Wednesday, October 16, 2024
7:00 pm
Sechs Bagatellen (1953)
György Ligeti (1923-2006)
I. Allegro con spirito (C, E, E♭, G)
II. Rubato. Lamentoso (A♭, B, C#, D, F, G)
III. Allegro grazioso (A♭, A, B♭, C, D, E♭, F, G)
IV. Presto ruvido (A, B, C, C♯, D, E, F♯, G, G♯)
Joseph Yoo, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
Armenian scenes/Sketches (1984)
Alexander Arutunian (1920-2012)
I. Morning Song
III. Song of Grief
IV. Wedding Procession
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Jerry Xu, Trombone
Ace Tecson, Tuba
Londonderry Air (19th Century)
Arr. Percy Grainger (1882-1961)
Arr. Murray Robertson
Audrey Ly, Euphonium
Kaylee Yun, Euphonium
Ace Tecson, Tuba
Nathan Lu, Tuba
Wind Quartet (1933)
Jean Françaix (1918-1997)
I. Allegro
Sophie Dong, Flute
Michelle Hsu, Oboe
Sherlock Xu, Clarinet
Byron Chen, Bassoon
Serenade in C Major, K. 648 (1766-1769)
“Ganz kleine Nachtmusik”
Wolfgang Amadeus Mozart (1756-1791)
Jonathan Lan & Joseph Kim, Violin
Eric Wang, Cello
Joseph Yoo, Harpsichord
Pop Suite No. 3 (1992)
Arthur Frackenpohl (1923-2019)
I. Beguine
Kenneth Gong, Trombone
Jayden Xu, Trombone
Camren Molina, Trombone
Ryan Kim, Bass Trombone
Curves (2012)
Ian Clarke (1964-
I. Magical & Woven
Angela Wang, Flute
Joseph Yoo, Flute
Sophia Zhou, Flute
Nicolas Liu, Piano
Piano Quartet in E-flat Major, Op. 47 (1842)
Robert Schumann (1810-1856)
III. Andante cantabile
Aston Kim, Violin
Vito Samaniego, Viola *
Angelina Wu, Cello
Daniel Shi, Piano
Piano Trio No. 1 in d minor, Op. 49 (1839)
Felix Mendelssohn (1809-1847)
I. Molto allegro ed agitato
Joshua Kim, Violin
Angelina Wu, Cello
Jina Ju, Piano
INTERMISSION
Appalachian Spring (1944)
Aaron Copland (1900-1990)
Joseph Yoo, Flute
Rick Chi, Clarinet
Jay Xu, Bassoon
Joshua & Joel Kim, Violin I
Nicole Lin & Angela Chen, Violin II
Sean Yeh & Eireen Lu, Viola
Angelina Wu & Eric Wang, Cello
Brian Slack, Double Bass *
Sylvia Wang, Piano
* Guest Artist Alumni
György Ligeti (1923-2006)
I. Allegro con spirito (C, E, E♭, G)
II. Rubato. Lamentoso (A♭, B, C#, D, F, G)
III. Allegro grazioso (A♭, A, B♭, C, D, E♭, F, G)
IV. Presto ruvido (A, B, C, C♯, D, E, F♯, G, G♯)
Joseph Yoo, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
Armenian scenes/Sketches (1984)
Alexander Arutunian (1920-2012)
I. Morning Song
III. Song of Grief
IV. Wedding Procession
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Jerry Xu, Trombone
Ace Tecson, Tuba
Londonderry Air (19th Century)
Arr. Percy Grainger (1882-1961)
Arr. Murray Robertson
Audrey Ly, Euphonium
Kaylee Yun, Euphonium
Ace Tecson, Tuba
Nathan Lu, Tuba
Wind Quartet (1933)
Jean Françaix (1918-1997)
I. Allegro
Sophie Dong, Flute
Michelle Hsu, Oboe
Sherlock Xu, Clarinet
Byron Chen, Bassoon
Serenade in C Major, K. 648 (1766-1769)
“Ganz kleine Nachtmusik”
Wolfgang Amadeus Mozart (1756-1791)
Jonathan Lan & Joseph Kim, Violin
Eric Wang, Cello
Joseph Yoo, Harpsichord
Pop Suite No. 3 (1992)
Arthur Frackenpohl (1923-2019)
I. Beguine
Kenneth Gong, Trombone
Jayden Xu, Trombone
Camren Molina, Trombone
Ryan Kim, Bass Trombone
Curves (2012)
Ian Clarke (1964-
I. Magical & Woven
Angela Wang, Flute
Joseph Yoo, Flute
Sophia Zhou, Flute
Nicolas Liu, Piano
Piano Quartet in E-flat Major, Op. 47 (1842)
Robert Schumann (1810-1856)
