Wednesday, February 19, 2025
7:00 pm
Sonata for Two Violins in C major, Op. 56 (1932)
Sergei Prokofiev (1891-1953)
II. Allegro
Joshua Kim, Violin
Nicole Lin, Violin
Fanmi Imen (2018)
Valerie Coleman (1970-
Joseph Yoo, Flute
Esther Yune, Piano*
Six Quatuors (1910)
Nikolai Tcherepnin (1878-1945)
III. La chasse
Carson Li, French Horn
Karlin Rhees, French Horn**
Cameron Rhees, French Horn**
Koen Wang, French Horn
“Achieved is the Glorious Work” from The Creation Hob. XXI:2 (1798)
Joseph Haydn(1732-1809)
Arr. Donald G. Miller
Matthew Latino, Trombone
David Li, Trombone
Sophie Yu, Trombone
Kenneth Jin, Euphonium
Suite for Four Equal Clarinets (1947)
T. Stewart Smith (1904-1957)
I. With vigor
III. With gaiety and abandon
Andrew Han, Clarinet
Brenda Guo, Clarinet
Evelyn Liang, Clarinet
Lex Maston, Clarinet
Serenade in C Minor, K. 388 (1782)
Wolfgang Amadeus Mozart (1756-1791)
I. Allegro
Jesse Hu & Michelle Hsu, Oboe
Rick Chi & Aleena Zhong, Clarinet
Jay Xu & Byron Chen, Bassoon
Karlin Rhees & Cameron Rhees, French Horn
INTERMISSION
Scherzo (1963)
John Cheetham (1939-2024)
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
Wind Quartet, op. 93 (1907)
Karl Eduard Goepfart (1859-1942)
I. Allegro risoluto
Felix Yin, Flute
Jesse Hu, Oboe
Aleena Zhong, Clarinet
Lauren Cheng, Bassoon
String Quartet No. 16 in A Major, Op. 9, No. 6, Hob.III:24 (1769)
Joseph Haydn (1732-1809)
IV. Allegro
Andre Chang, Violin
Aston Kim, Violin**
Sean Yeh, Viola**
Joshua Jung, Cello
Music 4 Tubas (2020)
John Stevens (1951-
III. Rock
Audrey Ly, Euphonium
Kaylee Yun, Euphonium
Ace Tecson, Tuba**
Nathan Lu, Tuba
String Quartet No. 2 in F Major, Op. 92 (1941)
Sergei Prokofiev (1891-1953)
I. Allegro sostenuto
Joel Kim, Violin
Angela Chen, Violin
Sean Yeh, Viola
Angelina Wu, Cello
* Guest Artist
** Student Coach
Sergei Prokofiev (1891-1953)
II. Allegro
Joshua Kim, Violin
Nicole Lin, Violin
Fanmi Imen (2018)
Valerie Coleman (1970-
Joseph Yoo, Flute
Esther Yune, Piano*
Six Quatuors (1910)
Nikolai Tcherepnin (1878-1945)
III. La chasse
Carson Li, French Horn
Karlin Rhees, French Horn**
Cameron Rhees, French Horn**
Koen Wang, French Horn
“Achieved is the Glorious Work” from The Creation Hob. XXI:2 (1798)
Joseph Haydn(1732-1809)
Arr. Donald G. Miller
Matthew Latino, Trombone
David Li, Trombone
Sophie Yu, Trombone
Kenneth Jin, Euphonium
Suite for Four Equal Clarinets (1947)
T. Stewart Smith (1904-1957)
I. With vigor
III. With gaiety and abandon
Andrew Han, Clarinet
Brenda Guo, Clarinet
Evelyn Liang, Clarinet
Lex Maston, Clarinet
Serenade in C Minor, K. 388 (1782)
Wolfgang Amadeus Mozart (1756-1791)
I. Allegro
Jesse Hu & Michelle Hsu, Oboe
Rick Chi & Aleena Zhong, Clarinet
Jay Xu & Byron Chen, Bassoon
Karlin Rhees & Cameron Rhees, French Horn
INTERMISSION
Scherzo (1963)
John Cheetham (1939-2024)
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
Wind Quartet, op. 93 (1907)
Karl Eduard Goepfart (1859-1942)
I. Allegro risoluto
Felix Yin, Flute
Jesse Hu, Oboe
Aleena Zhong, Clarinet
Lauren Cheng, Bassoon
String Quartet No. 16 in A Major, Op. 9, No. 6, Hob.III:24 (1769)
Joseph Haydn (1732-1809)
IV. Allegro
Andre Chang, Violin
Aston Kim, Violin**
Sean Yeh, Viola**
Joshua Jung, Cello
Music 4 Tubas (2020)
John Stevens (1951-
III. Rock
Audrey Ly, Euphonium
Kaylee Yun, Euphonium
Ace Tecson, Tuba**
Nathan Lu, Tuba
String Quartet No. 2 in F Major, Op. 92 (1941)
Sergei Prokofiev (1891-1953)
I. Allegro sostenuto
Joel Kim, Violin
Angela Chen, Violin
Sean Yeh, Viola
Angelina Wu, Cello
* Guest Artist
** Student Coach
Program Notes
Composed specifically for the Parisian new-music group Le Triton in 1932, Prokofiev’s Sonata for Two Violins displays a turning point in his career through a stylistic shift as he balances modernism with a more accessible approach. Though performed in Paris by Robert Soëtens and Samuel Dushkin, it was actually first premiered in Moscow by members of the Beethoven Quartet.
