Wednesday, December 11, 2024
7:00 pm
The Christmas Brass Spirit (2010)
Marc Papeghin (1985-
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Karlin Rhees, French Horn
Kenneth Gong, Trombone
Mila Valerio, Trombone
Jerry Xu, Trombone
David Li, Trombone
Camren Molina, Trombone
Jayden Xu, Trombone
Ryan Kim, Bass Trombone
Audrey Ly, Euphonium
Kaylee Yun, Euphonium
Kenneth Jin, Euphonium
Ace Tecson, Tuba
Deh vieni, non tardar
from Le Nozze di Figaro (1786)
Wolfgang Amadeus Mozart (1756-1791)
Grace Shiroishi, Soprano
Angela Wang, Flute
Jesse Hu, Oboe
Jay Xu, Bassoon
Joshua & Joel Kim, Violin
Eireen Lu, Viola
Eric Wang, Cello
Brian Slack, Double Bass
Quartet, Op. 53 (1857)
Jean-Baptise Singelée (1812-1875)
I. Andante - Allegro
Aydin Miller, Soprano Saxophone
Owen Huang, Alto Saxophone
Albus Shih, Tenor Saxophone
Andrew Garrigue, Baritone Saxophone
Trois Piêces (1979)
Eugène Bozza (1905-1991)
I. Tres modere (souple)
III. Allegro
Angela Wang, Flute
Sophie Dong, Flute
Lily Zhang, Flute
Sophia Zhou, Flute
String Quartet in A Minor, Op. 13 (1827)
Felix Mendelssohn (1809-1847)
I. Adagio – Allegro vivace
Jonathan Lan, Violin
Joshua Kim, Violin
Jaelynn Au, Viola
Eric Wang, Cello
String Quartet No. 20 in D Major
Op. 17 No. 6, Hob.III:30 (1771)
Joseph Haydn (1732-1809)
IV. Presto
Joseph Kim, Violin
Joel Kim, Violin**
Eireen Lu, Viola
Ethan Wong, Cello
Mladi “Youth” (1924)
Leoš Janáček (1854-1928)
IV. Allegro animato
Joseph Yoo, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Tommy Liu, Bass Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
String Quartet in F minor, Op. 80 (1847)
Felix Mendelssohn (1809-1847)
I. Allegro Vivace Assai
Nicole Lin, Violin
Joseph Kim, Violin
Eireen Lu, Viola
Eric Wang, Cello
Concerto Grosso in G Minor
Op. 6 no. 8 “Christmas Concerto” (1690)
Arcangelo Corelli (1653-1713)
III. Adagio – Allegro – Adagio
V. Allegro
VI. Largo. Pastorale ad libitum
Concertato
Joshua Kim, Violin I
Angela Chen, Violin II
Eric Wang, Cello
Ripieno
Joel Kim, Aston Kim & Johnny Lan, Violin I
Nicole Lin, Joseph Kim & Andre Chang, Violin II
Sean Yeh, Eireen Lu & Jaelynn Au, Viola
Ethan Wong & Joshua Jung, Cello
Brian Slack, Double Bass*
Joseph Yoo, Harpsichord
* Guest Artist Alumni
** Student Coach
Marc Papeghin (1985-
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Karlin Rhees, French Horn
Kenneth Gong, Trombone
Mila Valerio, Trombone
Jerry Xu, Trombone
David Li, Trombone
Camren Molina, Trombone
Jayden Xu, Trombone
Ryan Kim, Bass Trombone
Audrey Ly, Euphonium
Kaylee Yun, Euphonium
Kenneth Jin, Euphonium
Ace Tecson, Tuba
Deh vieni, non tardar
from Le Nozze di Figaro (1786)
Wolfgang Amadeus Mozart (1756-1791)
Grace Shiroishi, Soprano
Angela Wang, Flute
Jesse Hu, Oboe
Jay Xu, Bassoon
Joshua & Joel Kim, Violin
Eireen Lu, Viola
Eric Wang, Cello
Brian Slack, Double Bass
Quartet, Op. 53 (1857)
Jean-Baptise Singelée (1812-1875)
I. Andante - Allegro
Aydin Miller, Soprano Saxophone
Owen Huang, Alto Saxophone
Albus Shih, Tenor Saxophone
Andrew Garrigue, Baritone Saxophone
Trois Piêces (1979)
Eugène Bozza (1905-1991)
I. Tres modere (souple)
III. Allegro
Angela Wang, Flute
Sophie Dong, Flute
Lily Zhang, Flute
Sophia Zhou, Flute
String Quartet in A Minor, Op. 13 (1827)