III. Andante cantabile
Aston Kim, Violin
Vito Samaniego, Viola *
Angelina Wu, Cello
Daniel Shi, Piano
Piano Trio No. 1 in d minor, Op. 49 (1839)
Felix Mendelssohn (1809-1847)
I. Molto allegro ed agitato
Joshua Kim, Violin
Angelina Wu, Cello
Jina Ju, Piano
INTERMISSION
Appalachian Spring (1944)
Aaron Copland (1900-1990)
Joseph Yoo, Flute
Rick Chi, Clarinet
Jay Xu, Bassoon
Joshua & Joel Kim, Violin I
Nicole Lin & Angela Chen, Violin II
Sean Yeh & Eireen Lu, Viola
Angelina Wu & Eric Wang, Cello
Brian Slack, Double Bass *
Sylvia Wang, Piano
* Guest Artist Alumni
Program Notes
Though György Ligeti is one of the most important avant-garde composers of the twentieth century, his compositional career was characterized by countless obstacles. Born a Hungarian Jew, Ligeti was sent to a labor camp during World War II, which completely disrupted his musical training. After he returned to Hungary to study music, tensions between Western Europe and Communist Hungary increased; as a result, he was discouraged from incorporating new compositional techniques, which were seen as a threat to the musical traditions associated with Soviet folk songs. Ligeti, however, despised the harsh restrictions of the dictatorship and ignored government backlash. He was particularly interested in the works of iconoclasts such as Stravinsky and Bartók; their influence on Ligeti is especially prevalent in his earlier works. Musica Ricercata, a set of eleven short pieces written for solo piano, is very closely aligned to Mikrokosmos, Bartók’s set of piano works. Each movement of Musica Ricercata has certain pitch classes assigned to it, with each movement containing one more pitch than the previous one. Shortly after its publication, Ligeti arranged six of the movements for wind quintet, titling it Sechs Bagatellen for Wind Quintet. Its idiosyncratic aesthetic has secured its place as a staple of wind quintet repertoire.
Each movement of Musica Ricercata contains its own structural world, harboring hidden complexities in every musical corner. The first movement opens with a short, jaunty tune that playfully outlines C Major and C minor chords. The following more somber movement is built around six pitches, featuring flowing, dreamlike melodies that are interrupted by sharp dissonances. The milder third movement features a lyrical melody introduced by the flute, which sits atop a seven-note ostinato led by the bassoon. The fourth movement opens on a harsh dissonance, suddenly breaking the calm of the previous movement with octaves on D and E; then, the piece launches into a lively dance-like melody in 7/8 that structures the rest of the movement.
Hannah Zhong, Oboe, Class of 2021
Although Alexander Arutiunian is most regarded for his 1950 Trumpet Concerto, his whole entire career and discography was centered around his Armenian heritage with pieces including The Tale of Armenian People (1960), Ode to Lenin (1967) and Hymn to the Brotherhood (1970). Armenian Scenes for Brass Quintet, alternatively known as Armenian Sketches, was requested by Sam Pilafian, an Armenian tubist from Boston. Each movement portrays a slice in Armenian life with Morning Song, Drinking Song, Song of Grief and Wedding Procession.