With its structure paralleled to the “slow-fast-slow-fast” pattern of the Baroque sonata da chiesa, the piece highlights Prokofiev’s neoclassicism. In four short, distinct movements, the sonata explores diverse melodies and vivacious rhythms within what the composer himself deemed the “apparent limitations” of a violin duet. This instrumentation was chosen deliberately by Prokofiev after hearing a fruitless piece for two violins without accompaniment, as he was struck with the inspiration to compose a much more compelling piece through wielding such a duet.
The second movement, Allegro, adopts a lively, dance-like character that contrasts with the abstract singing quality of the first movement. Weaving opening percussive chords and swift, undulating lines, the intricate dance comes to life within the interaction of the violins. The occasional pizzicato throughout the piece enhances the physical quality of its sound, suggesting what can be interpreted as gestures like finger snapping. As the tempo swells, the piece builds up through suspension and gains momentum as it pushes forward to its finale.
Eireen Lu, Viola, Class of 2026
The title of Valerie Coleman's tone poem, FANMI IMEN, is Haitian Creole for Maya Angelou's famous work, Human Family. Both the musical and literary poems acknowledge differences within mankind, either due to ethnicity, background, or geography, but Angelou's poetic refrain: "we are more alike, my friends, than we are unlike," reaffirms our humanity as a reminder of unity.
Within the flute and piano parts are motifs representing cultural differences, that come together to form a tapestry, united through tempi, and quasi cadenza-like transitions. The work begins and ends with a patriotic Americana feel, to symbolize and recognize the contributions immigrants have made towards the building of a nation as a whole.
The work includes harmonies and thematic material that represent French flute music blending with an underlying pentatonicism found in Asian traditions, a caravan through Middle Eastern parts of the world that merge with Flamenco music within the Quasi-Cadenza, and an upbeat journey southward into Africa with the sounds of Kalimba (thumb piano). Here, the flute imitates the thumb piano as it playfully taps out a tune that spells out a morse code message of U-N-I-TY within the rhythm. The many twists and turns come together to create a sound that symbolizes a beautifully diverse human race.
La Chasse (French for “The Hunt”) is a festive fanfare for horn quartet by Nikolai Tcherepnin, a Russian-born pianist and composer. Tcherepnin graduated from St. Petersburg Conservatory in 1898, going on to join the school’s faculty and become the first conducting teacher Russia had seen for a very long time. Tcherepnin became an acclaimed figure among musicians in both Russia, his native home, and Paris. His colleagues included other important Russian composers of his time, such as Lyadov, Cui, Rimsky-Korsakov, Stravinsky, and Prokofiev. Other than the horn quartet works, Tcherepnin mainly wrote pieces for piano, but occasionally added a violin or flute. He also wrote for cellos, string quartets, and chamber orchestras. After Tcherepnin fled to Tbilisi, Georgia from the the Russian Revolution of 1917, he continued making significant accomplishments to the world of classical music, founding the Russian Conservatory in Paris and giving composers like him a chance at a better music education.