Felix Mendelssohn (1809-1847)
I. Adagio – Allegro vivace
Jonathan Lan, Violin
Joshua Kim, Violin
Jaelynn Au, Viola
Eric Wang, Cello
String Quartet No. 20 in D Major
Op. 17 No. 6, Hob.III:30 (1771)
Joseph Haydn (1732-1809)
IV. Presto
Joseph Kim, Violin
Joel Kim, Violin**
Eireen Lu, Viola
Ethan Wong, Cello
Mladi “Youth” (1924)
Leoš Janáček (1854-1928)
IV. Allegro animato
Joseph Yoo, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Tommy Liu, Bass Clarinet
Jay Xu, Bassoon
Karlin Rhees, French Horn
String Quartet in F minor, Op. 80 (1847)
Felix Mendelssohn (1809-1847)
I. Allegro Vivace Assai
Nicole Lin, Violin
Joseph Kim, Violin
Eireen Lu, Viola
Eric Wang, Cello
Concerto Grosso in G Minor
Op. 6 no. 8 “Christmas Concerto” (1690)
Arcangelo Corelli (1653-1713)
III. Adagio – Allegro – Adagio
V. Allegro
VI. Largo. Pastorale ad libitum
Concertato
Joshua Kim, Violin I
Angela Chen, Violin II
Eric Wang, Cello
Ripieno
Joel Kim, Aston Kim & Johnny Lan, Violin I
Nicole Lin, Joseph Kim & Andre Chang, Violin II
Sean Yeh, Eireen Lu & Jaelynn Au, Viola
Ethan Wong & Joshua Jung, Cello
Brian Slack, Double Bass*
Joseph Yoo, Harpsichord
* Guest Artist Alumni
** Student Coach
Program Notes
Written by Wolfgang Amadeus Mozart, the Marriage of Figaro is one of the most influential operas. Premiered in Vienna in 1786, this opera was based on the controversial play “La folle journée, ou le Mariage de Figaro” which includes themes of class conflict and servants rebelling against their masters. The Marriage of Figaro received only moderate success at the time and was censored due to the harsh themes involved with the opera.
Tonight, you will be hearing the aria Deh Vieni non Tardar, which is in Act Four of the opera. Deh Vieni non Tardar translates as “Oh, Come, Do Not Delay” and tells the story of Susanna, the maid of the Countess, singing supposedly to the Count while disguised as the Countess in the garden. The Countess and Susanna try to expose the Count for his inappropriate behavior by dressing as each other to trick him. Susanna sings this aria intending to manipulate Figaro because she knows he is listening nearby. Susanna, knowing Figaro is aware of their true identities, deceives him into thinking she’s singing about the Count rather than him. Mozart embeds within the piece a perfect mix of longing and mischief to enhance the irony and sweetness of the situation.
Grace Shiroishi, Voice, Class of 2025
Tonight, you will be hearing the aria Deh Vieni non Tardar, which is in Act Four of the opera. Deh Vieni non Tardar translates as “Oh, Come, Do Not Delay” and tells the story of Susanna, the maid of the Countess, singing supposedly to the Count while disguised as the Countess in the garden. The Countess and Susanna try to expose the Count for his inappropriate behavior by dressing as each other to trick him. Susanna sings this aria intending to manipulate Figaro because she knows he is listening nearby. Susanna, knowing Figaro is aware of their true identities, deceives him into thinking she’s singing about the Count rather than him. Mozart embeds within the piece a perfect mix of longing and mischief to enhance the irony and sweetness of the situation.
