorporating influences from the celebrated musical giants that came before him, such as Bach and Beethoven. Finishing the quartet, Brahms dedicated the work to Baron R. von Dalwigk and premiered it in 1861, with the piano part performed by his rumored beloved—Clara Schumann. Subsequently, Brahms used the quartet to show his compositional aptitude upon moving to Vienna in 1862, earning him regard as “the heir of Beethoven!” by leading musicians in the city. Even years after Brahms’s death, the piece would continue to inspire musicians across the world, with Arnold Schoenberg orchestrating the piece in 1937. Out of the four total movements Brahms had written, the final rondo stands as the most widely acclaimed for its blend of eccentricism and resonating fervor. The movement is titled “Rondo alla Zingarese” or “Gypsy Rondo.” As such, the movement consolidates many aspects of Hungarian folk tunes in a lavish mesh for strings and piano.
Vito Samaniego, viola, Class of 2024
Jonathan Lan, Violin, Class of 2026
Philip Glass's String Quartet "Mishima" is a compelling musical exploration that melds structured minimalism with dramatic narrative, mirroring the tragic life of Japanese writer Yukio Mishima. Composed in 1985 as a soundtrack to Paul Schrader's film, "Mishima: A Life in Four Chapters," the work is divided into sections that correspond to different phases of Mishima's life and works. Each segment of "Mishima" is a reflection not only of his personal journey but also of his intricate philosophical and aesthetic beliefs.
The composition is particularly minimalistic, using repetitive motives and rhythmic cycles that evolve as the piece progresses creating a complex combination of sounds through each movement. This piece shows Glass’s signature touch of minimalism with a mixture of traditionally used chords and harmonies. A contrast of modernity and tradition, reflecting his complicated life.
The last movement of Glass’s string quartet, captures the dramatic and turbulent final moments of Mishima’s life. With the motive being repeated throughout the piece and the rhythm being repeated throughout the piece at a fast tempo of 144 bpm. This movement serves as a climatic conclusion with the string quartet driving the piece forward in a simple minimalistic fashion, showing off the way Glass uses his unique style of composition to resonate with the dramatic legacy of the subject.
The piece shows Glass’s unique and masterful way of composition. Although very simple, it expresses deep and complicated emotion that parallels Mishima’s emotions and his existential crisis as an extreme nationalist. The piece pays homage to Mishima’s life, capturing its essence in a signature “Philip Glass” style.
Aston Kim, Violin, Class of 2026
Mozart’s First Flute Quartet was commissioned by Ferdinand De Jean—a Dutch merchant who also initially commissioned a couple of other flute quartets along with three concertos. Unfortunately, Mozart found great difficulty in meeting De Jean’s requests due to his dislike for the flute. This was mentioned in a letter to his father, in which he says, “Moreover, you know I become quite powerless whenever I must write for an instrument I cannot bear!” Despite his hardships, Mozart eventually sent him two flute concertos (K. 313,314), one flute quartet with three movements, and one flute quartet with two movements. K. 285, the first flute quartet, includes three movements, with the first movement Allegro being in sonata form. The opening joyful melody reflects a concertante style with an accompanying string trio filled with soloistic parts creating a variety of textures. Then, a minor mode is introduced during the development providing a color and tone shift. Closing the first movement is the elaborated recapitulation which brings back the opening theme. Throughout the piece, light, airy articulation accompanied by embellishing ornaments offers an epitome example of classical music. His work would later serve as the foundation for many, including Beethoven’s duets for Bassoon and Clarinet (WoO 27).
Tammy Pao, Flute, Class of 2024
Borodin’s String Quartet No. 2 in D Major was composed quickly one summer in dedication to his wife, Ekaterina. The third movement, Nocturne, the most famous of the quartet, possesses an indelibly crafted theme intricately weaved throughout the beginning and end of the piece. Borodin and Ekaterina emerge most prominently within the voices of the cello and first violin, respectively, with Borodin expressing himself in the opening melody with the gentle accompaniment of the second violin and viola. The peaceful atmosphere established by the cello and first violin is disturbed by the agitation and sense of decisiveness set by the middle theme of F Major; however, resolution is established by the closing canons between the cello and first violin and then the two violins. Arguably one of his most famous works, Nocturne was later adapted into many orchestra arrangements, the musical Kismet, and the score of Disney’s short film The Little Matchgirl.
Tanya Yang, Cello, Class of 2018
Benediction was an original work by John D. Stevens, a member of the low brass faculty at the University of Wisconsin, Madison. It was premiered and commissioned to the tuba and euphonium quartet, Sotto Voce. Inspired by the resonant “amen” vocal, this piece showcases the tranquil and exquisite melodies that contrast other rock-inspired pieces Stevens wrote. The piece introduces a shockingly beautiful lyrical theme from the tuba. Then it passes to the rest of the quartet, creating a seamless, yet captivating transition that engages the listeners. It demonstrates a wide range of both tuba and euphonium musicality, pushing the boundaries of John Stevens’ traditional writing style. From each dedicated phrase to intricate rhythm, each quartet member delivers their unique voice to the piece. As a result, John Stevens’ Benediction became one of the most frequently performed pieces for tuba and euphonium quartet, capturing the hearts of audiences worldwide.