Yolanda Zheng, French Horn, Class of 2021
In addition to being known as the father of the classical symphony and the string quartet, Franz Joseph Haydn was also known as a leading Classical composer for the voice because of his operas and sacred masses. One of Haydn’s most renowned vocal masterpieces, The Creation, or Die Schopfung, is an oratorio written for solo vocalists, chorus, and small symphony. Through his religious compositions, he was known as a devout Catholic. Indeed, he writes this oratorio with a cheerful, optimistic feeling to represent the joy of religion and the Earth's existence. Haydn uses various tones to represent the coming of new creations as well as unique chords to symbolize the chaos and disorder of the universe. The Creation is his personal statement of religious devotion and faith, celebrating the birth of the world. The Creation consists of three parts, illustrating the six days of creation as well as Adam and Eve in the Garden of Eden. In the first part, three soloists represent the archangels Gabriel, Uriel, and Raphael when narrating the first four days of creation: the birth of light, the earth, the sky, the sun, the moon, and plants. The second part then depicts the last two days of creation: the creation of man and animals. The third and final part of The Creation represents Adam and Eve enjoying newfound love and harmony as they experience their first morning in the Garden of Eden. The selection heard tonight “Achieved is the Glorious Work” concludes Part II of The Creation and finds the chorus celebrating the universe’s completion. This arrangement by Donald G. Miller has become one of our most popular trombone quartets.
Cameron Rhees, French Horn, Class of 2025
T. Stewart Smith’s Suite for Four Equal Clarinets is a rare contribution to the clarinet quartet repertoire, uniquely scored for four B-flat clarinets rather than the usual mix of clarinet sizes, particularly the bass clarinet. This results in a homogeneous timbre, emphasizing blend and balance. The first movement bursts with energy, featuring bold unison lines, ascending octave scales, and sudden mood shifts. It explores contrasting characters before concluding with an almost comical, traditional cadence. The final movement is marked by its lively tempo and syncopated rhythmic motifs. Rapid exchanges between voices, polyrhythmic complexity, and wide dynamic contrasts create a thrilling and energetic conclusion. Though Smith remains virtually unknown, this suite stands as a unique and engaging staple for this uncommon instrumentation.
In 1782, Emperor Joseph II established a Harmonie, a wind ensemble consisting of pairs of oboes, clarinets, horns, and bassoons. This ensemble served as an early predecessor to the modern wind ensemble. Harmoniemusik was not originally intended for the concert hall but was instead used for outdoor events and as background music at social gatherings.
Mozart moved to Vienna in 1781 and saw an opportunity to showcase his compositions for Joseph II. His Serenade in C Minor for eight winds was written to match the instrumentation of the Emperor’s Harmonie. While serenades were typically composed for relaxation and entertainment, Mozart took this piece seriously, hoping to gain the Emperor’s favor.
Tonight, you will hear the Allegro, the first of the piece’s four movements. Opening with a dramatic and explosive introduction, the movement explores several variations of C Minor. The striking opening immediately captures the listener’s attention, while solos weave seamlessly between the instruments. The movement’s contrasting dynamics create a sense of intensity, alternating between breathtaking lyrical passages and electrifying, powerful moments.
Eliana Lontok, Horn, Class of 2018
A composer and music educator born in 1939 in Taos, New Mexico, Cheetham graduated with a master’s degree from New Mexico University. From there, he would continue to write for a variety of ensembles, including brass quintet, brass choir, concert band, choir, and orchestra. The influence of his Central- American background is prominent within his work; Cheetham often emphasizes rhythmic passages and song-like melodies within his compositions. Scherzo is denotative of this style—featuring light eighth notes that serve as harmonic and rhythmic support to a lone melody, which contrasts the full, rich, and vibrant full-ensemble phrases that punctuate the piece. He incorporates and showcases characteristics of every brass instrument in the quintet, with passages displaying the lyricism in the french horn, the trumpet’s brightness, even the fullness of the tuba’s low register. It is likely this multi-faceted approach of this composition that has contributed to Scherzo becoming a staple in the modern brass quintet repertoire since its publication. However, it can be credited with the overall enjoyable playfulness of the piece—which also lends the name “Scherzo,” a word that suggests spiritedness, mirth, and frivolity. It has been described as being “evocative of old Wild West film scores,” which draws from Cheetham’s regional influences, his experimentative style, and—definitely—his humor.