Grace Shiroishi, Voice, Class of 2025
|
Deh, vieni, non tardar Recitative:
Giunse alfin il momento che godrò senz’affano in braccio all’idol mio. Timide cure, uscite dal mio petto, a turbar non venite il mio diletto! Oh come par che all’amoroso foco l’amenità del loco, la terra e il ciel risponda, come la notte i furti miei seconda! Aria: Deh, vieni, non tardar, o gioia bella, vieni ove amore per goder t’appella, finché non splende in ciel notturna face, finché l’aria è ancor bruna e il mondo tace. Qui mormora il ruscel, qui scherza l’aura, che col dolce susurro il corri staura. Qui ridono i fioretti e l’erba è fresca, ai piaceri d’amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose. Vieni, vieni! Ti vo’ la fronte incoronar di rose. |
Ah, come, do not delay Recitative:
The moment has arrived at last that I will enjoy without worry in the arms of my beloved. Timid worries, get out of my heart, do not come to disturb my pleasure! Oh how the spirit of this place, the earth and the sky, seem to echo the fire of love! How the night furthers my secrecy! Aria: Ah, come! Do not delay, my handsome lover, come where love calls you to enjoyment, before the moon rises, while the air is still dark and the world is quiet. The stream murmurs here, the breeze plays here, which the heart restores with sweet whispering. Here the little flowers laugh and the grass is cool, here everything entices you to the pleasures of love. Come, my dearest, among the trees’ shelter. Come, come! I want to crown you with roses. |
Jean-Baptiste Singelee’s Premier Quatuor may very well be the first piece ever composed for saxophone quartet. Singelee was a Belgian composer born in Brussels, who studied at the Royal School of Music, playing in the Royal Theatre of La Monnaie as their violin soloist and also directing orchestras in Ghent. Being close friends with the creator of the saxophone, Adolphe Sax, he was among the first to treat the saxophone as a significant classical instrument, leading to him encouraging Sax to develop the four main members of the saxophone family. The first movement of Premier Quatuor starts with a long sigh in the Andante, and then moves into a playful Allegro section that highlights each saxophone by trading motifs and bringing each instrument out soloistically. The Andante section emanates a sense of melancholy, contrasting with the Allegro section, which can be perceived as having a more jovial feeling. In this day and age, due to the saxophone’s immense impact within the jazz community, Premier Quatuor is one considered one of the more “classical” pieces composed for it, making it quite an exceptional work.
Albus Shih, Tenor Saxophone, Class of 2027
Eugène Bozza’s Trois Pièces pour Quatre Flûtes en Ut is a captivating exploration of texture and color in the flute family. Published in 1979, Bozza’s work showcases his fondness for lighter, playful melodies while also demonstrating his interest in dynamic and harmonic contrast. The first movement, Très Modéré, is presented by its lyrical beauty and gentle character. In this movement, Bozza uses the four flutes to explore a wide range of sounds, with each flute taking turns in both melodic and supporting roles. The slower pace gives the music a calm, reflective feel.
The third movement, Allegro, brings a big shift in mood, moving to a more lively and energetic character. Here, rhythms start picking up speed, and the flutes have quick exchanges that evoke a playful, conversational feel. The flutes often interact in dialogue, picking up and finishing each other’s melodic sequences, with the movement ending in a bright unison of theme.
Both movements in Trois Pièces illustrate Bozza’s expertise in drawing out unique sounds and colors of the flute. From the peaceful, reflective first movement to the vivid third movement, Bozza creates a contrast of mood that keeps the music engaging. Throughout the piece, he blends elegance with excitement, offering both performers and listeners a dynamic experience.
Sophia Zhou, Flute, Class of 2027
With his immense impact on the structure and form of the ensemble, Joseph Haydn is widely recognized as the “Father of the String Quartet.” Having composed 68 string quartets in his lifetime without compromising their quality, Haydn embraced the classical style while constructing each piece to be unique and established a standardized form to this ensemble that was followed by generations of composers after him. Of these quartets, Haydn’s String Quartet No. 20 was composed as part of his Opus 17 quartets during a time that many attribute to his maturity as a composer. Similar to the Opus 9 and Opus 20 string quartets written in the same time period, Haydn’s Opus 17 quartets were full of experimentation and demonstrate his growing perception that all four voices in the ensemble are intertwined as equals.
