Wednesday, March 26, 2025
7:00 pm
Trombone Quartet (1965)
Arthur Frackenpohl (1923-2019)
I. March
Jerry Xu, Trombone
Jayden Xu, Trombone
Camren Molina, Trombone
Ryan Kim, Bass Trombone
Grand Quartet in E Minor, Op. 103 (1830)
Friedrich Kuhlau (1789-1832)
I. Andante Maestoso - Allegro assai con molto fuoco
Joseph Yoo, Flute
Angela Wang, Flute
Sophia Zhou, Flute
Sophie Dong, Flute
String Quartet in F Major (1903)
Maurice Ravel (1875-1937)
II. Assez vif – très rythmé
Joel Kim, Violin
Angela Chen, Violin
Sean Yeh, Viola
Angelina Wu, Cello
Sonata from Die Bänkelsängerlieder (c.1684)
Daniel Speer (1636-1707)
Arr. Robert King
Parker Lai, Trumpet
Evan Tsang, Trumpet
Koen Wang, French Horn
David Li, Trombone
Nathan Lu, Tuba
Walking Tune (1904)
Percy Aldridge Grainger (1882-1961)
Lily Zhang, Flute
Matthew Heng, Oboe
Evelyn Liang, Clarinet
Megan Liu, Bassoon
Karlin Rhees, French Horn
Brass-Quintet, Op. 65 (1990)
Jan Koetsier (1911-2006)
I. Andante con moto – Allegro con brio
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
English Suite No 2 in A minor, BWV 807 (1715)
Johann Sebastian Bach (1685-1750)
I. Prélude
Nicole Lin, Violin
Talon Lu, Marimba
Les chemins de l’amour (1940)
Francis Poulenc (1899-1963)
Grace Shiroishi, Soprano
Sylvia Wang, Piano
INTERMISSION
Concerto for Oboe and Violin in C Minor, BWV 1060R (1736)
Johann Sebastian Bach (1685-1750)
I. Allegro
II. Adagio
III. Allegro
Jesse Hu, Concertato Oboe
Joshua Kim, Concertato Violin
Joel Kim, Violin I
Joseph Kim, Violin II
Sean Yeh, Viola
Eric Wang, Cello
Scott Matsumoto, Double Bass
Joseph Yoo, Harpsichord
Concerto for Two Violins in D Minor, BWV 1043 (1718-1720)
Johann Sebastian Bach (1685-1750)
I. Vivace
II. Largo, ma non tanto
III. Allegro
Violin Concertato
Jonathan Lan & Nicole Lin
Joshua Kim & Joel Kim
Angela Chen & Aston Kim
Ripieno
Joseph Kim, Violin
Eireen Lu & Jaelynn Au, Viola
Angelina Wu & Eric Wang, Cello
Scott Matsumoto, Double Bass
Joseph Yoo, Harpsichord
Arthur Frackenpohl (1923-2019)
I. March
Jerry Xu, Trombone
Jayden Xu, Trombone
Camren Molina, Trombone
Ryan Kim, Bass Trombone
Grand Quartet in E Minor, Op. 103 (1830)
Friedrich Kuhlau (1789-1832)
I. Andante Maestoso - Allegro assai con molto fuoco
Joseph Yoo, Flute
Angela Wang, Flute
Sophia Zhou, Flute
Sophie Dong, Flute
String Quartet in F Major (1903)
Maurice Ravel (1875-1937)
II. Assez vif – très rythmé
Joel Kim, Violin
Angela Chen, Violin
Sean Yeh, Viola
Angelina Wu, Cello
Sonata from Die Bänkelsängerlieder (c.1684)
Daniel Speer (1636-1707)
Arr. Robert King
Parker Lai, Trumpet
Evan Tsang, Trumpet
Koen Wang, French Horn
David Li, Trombone
Nathan Lu, Tuba
Walking Tune (1904)
Percy Aldridge Grainger (1882-1961)
Lily Zhang, Flute
Matthew Heng, Oboe
Evelyn Liang, Clarinet
Megan Liu, Bassoon
Karlin Rhees, French Horn
Brass-Quintet, Op. 65 (1990)
Jan Koetsier (1911-2006)
I. Andante con moto – Allegro con brio
Cheri Chen, Trumpet
Edward Jin, Trumpet
Cameron Rhees, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
English Suite No 2 in A minor, BWV 807 (1715)