Daniel Li, Tuba, Class of 2023
The son of the cantor Christian Heinrich Goepfart, Karl Goepfart started his classical training at an early age. He later attended the German musical institute in Weimar, where he studied piano under the tutelage of Franz Liszt for two years before touring the United States as a concert pianist. Upon returning to Germany, he shifted his focus to choral conducting and composition, creating numerous operas and wind chamber works.
Goepfart’s Wind Quartet in D Minor, featuring clarinet, oboe, flute, and bassoon, showcases interplaying melodic lines, with each instrument introducing independent melodies before converging in a bold unison. The first movement, Allegro Risoluto, presents a swift and energetic theme before transitioning into delicate Leicht und zart motifs. This movement follows a sonata form, developing these themes through the staggered harmonies and playful interactions between the instruments.
Aleena Zhong, Clarinet, Class of 2025
The string quartet was one of the most popular and influential chamber ensembles of the Classical era. Haydn’s Op. 9 quartets, often considered his first “mature” set, marked a turning point in his career as he established himself within the Viennese classical tradition. His innovations in form and style shaped the future of the string quartet, influencing composers such as Mozart and Beethoven. Mozart, in particular, studied Haydn’s quartets closely, drawing inspiration from pieces like Der Traum when writing his own quartets.
The final movement of String Quartet No. 16, Allegro, reflects the cheerful spirit of the first movement, featuring a bright, flowing melody in the violins. Haydn’s characteristic wit and elegance shine through in this lively conclusion, demonstrating his mastery of both structure and expression. His quartets remain a cornerstone of the chamber music repertoire, with their charm and sophistication continuing to captivate audiences worldwide.
Emily Liu, Viola, Class of 2024
John D. Stevens is an American composer and arranger for brass, although his works for tuba quartet are undoubtedly what he is most known for. Holding degrees in Music Performance from the Eastman School of Music and Yale University, Stevens had a successful career as a freelancer in New York City, playing as the original tuba soloist in hundreds of performances of BARNUM on Broadway, as well as playing in the Aspen Festival Orchestra and New York Tuba Quartet. Following his time in New York, Stevens held a position as the tubist in the Philharmonic Orchestra of Florida and the Greater Miami Opera. Stevens eventually settled as the Professor of Tuba/Euphonium and later on, the Director of the University of Wisconsin-Madison School of Music, before retiring in 2014. His works are greatly influenced by jazz and popular music, requiring musicians to improvise over chord progressions or perform their own cadenzas. Stevens himself notes that “being a tubist and jazz performer myself, it was also important to me to encourage other tubists to play in jazz styles and improvise.” This is especially evident in the third movement of Stevens’ Music 4 Tubas, which was premiered by the New Haven Consort. The movement, appropriately titled Rock, creates a simple groove that manages to feel complex.
Alan Lu, Tuba, Class of 2022
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
With its structure paralleled to the “slow-fast-slow-fast” pattern of the Baroque sonata da chiesa, the piece highlights Prokofiev’s neoclassicism. In four short, distinct movements, the sonata explores diverse melodies and vivacious rhythms within what the composer himself deemed the “apparent limitations” of a violin duet. This instrumentation was chosen deliberately by Prokofiev after hearing a fruitless piece for two violins without accompaniment, as he was struck with the inspiration to compose a much more compelling piece through wielding such a duet.
The second movement, Allegro, adopts a lively, dance-like character that contrasts with the abstract singing quality of the first movement. Weaving opening percussive chords and swift, undulating lines, the intricate dance comes to life within the interaction of the violins. The occasional pizzicato throughout the piece enhances the physical quality of its sound, suggesting what can be interpreted as gestures like finger snapping. As the tempo swells, the piece builds up through suspension and gains momentum as it pushes forward to its finale.
Eireen Lu, Viola, Class of 2026
The title of Valerie Coleman's tone poem, FANMI IMEN, is Haitian Creole for Maya Angelou's famous work, Human Family. Both the musical and literary poems acknowledge differences within mankind, either due to ethnicity, background, or geography, but Angelou's poetic refrain: "we are more alike, my friends, than we are unlike," reaffirms our humanity as a reminder of unity.
Within the flute and piano parts are motifs representing cultural differences, that come together to form a tapestry, united through tempi, and quasi cadenza-like transitions. The work begins and ends with a patriotic Americana feel, to symbolize and recognize the contributions immigrants have made towards the building of a nation as a whole.