The fourth movement, Presto, of Haydn’s String Quartet No. 20 further indicates his ventures. It begins with a delightful theme in the violins that is passed on in variations throughout the movement, setting the animated and lighthearted character. However, Haydn curiously includes phrases that are folksy or gipsy-like, adding to the unique flairs in the piece. With another surprising turn, the resolution of the movement is not a dramatic finale, but rather a delicate recession of a two-note theme.
Eireen Lu, Viola, Class of 2026
For Felix Mendelssohn, music always carried more meaning than words. Mendelssohn’s passionate belief in the communicative power of music can be traced back to his teenage years: it began with a simple lied, art song, titled “Frage,” German for “Question.” The song poses teasingly romantic questions seemingly directed at an anonymous lover of the eighteen-year-old composer. But composing just one lied wasn’t enough — Mendelssohn was so enamored with his lover that he composed an entire string quartet centered around the theme from “Frage.”
This String Quartet No. 2 in A Minor is among Mendelssohn’s first attempts to communicate his feelings through music. The rich, warm opening of the first movement confidently states what Mendelssohn truly meant to say with the three-note motif from “Frage.” The remainder of the movement descends into a minor key, with quick, rising themes boiling over in a tumultuous storm. This romantic conflict is juxtaposed with moments of lyrical respite, musically illustrating the instability of juvenile love.
However, the composition has more depth than just its programmatic elements. The string quartet was also published the year that iconic composer Beethoven died. Beethoven’s death drew attention to his final compositions, among them were a number of string quartets. While many musicians were perplexed by them, Mendelssohn appreciated their innovative romanticism. Echoes of Beethoven’s last chamber works can be heard in the slow, introspective introduction of the Adagio, the contrapuntal themes in the Allegro Vivace, and the three-note motif that appears throughout the work.
Many scholars would say that the String Quartet No. 2 was Mendelssohn’s first mature string quartet, achieved through his study of the late Beethoven quartets, Mendelssohn’s own compositional talents, and the catalyst of romantic infatuation. The String Quartet No. 2 stands as a testament to Mendelssohn’s belief that “What the music I love expresses to me, is not thought too indefinite to put into words, but on the contrary, too definite.”
Brian Slack, Double Bass, Class of 2020
Despite being brought to fame at the age of 62 with the debut of his opera Jenůfa, Janáček’s later compositions were intended to be anything but reflective of his maturity. Mládí (youth) is a lively and vivacious work that perfectly encapsulates this eponymously youthful composition style that flourished in his later years.
Though primarily specializing in piano and vocal composition at the time of Mládí’s composition, Janaček was inspired by Albert Roussel’s Divertimento for Wind Quintet and Piano to experiment with a small ensemble format. The piece took its first form as March of the Blue-Boys, a duet for piccolo and piano, created through direct reminiscence of his childhood experiences at the Old Brno Monastery. This early “draft” served as not only the main melody of the third movement of Mládí but the underlying tones of youth, reminiscence, and nostalgia that the piece served to represent.
The addition of the bass clarinet to the more mainstream wind quintet arrangement darkens the color of the group and lends greatly to allocating another instrument to the various ostinatos found throughout the piece. This is highlighted prominently in the fourth movement, as a line of continuous sixteenth notes is passed between every single instrument during the faster sections of the piece. The ostinato is used to create quick mood and tempo changes that serve to symbolize the spontaneity of youth.
Jesse Hu, Oboe, Class of 2026
Though the Romantic composer Felix Mendelssohn is known for writing music that tends to be emotionally reserved — as expected of someone born into the upper class — his String Quartet in F Minor No. 6, Op. 80 carries a sense of anguish and pain that heavily contrasts with his previous works. This sudden change is often attributed by music historians to the death of his elder sister, Fanny, whose death Mendelssohn learned of after returning home from Leipzig. In honor of his sister, he titled this composition “Requiem for Fanny.” The quartet was first performed in private on October 5 in the presence of, Ignaz Moscheles, a fellow composer and one of his closest colleagues. The first live performance would not happen until a little after a year later on November 4, 1848 with his protégé, Joseph Joachim, playing on the violin. Due to his sister’s death, Mendelssohn began to suffer from depression and strokes starting in late, October 1847, and died a few weeks later on November 4,1847, less than six months after Fanny’s death. It is assumed that he died from grief, which is so strongly expressed in this piece, which would become his final major, composition.