Johann Sebastian Bach (1685-1750)
I. Prélude
Nicole Lin, Violin
Talon Lu, Marimba
Les chemins de l’amour (1940)
Francis Poulenc (1899-1963)
Grace Shiroishi, Soprano
Sylvia Wang, Piano
INTERMISSION
Concerto for Oboe and Violin in C Minor, BWV 1060R (1736)
Johann Sebastian Bach (1685-1750)
I. Allegro
II. Adagio
III. Allegro
Jesse Hu, Concertato Oboe
Joshua Kim, Concertato Violin
Joel Kim, Violin I
Joseph Kim, Violin II
Sean Yeh, Viola
Eric Wang, Cello
Scott Matsumoto, Double Bass
Joseph Yoo, Harpsichord
Concerto for Two Violins in D Minor, BWV 1043 (1718-1720)
Johann Sebastian Bach (1685-1750)
I. Vivace
II. Largo, ma non tanto
III. Allegro
Violin Concertato
Jonathan Lan & Nicole Lin
Joshua Kim & Joel Kim
Angela Chen & Aston Kim
Ripieno
Joseph Kim, Violin
Eireen Lu & Jaelynn Au, Viola
Angelina Wu & Eric Wang, Cello
Scott Matsumoto, Double Bass
Joseph Yoo, Harpsichord
Program Notes
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. Frackenpohl’s Trombone Quartet features 4 movements, the first of which being performed today. As the movement opens, we are presented with a regal energy by the fast-paced fanfares. Following are beautiful solo melodies, different voices drifting in and out of a new playful, bouncy atmosphere. The energy then rises as a motif begins, at first separated amongst the performers and then played together in unison. The last half of the piece can be described as feelings of cheery adventure and innocent optimism, as if we are looking far off into the distance at wonderful journey ahead. As the march ends with a triumphant cry, the adventure begins.
Brian Sun, Clarinet, Class of 2019
Amongst his famous piano concertos, sonatas, sonatinas and operatic works including the magical fairy tale Lulu (1824), Friedrich Kuhlau is also renowned for his chamber and solo works for flute. The Grand Quartet for Four Flutes in E Minor Op. 103 is one such work. However, its inspiration and influences are left to discretion due to the fact that Kuhlau himself was never a flautist; rather, he depended on his natural instinct for composing for the instrument. As a consequence, his numerous flute compositions were written mainly to satisfy popular demand and to acquire income. Nevertheless, his adept skill when writing for the flute is reflected in the pieces melodic and thematic devices popular to the Romantic era. In the Rondo: Allegro assai, Kuhlau employs ascending chromatic lines and a repeating theme of interrupting melodic runs with moments of more open rhythms to build tension, while still keeping a forward momentum to the piece with the use of staccato eighth-note figures. The key change towards the middle of the movement presents a thematic transformation from a denser and fast-paced mood to one that is brighter and more dance-like. The constant motion, coupled with the tension and tone changes that Kuhlau is able to create with simplistic melodic lines passed constantly between the four flautists are what gives the Grand Quartet its significance amongst his works for flute.