The work includes harmonies and thematic material that represent French flute music blending with an underlying pentatonicism found in Asian traditions, a caravan through Middle Eastern parts of the world that merge with Flamenco music within the Quasi-Cadenza, and an upbeat journey southward into Africa with the sounds of Kalimba (thumb piano). Here, the flute imitates the thumb piano as it playfully taps out a tune that spells out a morse code message of U-N-I-TY within the rhythm. The many twists and turns come together to create a sound that symbolizes a beautifully diverse human race.
La Chasse (French for “The Hunt”) is a festive fanfare for horn quartet by Nikolai Tcherepnin, a Russian-born pianist and composer. Tcherepnin graduated from St. Petersburg Conservatory in 1898, going on to join the school’s faculty and become the first conducting teacher Russia had seen for a very long time. Tcherepnin became an acclaimed figure among musicians in both Russia, his native home, and Paris. His colleagues included other important Russian composers of his time, such as Lyadov, Cui, Rimsky-Korsakov, Stravinsky, and Prokofiev. Other than the horn quartet works, Tcherepnin mainly wrote pieces for piano, but occasionally added a violin or flute. He also wrote for cellos, string quartets, and chamber orchestras. After Tcherepnin fled to Tbilisi, Georgia from the the Russian Revolution of 1917, he continued making significant accomplishments to the world of classical music, founding the Russian Conservatory in Paris and giving composers like him a chance at a better music education.
Yolanda Zheng, French Horn, Class of 2021
In addition to being known as the father of the classical symphony and the string quartet, Franz Joseph Haydn was also known as a leading Classical composer for the voice because of his operas and sacred masses. One of Haydn’s most renowned vocal masterpieces, The Creation, or Die Schopfung, is an oratorio written for solo vocalists, chorus, and small symphony. Through his religious compositions, he was known as a devout Catholic. Indeed, he writes this oratorio with a cheerful, optimistic feeling to represent the joy of religion and the Earth's existence. Haydn uses various tones to represent the coming of new creations as well as unique chords to symbolize the chaos and disorder of the universe. The Creation is his personal statement of religious devotion and faith, celebrating the birth of the world. The Creation consists of three parts, illustrating the six days of creation as well as Adam and Eve in the Garden of Eden. In the first part, three soloists represent the archangels Gabriel, Uriel, and Raphael when narrating the first four days of creation: the birth of light, the earth, the sky, the sun, the moon, and plants. The second part then depicts the last two days of creation: the creation of man and animals. The third and final part of The Creation represents Adam and Eve enjoying newfound love and harmony as they experience their first morning in the Garden of Eden. The selection heard tonight “Achieved is the Glorious Work” concludes Part II of The Creation and finds the chorus celebrating the universe’s completion. This arrangement by Donald G. Miller has become one of our most popular trombone quartets.
Cameron Rhees, French Horn, Class of 2025
T. Stewart Smith’s Suite for Four Equal Clarinets is a rare contribution to the clarinet quartet repertoire, uniquely scored for four B-flat clarinets rather than the usual mix of clarinet sizes, particularly the bass clarinet. This results in a homogeneous timbre, emphasizing blend and balance. The first movement bursts with energy, featuring bold unison lines, ascending octave scales, and sudden mood shifts. It explores contrasting characters before concluding with an almost comical, traditional cadence. The final movement is marked by its lively tempo and syncopated rhythmic motifs. Rapid exchanges between voices, polyrhythmic complexity, and wide dynamic contrasts create a thrilling and energetic conclusion. Though Smith remains virtually unknown, this suite stands as a unique and engaging staple for this uncommon instrumentation.
In 1782, Emperor Joseph II established a Harmonie, a wind ensemble consisting of pairs of oboes, clarinets, horns, and bassoons. This ensemble served as an early predecessor to the modern wind ensemble. Harmoniemusik was not originally intended for the concert hall but was instead used for outdoor events and as background music at social gatherings.
Mozart moved to Vienna in 1781 and saw an opportunity to showcase his compositions for Joseph II. His Serenade in C Minor for eight winds was written to match the instrumentation of the Emperor’s Harmonie. While serenades were typically composed for relaxation and entertainment, Mozart took this piece seriously, hoping to gain the Emperor’s favor.