Perry Nguyen, Double Bass, Class of 2021
When the Nazis invaded the Soviet Union in 1941, Prokofiev and several other composers, intellectuals, and officials relocated from Moscow to the city of Nalchik, the capital of the Kabardian Region of the Soviet Union. There, he was exposed to a plethora of Kabardian-style folk music and was encouraged by local government officials to write quartet music based on what he heard. With this new and fresh material and content in mind, Prokofiev began to work on his Second String Quartet, finishing the score in about a month. He was able to take the folk melodies and rhythms and combine them with his own unique themes and musical taste, thus showing his originality in this folk-inspired piece of music.
The quartet premiered in 1942, when the Beethoven Quartet performed it in Moscow. Prokofiev himself deemed it a “turbulent success.” There was initially going to be another performance later that year; however, it was delayed by a Nazi air raid and thus started later than expected.
It is already evident enough that the very beginning of the first, movement and the entire piece for that matter, is full of the folksy themes Prokofiev heard. The first violin starts it off with a very rustic theme that is also rather dark and tumultuous at the same time. This represents a bold and jaunty march on Kabardian folk themes that were, according to musician and writer Melvin Berger, a combination of “childlike naivete with menacing, belligerence.” It would also explain the marcato and the piu pesante markings that appear throughout the course of the first movement. In fact, this movement is full of such spirit and energy that it contains the sound of a full-bodied quartet at work. It is written in sonata form as it contains a bold exposition, a daring and suspenseful development, and a clear recapitulation. When listening, one should expect to hear Prokofiev trying to imitate the percussive and plucking sounds of the traditional Kabardian instruments, as well as feel the dance vibes of the Kabardian folk style.,
Ethan Yang, Violin, Class of 2023
One of Arcangelo Corelli’s most well-known works, the “Christmas Concerto” was first published posthumously in 1714 by Corelli’s pupil Matteo Fornari, to whom he had entrusted his sixth opus to three days before he died due to poor health. Its exact composition date remains unclear, but there has been documentation of Corelli having performed a Christmas Concerto for his patron, Cardinal Pietro Ottoboni, in 1690. The piece as a whole is a stunning example of a sonata da chiesa, with a seemingly ordinary slow-fast-slow-fast organization. Corelli adds a surprising twist, adding a fifth movement to the usual four: Pastorale ad libitum. The third movement in particular is another instance of Corelli’s deviation from the standard sonata da chiesa form, Adagio - Allegro - Adagio breaks away from the traditional slow-fast-slow-fast movement pattern with a series of lively sixteenth note figures unexpectedly emerging from the slow suspense of the Adagio. The remarkable contrast in mood that characterizes the work is one of the many reasons the piece is frequently performed to this day.
Karen Peng, Flute, Class of 2021
Albus Shih, Tenor Saxophone, Class of 2027
Eugène Bozza’s Trois Pièces pour Quatre Flûtes en Ut is a captivating exploration of texture and color in the flute family. Published in 1979, Bozza’s work showcases his fondness for lighter, playful melodies while also demonstrating his interest in dynamic and harmonic contrast. The first movement, Très Modéré, is presented by its lyrical beauty and gentle character. In this movement, Bozza uses the four flutes to explore a wide range of sounds, with each flute taking turns in both melodic and supporting roles. The slower pace gives the music a calm, reflective feel.
The third movement, Allegro, brings a big shift in mood, moving to a more lively and energetic character. Here, rhythms start picking up speed, and the flutes have quick exchanges that evoke a playful, conversational feel. The flutes often interact in dialogue, picking up and finishing each other’s melodic sequences, with the movement ending in a bright unison of theme.