In Armenian culture, mornings, which are rooted in Christian values, hold new beginnings and are a way to begin the day while reflecting on the past. Morning Song is not rushed or fast-paced; but instead, it slowly introduces each instrument and carefully balances the melodic lines to each instrument. Regarding death, specific mourning days for the deceased helps mark the soul’s transition to the afterlife. During the 7th day, 40th day, and the 1st year, the family and community support each other, holding grieving ceremonies and caring for the deceased's belongings and loved ones. While it is important to mourn for those who are lost, it is also important to not settle in the past as “death is a passage, not an end.” The Wedding Procession fully symbolizes the Armenian wedding traditions, with dhol drums and zurna flutes (replaced with trumpets) fully announcing the couple’s entrance. Although each instrument enters at different times, every line eventually weaves within each other, becoming interconnected and inseparable. In the end, both families rejoice and celebrate the future prosperity and fortune of the wedded pair.
Cheri Chen, Trumpet, Class of 2025
Composed for the faculty at the Le Mans Conservatorie when he was just 21, Jean Françaix’s Wind Quartet was the first of his eight quartets. Wind quartets were not oftenly composed at the time, but Françaix explained the origins of this quartet as follows: “As the horn tutor who was there at the time was never quite sure what sound would emerge from his instrument – his fame was as a specialist in the art of playing several notes at the same time – I had decided not to ‘rouse the volcano,’ and wrote a quartet without horn which would be less likely to produce disconcerting surprises.” The first movement of this quartet is amusing, light, and silly, with a very strong rhythmic drive and clear dynamic contrast. Françaix thoroughly understood the musical tendencies of each instrument, allowing him to exaggerate the dynamic style of every line, contributing to the overall comical feel of the movement. He makes use of different instrumental ornamentations including the call and response of the opening melodic motive and sudden projection of certain notes and rhythms — especially in the accompaniment. Françaix’s Wind Quartet is amongst one of the most played woodwind quartet repertoire today and continues to bring joy and humor to the world.
Michelle Hsu, Oboe, Class of 2027
Often sported as the national anthem of Northern Ireland, the original Irish folk tune Londonderry Air continues to stand the test of time for its colorful and alluring melody. The history of this tune bounces around from composer to composer with its origin beginning in the county of Londonderry where the original composition, of which the identity of the composer remains unknown, was collected by Jane Ross of Limavady. Ross submitted the tune to music collector George Petirie where it was then edited by Petirie and published in the 1855 book, The Ancient Music of Ireland, by the Society of Preservation and Publication of the Melodies of Ireland. Decades later, piano prodigy turned composer, Percy Grainger, picked up the melody and wrote many arrangements for the folk tune such as for wind band, solo piano, and string orchestra. He dubbed the Londonderry Air the Irish Tune from County Derry cataloged in his British Folk-Music Settings, Grainger was very influential in his contribution to English folk music with him gathering over 300 folk tunes in his life. Now reaching the more famous end of the tunes history, we arrive at most likely the most famous arrangement of the Londonderryair, Danny Boy.
Ace Tecson, Tuba, Class of 2026
“Mozart dropped a new single” — a phrase that spread across the feeds of many musicians and classical music enthusiasts, bringing excitement to the classical world. A formerly unknown piece, titled Serenade in C for two violins and bass, was rediscovered earlier in 2024 in the Leipzig Municipal Libraries in Germany during the process of compiling the latest edition of the Köchel catalog, an exhaustive and authoritative archive of Mozart’s works.
Believed to have been composed between 1766 and 1769, when Mozart was just 10 to 13 years old, the piece is known from a copy made around 1780. It has now been included in the new edition of the catalog as K. 648, under the title Ganz kleine Nachtmusik (“A Very Little Night Music”). The work received its first modern public performance on September 19, 2024, during the presentation of the revised Köchel catalog in Salzburg. Experts at the Mozarteum Salzburg have deemed Mozart’s authorship to be “very likely.”
Since its rediscovery, Ganz kleine Nachtmusik has become an international sensation in the classical music world, with numerous performances and recordings, including three world premiere studio releases by Deutsche Grammophon. While the piece may not represent Mozart’s finest hour, it provides valuable insight into his development as a composer, particularly in his experimentation with uncommon instrumentation for his repertoire and time, drawing on the trio sonata tradition of the late Baroque era.