Lucy Wu, Euphonium, Class of 2024
Power was composed by John D. Stevens when he was a graduate student at Yale University (1973-75). Power was originally composed for 4 tubas due to the lack of a euphonium player at Yale, but the piece later branched out to various instrumentations between tuba and euphonium. It was later premiered at his master recital and later recorded on New York Tuba Quartet’s album, “Tubby’s Revenge.” Power has been strongly influenced by jazz and popular music. The piece begins with an exhilarating and clear opening that guides a sense of “groove” throughout the rest of the piece, which establishes John Steven’s signature writing style. He also uses irregular rhythmic patterns as a driving factor, perhaps resulting from his background in jazz. Despite not having traditional training in composition, he sought out Yale’s music theory faculty Tom Fay to offer critical commentaries for his pieces. Their collaboration became the pioneering pinnacle of the tuba and euphonium quartets in a time when there was barely any music for them. John Stevens’ Power became one of the first hits in tuba and euphonium quartet music, influencing countless other composers.
Lucy Wu, Euphonium, Class of 2024
Born in Pennsylvania, Samuel Barber’s prodigious talent for music cemented him as one of the first internationally accomplished American composers. Barber attended the Curtis Institute of Music at age fourteen, where he studied voice, piano, and composition. Despite the growing trend of modernistic music during his time, Barber’s works often evoke the more traditional harmonies of the romantic era. Most notably, his renowned composition for string quartet Adagio for Strings, whose heartfelt melodies were featured in the popular film Platoon.
Originally commissioned for a septet featuring strings, winds, and piano, his Summer Music was later adapted by Barber himself for a wind quintet. After attending a concert by the New York Woodwind Quintet, Barber was intrigued by their unique blend of timbres and requested a collaboration on revising Summer Music, making it his first and only piece for a woodwind quintet. Barber desired to depict the tranquil essence of summertime without emphasizing the unpleasant aspects—“It’s supposed to be evocative of summer. Summer meaning languid, not killing mosquitoes.” Summer Music does not fixate on a singular thought; rather, it gracefully drifts throughout contrasting motifs, similar to the spontaneity of a summer day.
Summer Music was premiered in Detroit in 1956 by the members of the Detroit Symphony Orchestra. Barber’s debut wind quintet piece was well received by the audience and swiftly became a standard icon in every wind quintet’s repertoire.
Aleena Zhong, Clarinet, Class of 2025
A versatile and prolific composer, Florent Schmitt was a lifetime devotee for most major forms of music. Being called everything from conservative to neo- Romantic to revolutionary, Schmitt’s works are characterized for their rhythmic energy, refined orchestration, and tonal harmony. Of his 138 compositions, he is most known for the works from his earlier years. At the age of 19, he entered the Paris Conservatoire, where he studied with Gabriel Fauré, Jules Massenet, Théodore Dubois, and Albert Lavignac. Florent Schmitt’s piano quintet in B minor uplifted his career and provided for international recognition.
He won the Prix de Rome in his fifth attempt, aged 30 with his first masterpiece, the choral-orchestral Psalm 47. Three years later he wrote a ballet, later rearranged as symphonic poem, La tragédie de Salomé, whose violence was uncommon in French music and which became his most famous piece. He was a member of the Societé Musicale Indépendante in 1908, director of the Conservatoire de Lyon and music critic for Le Temps. In 1932, he appeared as soloist in his Symphonie Concertante for piano and orchestra in Boston. In 1938 he was appointed President of the Societé Nationale de Musique. Other important works were his Piano Quintet, a string quartet, the Sonata Libre en deux parts enchainées for violin and piano, and two symphonies, the last of which was premiered only two months before his death.
Brett Yonezawa, Clarinet, Class of 2017
Soon after finishing his fifth symphony, Shostakovich began to compose his first and only piano quintet. As one of his most well known chamber compositions, the piano quintet became an immediate hit, winning him the Stalin Prize and was frequently played by Soviet musicians during the 20th century. Shostakovich himself premiered the piece as the pianist on November 23, 1940 at the Moscow Conservatory. Starting off with an iconic piano solo, the prelude eludes an intensity as well as a gentleness within its melody. With the entrance of the strings, tension is intensified, though quickly dissipated by a humorous viola and piano duet followed by a motif of the piano solo that transitions the piece back to its original fervor. Though Shostakovich was originally ridiculed by Soviet officials for his controversial symphonies, his piano quintet remained neutral in tone, with some even arguing it to be a “happy” piece, enstating him as one of the most influential and celebrated composers of his time, though he was still not seen favorably by stalin, as his works remained closely analyzed.
Jason Chun, Piano, Class of 2024
Nearing the age of thirty, a young Brahms would begin composing his first piano quartet. The writing of this piece comes at a time in which the maturing composer would produce many renowned chamber works, incorporating influences from the celebrated musical giants that came before him, such as Bach and Beethoven. Finishing the quartet, Brahms dedicated the work to Baron R. von Dalwigk and premiered it in 1861, with the piano part performed by his rumored beloved—Clara Schumann. Subsequently, Brahms used the quartet to show his compositional aptitude upon moving to Vienna in 1862, earning him regard as “the heir of Beethoven!” by leading musicians in the city. Even years after Brahms’s death, the piece would continue to inspire musicians across the world, with Arnold Schoenberg orchestrating the piece in 1937. Out of the four total movements Brahms had written, the final rondo stands as the most widely acclaimed for its blend of eccentricism and resonating fervor. The movement is titled “Rondo alla Zingarese” or “Gypsy Rondo.” As such, the movement consolidates many aspects of Hungarian folk tunes in a lavish mesh for strings and piano.
Vito Samaniego, viola, Class of 2024