Both movements in Trois Pièces illustrate Bozza’s expertise in drawing out unique sounds and colors of the flute. From the peaceful, reflective first movement to the vivid third movement, Bozza creates a contrast of mood that keeps the music engaging. Throughout the piece, he blends elegance with excitement, offering both performers and listeners a dynamic experience.
Sophia Zhou, Flute, Class of 2027
With his immense impact on the structure and form of the ensemble, Joseph Haydn is widely recognized as the “Father of the String Quartet.” Having composed 68 string quartets in his lifetime without compromising their quality, Haydn embraced the classical style while constructing each piece to be unique and established a standardized form to this ensemble that was followed by generations of composers after him. Of these quartets, Haydn’s String Quartet No. 20 was composed as part of his Opus 17 quartets during a time that many attribute to his maturity as a composer. Similar to the Opus 9 and Opus 20 string quartets written in the same time period, Haydn’s Opus 17 quartets were full of experimentation and demonstrate his growing perception that all four voices in the ensemble are intertwined as equals.
The fourth movement, Presto, of Haydn’s String Quartet No. 20 further indicates his ventures. It begins with a delightful theme in the violins that is passed on in variations throughout the movement, setting the animated and lighthearted character. However, Haydn curiously includes phrases that are folksy or gipsy-like, adding to the unique flairs in the piece. With another surprising turn, the resolution of the movement is not a dramatic finale, but rather a delicate recession of a two-note theme.
Eireen Lu, Viola, Class of 2026
For Felix Mendelssohn, music always carried more meaning than words. Mendelssohn’s passionate belief in the communicative power of music can be traced back to his teenage years: it began with a simple lied, art song, titled “Frage,” German for “Question.” The song poses teasingly romantic questions seemingly directed at an anonymous lover of the eighteen-year-old composer. But composing just one lied wasn’t enough — Mendelssohn was so enamored with his lover that he composed an entire string quartet centered around the theme from “Frage.”
This String Quartet No. 2 in A Minor is among Mendelssohn’s first attempts to communicate his feelings through music. The rich, warm opening of the first movement confidently states what Mendelssohn truly meant to say with the three-note motif from “Frage.” The remainder of the movement descends into a minor key, with quick, rising themes boiling over in a tumultuous storm. This romantic conflict is juxtaposed with moments of lyrical respite, musically illustrating the instability of juvenile love.
However, the composition has more depth than just its programmatic elements. The string quartet was also published the year that iconic composer Beethoven died. Beethoven’s death drew attention to his final compositions, among them were a number of string quartets. While many musicians were perplexed by them, Mendelssohn appreciated their innovative romanticism. Echoes of Beethoven’s last chamber works can be heard in the slow, introspective introduction of the Adagio, the contrapuntal themes in the Allegro Vivace, and the three-note motif that appears throughout the work.
Many scholars would say that the String Quartet No. 2 was Mendelssohn’s first mature string quartet, achieved through his study of the late Beethoven quartets, Mendelssohn’s own compositional talents, and the catalyst of romantic infatuation. The String Quartet No. 2 stands as a testament to Mendelssohn’s belief that “What the music I love expresses to me, is not thought too indefinite to put into words, but on the contrary, too definite.”
Brian Slack, Double Bass, Class of 2020
Despite being brought to fame at the age of 62 with the debut of his opera Jenůfa, Janáček’s later compositions were intended to be anything but reflective of his maturity. Mládí (youth) is a lively and vivacious work that perfectly encapsulates this eponymously youthful composition style that flourished in his later years.
Though primarily specializing in piano and vocal composition at the time of Mládí’s composition, Janaček was inspired by Albert Roussel’s Divertimento for Wind Quintet and Piano to experiment with a small ensemble format. The piece took its first form as March of the Blue-Boys, a duet for piccolo and piano, created through direct reminiscence of his childhood experiences at the Old Brno Monastery. This early “draft” served as not only the main melody of the third movement of Mládí but the underlying tones of youth, reminiscence, and nostalgia that the piece served to represent.