Tonight, we are proud to present a selection of movements from Ganz kleine Nachtmusik: March, Allegro, Adagio, and Finale.
Ian Clarke is acknowledged as one of the leading player/composers in the flute world. His compositions are performed across the globe and these wide-ranging published works have established themselves as some of the most exciting flute repertoire of today and are being embraced by internationally acclaimed performers, syllabuses, teachers, colleges & students alike.
'Curves' is a title that emerged early on in the creative process inspired by some of the thematic material such as the opening motif. It can be argued that music is best articulated by the experience of listening, similarly it can be said that titles can serve as interesting handles that may carry some useful, perhaps important, orientation or intrigue.
In the first movement the use of quarter-tones across all three flute parts leads to an opening theme that may appear to curve. Interlocking small curves in close harmony lead to what might be felt at times to be a palpable texture and even 'taste. All of this is bound up with emotional states that dialogue with this sort of synaesthesia.
Program Notes by Composer
From authoring college textbooks about the piano to composing a choral series named Essays on Women, Arthur Frackenpohl is a symbol of the idiosyncrasies of the composers of the modern era. A man of great humor, he even composed a cantata of female voices based on a poem called “The Natural Superiority of Men.” His musical endeavours were likely influenced heavily by his famed teachers. His love of music education perhaps stemmed from his mentor Nadia Boulanger, a pioneer and influencer in music education herself. Frackenpohl honed his compositional ability under the tutelage of Darius Milhaud, a prolific composer of the 20th century. The mentorship he gained from his teachers allowed him to find his path: one of both music education and chamber composition.
The first movement of his Pop Suite No. 3 for 4 trombones, “Beguine," draws on the Caribbean dance form, featuring smooth syncopated rhythms and flowing melodies. Frackenpohl blends rich harmonies with a jazz-infused style, skillfully merging classical and popular music elements in this lively opening.
Brian Sun, Clarinet, Class of 2019
Since 1833, composer Robert Schumann had suffered from an acute mental disorder that often drove him to dangerous emotional highs and lows. This instability manifested itself both in his unique musical identity and his choice of instrumentation. After having extensively composed for orchestra, piano, and voice, Schumann transitioned to composing chamber music in 1842. Still overflowing with passionate love for his new wife, Clara Wieck, Schumann spent 1842 composing three string quartets, a piano quintet, a piano trio, and the Piano Quartet in E Flat Major. One of Schumann’s most profound statements of love can be found in the third movement of his piano quartet. The Andante begins in medias res, as if the audience has just walked in on a dialogue already taking place within the ensemble. After a warm cadence sets the mood of the movement, the dialogue transforms into a love duet between the cello and violin. The duet, composed of one lower-pitched “male” voice in the cello and one higher-pitched “female” voice in the violin, can be interpreted as a heartfelt scene between Robert and Clara.
The luscious Romantic-era melody that pervades the movement features achingly beautiful leaps, especially sevenths and octaves. The seventh, a relatively dissonant interval, evokes feelings of uneasiness and even longing; this builds tension in the melody and prolongs the resolution. Meanwhile, the octave — the most consonant interval — serves as part of an elegant descending scale, floating downwards with the gracefulness of a feather.
After the piano and viola interlude in the middle section, the duet returns; however, the viola serves as the “male” voice. The cello, having tuned its lowest string to a B flat (one whole step below the typical C), then whispers the theme one last time before entering the coda. In the last moments of the piece, Schumann transports listeners to a delicate state of being in which time and space have seemingly frozen: the cello’s low pedal point, the ensemble’s pianissimo dynamic, and the absence of the emotive, lyrical material that characterized the movement shift the mood completely. Devoid of conflict, the coda uses contrary motion in the strings and piano to depict a final playful exchange between the two voices before the movement concludes with a wistful echo.
In this movement, Schumann’s depiction of love is uniquely tender. It is not “heroic” like the love that later Romantic composers such as Wagner would write into their operas. The love Schumann conveys in this piece represents a reserved, sentimental side of his affection. While his mental disorder could radically alter his psychological condition at a moment’s notice, the composer’s intimate love for his wife would always remain constant.