Tonight, you will hear the Allegro, the first of the piece’s four movements. Opening with a dramatic and explosive introduction, the movement explores several variations of C Minor. The striking opening immediately captures the listener’s attention, while solos weave seamlessly between the instruments. The movement’s contrasting dynamics create a sense of intensity, alternating between breathtaking lyrical passages and electrifying, powerful moments.
Eliana Lontok, Horn, Class of 2018
A composer and music educator born in 1939 in Taos, New Mexico, Cheetham graduated with a master’s degree from New Mexico University. From there, he would continue to write for a variety of ensembles, including brass quintet, brass choir, concert band, choir, and orchestra. The influence of his Central- American background is prominent within his work; Cheetham often emphasizes rhythmic passages and song-like melodies within his compositions. Scherzo is denotative of this style—featuring light eighth notes that serve as harmonic and rhythmic support to a lone melody, which contrasts the full, rich, and vibrant full-ensemble phrases that punctuate the piece. He incorporates and showcases characteristics of every brass instrument in the quintet, with passages displaying the lyricism in the french horn, the trumpet’s brightness, even the fullness of the tuba’s low register. It is likely this multi-faceted approach of this composition that has contributed to Scherzo becoming a staple in the modern brass quintet repertoire since its publication. However, it can be credited with the overall enjoyable playfulness of the piece—which also lends the name “Scherzo,” a word that suggests spiritedness, mirth, and frivolity. It has been described as being “evocative of old Wild West film scores,” which draws from Cheetham’s regional influences, his experimentative style, and—definitely—his humor.
Daniel Li, Tuba, Class of 2023
The son of the cantor Christian Heinrich Goepfart, Karl Goepfart started his classical training at an early age. He later attended the German musical institute in Weimar, where he studied piano under the tutelage of Franz Liszt for two years before touring the United States as a concert pianist. Upon returning to Germany, he shifted his focus to choral conducting and composition, creating numerous operas and wind chamber works.
Goepfart’s Wind Quartet in D Minor, featuring clarinet, oboe, flute, and bassoon, showcases interplaying melodic lines, with each instrument introducing independent melodies before converging in a bold unison. The first movement, Allegro Risoluto, presents a swift and energetic theme before transitioning into delicate Leicht und zart motifs. This movement follows a sonata form, developing these themes through the staggered harmonies and playful interactions between the instruments.
Aleena Zhong, Clarinet, Class of 2025
The string quartet was one of the most popular and influential chamber ensembles of the Classical era. Haydn’s Op. 9 quartets, often considered his first “mature” set, marked a turning point in his career as he established himself within the Viennese classical tradition. His innovations in form and style shaped the future of the string quartet, influencing composers such as Mozart and Beethoven. Mozart, in particular, studied Haydn’s quartets closely, drawing inspiration from pieces like Der Traum when writing his own quartets.
The final movement of String Quartet No. 16, Allegro, reflects the cheerful spirit of the first movement, featuring a bright, flowing melody in the violins. Haydn’s characteristic wit and elegance shine through in this lively conclusion, demonstrating his mastery of both structure and expression. His quartets remain a cornerstone of the chamber music repertoire, with their charm and sophistication continuing to captivate audiences worldwide.
Emily Liu, Viola, Class of 2024
John D. Stevens is an American composer and arranger for brass, although his works for tuba quartet are undoubtedly what he is most known for. Holding degrees in Music Performance from the Eastman School of Music and Yale University, Stevens had a successful career as a freelancer in New York City, playing as the original tuba soloist in hundreds of performances of BARNUM on Broadway, as well as playing in the Aspen Festival Orchestra and New York Tuba Quartet. Following his time in New York, Stevens held a position as the tubist in the Philharmonic Orchestra of Florida and the Greater Miami Opera. Stevens eventually settled as the Professor of Tuba/Euphonium and later on, the Director of the University of Wisconsin-Madison School of Music, before retiring in 2014. His works are greatly influenced by jazz and popular music, requiring musicians to improvise over chord progressions or perform their own cadenzas. Stevens himself notes that “being a tubist and jazz performer myself, it was also important to me to encourage other tubists to play in jazz styles and improvise.” This is especially evident in the third movement of Stevens’ Music 4 Tubas, which was premiered by the New Haven Consort. The movement, appropriately titled Rock, creates a simple groove that manages to feel complex.
Alan Lu, Tuba, Class of 2022
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