The addition of the bass clarinet to the more mainstream wind quintet arrangement darkens the color of the group and lends greatly to allocating another instrument to the various ostinatos found throughout the piece. This is highlighted prominently in the fourth movement, as a line of continuous sixteenth notes is passed between every single instrument during the faster sections of the piece. The ostinato is used to create quick mood and tempo changes that serve to symbolize the spontaneity of youth.
Jesse Hu, Oboe, Class of 2026
Though the Romantic composer Felix Mendelssohn is known for writing music that tends to be emotionally reserved — as expected of someone born into the upper class — his String Quartet in F Minor No. 6, Op. 80 carries a sense of anguish and pain that heavily contrasts with his previous works. This sudden change is often attributed by music historians to the death of his elder sister, Fanny, whose death Mendelssohn learned of after returning home from Leipzig. In honor of his sister, he titled this composition “Requiem for Fanny.” The quartet was first performed in private on October 5 in the presence of, Ignaz Moscheles, a fellow composer and one of his closest colleagues. The first live performance would not happen until a little after a year later on November 4, 1848 with his protégé, Joseph Joachim, playing on the violin. Due to his sister’s death, Mendelssohn began to suffer from depression and strokes starting in late, October 1847, and died a few weeks later on November 4,1847, less than six months after Fanny’s death. It is assumed that he died from grief, which is so strongly expressed in this piece, which would become his final major, composition.
Perry Nguyen, Double Bass, Class of 2021
When the Nazis invaded the Soviet Union in 1941, Prokofiev and several other composers, intellectuals, and officials relocated from Moscow to the city of Nalchik, the capital of the Kabardian Region of the Soviet Union. There, he was exposed to a plethora of Kabardian-style folk music and was encouraged by local government officials to write quartet music based on what he heard. With this new and fresh material and content in mind, Prokofiev began to work on his Second String Quartet, finishing the score in about a month. He was able to take the folk melodies and rhythms and combine them with his own unique themes and musical taste, thus showing his originality in this folk-inspired piece of music.
The quartet premiered in 1942, when the Beethoven Quartet performed it in Moscow. Prokofiev himself deemed it a “turbulent success.” There was initially going to be another performance later that year; however, it was delayed by a Nazi air raid and thus started later than expected.
It is already evident enough that the very beginning of the first, movement and the entire piece for that matter, is full of the folksy themes Prokofiev heard. The first violin starts it off with a very rustic theme that is also rather dark and tumultuous at the same time. This represents a bold and jaunty march on Kabardian folk themes that were, according to musician and writer Melvin Berger, a combination of “childlike naivete with menacing, belligerence.” It would also explain the marcato and the piu pesante markings that appear throughout the course of the first movement. In fact, this movement is full of such spirit and energy that it contains the sound of a full-bodied quartet at work. It is written in sonata form as it contains a bold exposition, a daring and suspenseful development, and a clear recapitulation. When listening, one should expect to hear Prokofiev trying to imitate the percussive and plucking sounds of the traditional Kabardian instruments, as well as feel the dance vibes of the Kabardian folk style.,
Ethan Yang, Violin, Class of 2023
One of Arcangelo Corelli’s most well-known works, the “Christmas Concerto” was first published posthumously in 1714 by Corelli’s pupil Matteo Fornari, to whom he had entrusted his sixth opus to three days before he died due to poor health. Its exact composition date remains unclear, but there has been documentation of Corelli having performed a Christmas Concerto for his patron, Cardinal Pietro Ottoboni, in 1690. The piece as a whole is a stunning example of a sonata da chiesa, with a seemingly ordinary slow-fast-slow-fast organization. Corelli adds a surprising twist, adding a fifth movement to the usual four: Pastorale ad libitum. The third movement in particular is another instance of Corelli’s deviation from the standard sonata da chiesa form, Adagio - Allegro - Adagio breaks away from the traditional slow-fast-slow-fast movement pattern with a series of lively sixteenth note figures unexpectedly emerging from the slow suspense of the Adagio. The remarkable contrast in mood that characterizes the work is one of the many reasons the piece is frequently performed to this day.
Karen Peng, Flute, Class of 2021