Brian Slack, Double Bass, Class of 2020
Alongside his Octet for Strings in E Flat Major, Felix Mendelssohn’s energetic and lyrical Piano Trio No.1 in D Minor is one of his most popular pieces of chamber music. The first movement, Molto allegro ed agitato, opens with a passionate melody in the cello accompanied by the piano. After a few measures, the violin joins in with a variation of the melody and the trio proceeds to develop the theme, intermingling beautiful harmonies with each other and making the movement more exciting as it progresses in sonata form. Although the piano carries much of the lyrical tones in this piece and dominates throughout, it was not originally composed that way. Mendelssohn was an excellent composer for piano compositions, as showcased in his piano concertos, but he was told by his friend and also successful pianist Ferdinand Hiller that the piano part in this trio wasn’t brilliant enough. Though nobody knows what would have happened if the original manuscript was published, the revised version is what everyone has come to know and love.
Emily Yang, Violin, Class of 2020
As one of the most dominant American composers, Aaron Copland’s Appalachian Spring, which became one of the most iconic and beloved works of the 20th century, capturing the rural and pastoral life of early America. Originally composed as a ballet for the esteemed choreographer Martha Graham, it was later arranged into an orchestral suite. The ballet was extremely well received at the 1944 premiere, even awarding Copland the Pulitzer Prize for Music in 1945. Copland’s distinctive ability to blend folk elements with modern musical language creates a soundscape that has come to define the American spirit in music.
The work opens in a sparse, atmospheric passage, illustrating the dawning of a new day and the open landscape of rural America, but the subtle dissonances foreshadow danger on the horizon. The calmness is then interrupted by an animated section with a boisterous violin melody. Later in the piece, we hear the heart of the piece, a particularly well-known Shaker song titled “Tis the gift to Be Simple”, though it’s often referred to as “Simple Gifts.” The variations on this theme reflect the simplicity and humility of Shaker’s life, as well as the universal themes of grace and giving thanks. The suite concludes with a still and reflective coda, reminiscent of the opening, suggesting a sense of resolution and the ongoing, cycling nature of life.
Copland’s ability to capture the essence of an idealized American life continues to ignite audiences, making Appalachian Spring an adored work in classic repertoire.
Nicole Lin, Violin, Class of 2027
I. Very slowly. Introduction of the characters, one by one, in a suffused light.
II. Fast. Sudden burst of unison strings in A Major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
III. Moderate. Duo for the Bride and her Intended — scene of tenderness and passion.
IV. Quite fast. The Revivalist and his flock. Folksy feeling — suggestions of square dances and country fiddlers.
V. Still faster. Solo dance of the Bride — presentiment of motherhood. Extremes of joy and fear and wonder.
VI. Very slowly (as at first). Transition scene to music reminiscent of the introduction.
VII. Calm and flowing. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by author Edward D. Andrews, and published under the title “The Gift to Be Simple.” The melody most borrowed and used almost literally is called “Simple Gifts.”
VIII. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed prayer-like chorale passage. The close is reminiscent of the opening music.
‘Tis the gift to be simple”
'Tis the gift to be simple, 'tis the gift to be free
'Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
'Twill be in the valley of love and delight.
When true simplicity is gained,
To bow and to bend we shan’t be ashamed,
To turn, turn will be our delight,
Till by turning, turning we come 'round right.
Each movement of Musica Ricercata contains its own structural world, harboring hidden complexities in every musical corner. The first movement opens with a short, jaunty tune that playfully outlines C Major and C minor chords. The following more somber movement is built around six pitches, featuring flowing, dreamlike melodies that are interrupted by sharp dissonances. The milder third movement features a lyrical melody introduced by the flute, which sits atop a seven-note ostinato led by the bassoon. The fourth movement opens on a harsh dissonance, suddenly breaking the calm of the previous movement with octaves on D and E; then, the piece launches into a lively dance-like melody in 7/8 that structures the rest of the movement.
Hannah Zhong, Oboe, Class of 2021
Although Alexander Arutiunian is most regarded for his 1950 Trumpet Concerto, his whole entire career and discography was centered around his Armenian heritage with pieces including The Tale of Armenian People (1960), Ode to Lenin (1967) and Hymn to the Brotherhood (1970). Armenian Scenes for Brass Quintet, alternatively known as Armenian Sketches, was requested by Sam Pilafian, an Armenian tubist from Boston. Each movement portrays a slice in Armenian life with Morning Song, Drinking Song, Song of Grief and Wedding Procession.
In Armenian culture, mornings, which are rooted in Christian values, hold new beginnings and are a way to begin the day while reflecting on the past. Morning Song is not rushed or fast-paced; but instead, it slowly introduces each instrument and carefully balances the melodic lines to each instrument. Regarding death, specific mourning days for the deceased helps mark the soul’s transition to the afterlife. During the 7th day, 40th day, and the 1st year, the family and community support each other, holding grieving ceremonies and caring for the deceased's belongings and loved ones. While it is important to mourn for those who are lost, it is also important to not settle in the past as “death is a passage, not an end.” The Wedding Procession fully symbolizes the Armenian wedding traditions, with dhol drums and zurna flutes (replaced with trumpets) fully announcing the couple’s entrance. Although each instrument enters at different times, every line eventually weaves within each other, becoming interconnected and inseparable. In the end, both families rejoice and celebrate the future prosperity and fortune of the wedded pair.
Cheri Chen, Trumpet, Class of 2025
Composed for the faculty at the Le Mans Conservatorie when he was just 21, Jean Françaix’s Wind Quartet was the first of his eight quartets. Wind quartets were not oftenly composed at the time, but Françaix explained the origins of this quartet as follows: “As the horn tutor who was there at the time was never quite sure what sound would emerge from his instrument – his fame was as a specialist in the art of playing several notes at the same time – I had decided not to ‘rouse the volcano,’ and wrote a quartet without horn which would be less likely to produce disconcerting surprises.” The first movement of this quartet is amusing, light, and silly, with a very strong rhythmic drive and clear dynamic contrast. Françaix thoroughly understood the musical tendencies of each instrument, allowing him to exaggerate the dynamic style of every line, contributing to the overall comical feel of the movement. He makes use of different instrumental ornamentations including the call and response of the opening melodic motive and sudden projection of certain notes and rhythms — especially in the accompaniment. Françaix’s Wind Quartet is amongst one of the most played woodwind quartet repertoire today and continues to bring joy and humor to the world.
Michelle Hsu, Oboe, Class of 2027
Often sported as the national anthem of Northern Ireland, the original Irish folk tune Londonderry Air continues to stand the test of time for its colorful and alluring melody. The history of this tune bounces around from composer to composer with its origin beginning in the county of Londonderry where the original composition, of which the identity of the composer remains unknown, was collected by Jane Ross of Limavady. Ross submitted the tune to music collector George Petirie where it was then edited by Petirie and published in the 1855 book, The Ancient Music of Ireland, by the Society of Preservation and Publication of the Melodies of Ireland. Decades later, piano prodigy turned composer, Percy Grainger, picked up the melody and wrote many arrangements for the folk tune such as for wind band, solo piano, and string orchestra. He dubbed the Londonderry Air the Irish Tune from County Derry cataloged in his British Folk-Music Settings, Grainger was very influential in his contribution to English folk music with him gathering over 300 folk tunes in his life. Now reaching the more famous end of the tunes history, we arrive at most likely the most famous arrangement of the Londonderryair, Danny Boy.
Ace Tecson, Tuba, Class of 2026
“Mozart dropped a new single” — a phrase that spread across the feeds of many musicians and classical music enthusiasts, bringing excitement to the classical world. A formerly unknown piece, titled Serenade in C for two violins and bass, was rediscovered earlier in 2024 in the Leipzig Municipal Libraries in Germany during the process of compiling the latest edition of the Köchel catalog, an exhaustive and authoritative archive of Mozart’s works.
Believed to have been composed between 1766 and 1769, when Mozart was just 10 to 13 years old, the piece is known from a copy made around 1780. It has now been included in the new edition of the catalog as K. 648, under the title Ganz kleine Nachtmusik (“A Very Little Night Music”). The work received its first modern public performance on September 19, 2024, during the presentation of the revised Köchel catalog in Salzburg. Experts at the Mozarteum Salzburg have deemed Mozart’s authorship to be “very likely.”
Since its rediscovery, Ganz kleine Nachtmusik has become an international sensation in the classical music world, with numerous performances and recordings, including three world premiere studio releases by Deutsche Grammophon. While the piece may not represent Mozart’s finest hour, it provides valuable insight into his development as a composer, particularly in his experimentation with uncommon instrumentation for his repertoire and time, drawing on the trio sonata tradition of the late Baroque era.
Tonight, we are proud to present a selection of movements from Ganz kleine Nachtmusik: March, Allegro, Adagio, and Finale.
Ian Clarke is acknowledged as one of the leading player/composers in the flute world. His compositions are performed across the globe and these wide-ranging published works have established themselves as some of the most exciting flute repertoire of today and are being embraced by internationally acclaimed performers, syllabuses, teachers, colleges & students alike.
'Curves' is a title that emerged early on in the creative process inspired by some of the thematic material such as the opening motif. It can be argued that music is best articulated by the experience of listening, similarly it can be said that titles can serve as interesting handles that may carry some useful, perhaps important, orientation or intrigue.
In the first movement the use of quarter-tones across all three flute parts leads to an opening theme that may appear to curve. Interlocking small curves in close harmony lead to what might be felt at times to be a palpable texture and even 'taste. All of this is bound up with emotional states that dialogue with this sort of synaesthesia.
Program Notes by Composer
From authoring college textbooks about the piano to composing a choral series named Essays on Women, Arthur Frackenpohl is a symbol of the idiosyncrasies of the composers of the modern era. A man of great humor, he even composed a cantata of female voices based on a poem called “The Natural Superiority of Men.” His musical endeavours were likely influenced heavily by his famed teachers. His love of music education perhaps stemmed from his mentor Nadia Boulanger, a pioneer and influencer in music education herself. Frackenpohl honed his compositional ability under the tutelage of Darius Milhaud, a prolific composer of the 20th century. The mentorship he gained from his teachers allowed him to find his path: one of both music education and chamber composition.
The first movement of his Pop Suite No. 3 for 4 trombones, “Beguine," draws on the Caribbean dance form, featuring smooth syncopated rhythms and flowing melodies. Frackenpohl blends rich harmonies with a jazz-infused style, skillfully merging classical and popular music elements in this lively opening.
Brian Sun, Clarinet, Class of 2019
Since 1833, composer Robert Schumann had suffered from an acute mental disorder that often drove him to dangerous emotional highs and lows. This instability manifested itself both in his unique musical identity and his choice of instrumentation. After having extensively composed for orchestra, piano, and voice, Schumann transitioned to composing chamber music in 1842. Still overflowing with passionate love for his new wife, Clara Wieck, Schumann spent 1842 composing three string quartets, a piano quintet, a piano trio, and the Piano Quartet in E Flat Major. One of Schumann’s most profound statements of love can be found in the third movement of his piano quartet. The Andante begins in medias res, as if the audience has just walked in on a dialogue already taking place within the ensemble. After a warm cadence sets the mood of the movement, the dialogue transforms into a love duet between the cello and violin. The duet, composed of one lower-pitched “male” voice in the cello and one higher-pitched “female” voice in the violin, can be interpreted as a heartfelt scene between Robert and Clara.
The luscious Romantic-era melody that pervades the movement features achingly beautiful leaps, especially sevenths and octaves. The seventh, a relatively dissonant interval, evokes feelings of uneasiness and even longing; this builds tension in the melody and prolongs the resolution. Meanwhile, the octave — the most consonant interval — serves as part of an elegant descending scale, floating downwards with the gracefulness of a feather.
After the piano and viola interlude in the middle section, the duet returns; however, the viola serves as the “male” voice. The cello, having tuned its lowest string to a B flat (one whole step below the typical C), then whispers the theme one last time before entering the coda. In the last moments of the piece, Schumann transports listeners to a delicate state of being in which time and space have seemingly frozen: the cello’s low pedal point, the ensemble’s pianissimo dynamic, and the absence of the emotive, lyrical material that characterized the movement shift the mood completely. Devoid of conflict, the coda uses contrary motion in the strings and piano to depict a final playful exchange between the two voices before the movement concludes with a wistful echo.
In this movement, Schumann’s depiction of love is uniquely tender. It is not “heroic” like the love that later Romantic composers such as Wagner would write into their operas. The love Schumann conveys in this piece represents a reserved, sentimental side of his affection. While his mental disorder could radically alter his psychological condition at a moment’s notice, the composer’s intimate love for his wife would always remain constant.
Brian Slack, Double Bass, Class of 2020
Alongside his Octet for Strings in E Flat Major, Felix Mendelssohn’s energetic and lyrical Piano Trio No.1 in D Minor is one of his most popular pieces of chamber music. The first movement, Molto allegro ed agitato, opens with a passionate melody in the cello accompanied by the piano. After a few measures, the violin joins in with a variation of the melody and the trio proceeds to develop the theme, intermingling beautiful harmonies with each other and making the movement more exciting as it progresses in sonata form. Although the piano carries much of the lyrical tones in this piece and dominates throughout, it was not originally composed that way. Mendelssohn was an excellent composer for piano compositions, as showcased in his piano concertos, but he was told by his friend and also successful pianist Ferdinand Hiller that the piano part in this trio wasn’t brilliant enough. Though nobody knows what would have happened if the original manuscript was published, the revised version is what everyone has come to know and love.
Emily Yang, Violin, Class of 2020
As one of the most dominant American composers, Aaron Copland’s Appalachian Spring, which became one of the most iconic and beloved works of the 20th century, capturing the rural and pastoral life of early America. Originally composed as a ballet for the esteemed choreographer Martha Graham, it was later arranged into an orchestral suite. The ballet was extremely well received at the 1944 premiere, even awarding Copland the Pulitzer Prize for Music in 1945. Copland’s distinctive ability to blend folk elements with modern musical language creates a soundscape that has come to define the American spirit in music.
The work opens in a sparse, atmospheric passage, illustrating the dawning of a new day and the open landscape of rural America, but the subtle dissonances foreshadow danger on the horizon. The calmness is then interrupted by an animated section with a boisterous violin melody. Later in the piece, we hear the heart of the piece, a particularly well-known Shaker song titled “Tis the gift to Be Simple”, though it’s often referred to as “Simple Gifts.” The variations on this theme reflect the simplicity and humility of Shaker’s life, as well as the universal themes of grace and giving thanks. The suite concludes with a still and reflective coda, reminiscent of the opening, suggesting a sense of resolution and the ongoing, cycling nature of life.
Copland’s ability to capture the essence of an idealized American life continues to ignite audiences, making Appalachian Spring an adored work in classic repertoire.
Nicole Lin, Violin, Class of 2027
I. Very slowly. Introduction of the characters, one by one, in a suffused light.
II. Fast. Sudden burst of unison strings in A Major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
III. Moderate. Duo for the Bride and her Intended — scene of tenderness and passion.
IV. Quite fast. The Revivalist and his flock. Folksy feeling — suggestions of square dances and country fiddlers.
V. Still faster. Solo dance of the Bride — presentiment of motherhood. Extremes of joy and fear and wonder.
VI. Very slowly (as at first). Transition scene to music reminiscent of the introduction.
VII. Calm and flowing. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by author Edward D. Andrews, and published under the title “The Gift to Be Simple.” The melody most borrowed and used almost literally is called “Simple Gifts.”
VIII. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed prayer-like chorale passage. The close is reminiscent of the opening music.
‘Tis the gift to be simple”
'Tis the gift to be simple, 'tis the gift to be free
'Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
'Twill be in the valley of love and delight.
When true simplicity is gained,
To bow and to bend we shan’t be ashamed,
To turn, turn will be our delight,
Till by turning, turning we come 'round right.