Ryan Chao, Percussion, Class of 2018
After spending half of his life studying at the Paris Conservatory, Maurice Ravel was concluding his extended education there in 1903 at the age of 28. Despite several attempts, he never secured first prize in the prestigious Prix de Rome competition—his best result being second place. His String Quartet in F major, submitted as part of one of these efforts, was likewise dismissed by the judges. Yet today, the quartet is widely regarded as one of Ravel’s earliest masterpieces: a cornerstone of the chamber music repertoire, admired for its structural precision, elegance, and textural richness. The second movement, marked Assez vif (“rather lively”), is the shortest of the four but brims with rhythmic energy. Pizzicato figures dance through the ensemble, giving the music a buoyant, percussive character, while smoother, more lyrical sections offer contrast and warmth. The triple meter remains constant, but shifting rhythmic accents evoke the flair of Spanish folk dances—a reflection of Ravel’s Basque heritage and fascination with Iberian music. In the central section, eerie plucked accompaniments support a winding, expressive violin line, creating a sound world that feels both exotic and ancient. The movement then snaps back to the opening material, charging ahead with renewed vigor toward a bold, stomping conclusion.
A truly remarkable work from the golden age of Baroque, Sonata from “Die Bänkelsänger” demonstrates the unique warmth and nobility of the traditional brass quintet, as well as the striking style of early brass repertoire. Originally scored for trumpet, cornett and alto, tenor and bass trombones, the piece was revived in 1880 when it was reorchestrated in a collection of vocal works that has recently been attributed to German Baroque composer Daniel Speer, known for his musical treatises and political tracts. The title translates to “The Bench Singer,” referring to travelling musicians at the time who stood upon tavern benches to entertain their audience; the piece’s round, pompous style evokes the musical tradition of the “bench singers.” The popular sonata form of the classical era had not been invented yet; during Speer’s time, “sonata” referred to the 17th-century sonata style. In this piece, that style is specifically characterized by antiphonal passages and ebullient themes. Eventually orchestrated for two trumpets, horn, trombone, and tuba, Sonata from “Die Bänkelsänger” became a staple of the brass quintet repertoire, and continues to be performed at various ceremonies and celebrations.
Lucas O’Brien, Trombone, Class of 2024
Percy Grainger was an avid fan of English folk songs, which were clearly incorporated in many of his pieces. His portrayal of the English culture in a variety of compositions was considered an oddity for their ridiculous and unsettling chords, as he was we known for writing parts before a score. One of Grainger’s pieces, Walking Tune, was written in 1905 for wind quintet, which was then later transcribed for piano. The piece is based off the melodies he hummed during his 3 day walk in the Scottish Highlands and countryside in 1900. Grainger’s intent on this piece was to portray the beauty of the highlands and the countryside, through the use of a single melody that was passed throughout the ensemble. The theme begins with the oboe accompanied by a warm chord in the lower voices, representing his first take of the highlands. As the melody progresses, the tone changes variously from a darker, heavier texture back to the light walking tune first introduced by the oboe.
Darren Chiu, Oboe, Class of 2019
Born in Amsterdam, Jan Koetsier was taught to appreciate music from a very young age with the help of his mother, a singer, and his father, a music teacher. He began his formal studies in composition and conducting at the age of 16 in Berlin. After studying there, he began working as the principal conductor of the newly-founded Bavarian Radio Symphony Orchestra, and would continue to serve as its conductor for 16 years. Following his retirement, Koetsier primarily focused on composing from his home, which gave rise to one of his more well-known compositions for brass ensemble, Brass-Quintet Op. 65 in C Major. The first movement begins with a tempo marking of Andante con Moto, which means “slowly but with flowing motion.” Further into the piece, the tempo suddenly changes to Allegro con brio, which means “lively and spirited with energy.” These contrasting parts catch the eye of brass players, which has led the piece to be frequently included in standard brass quintet repertoire.
Ethan Kim, Trumpet, 2021
Despite the name, Bach’s English Suites likely have no direct connection to England. The title was probably added later—perhaps referencing English keyboard traditions or simply distinguishing these works from his later French Suites. Composed around 1715, the English Suites are among Bach’s earliest large-scale keyboard works, already showcasing his unique fusion of French elegance, Italian flair, and German contrapuntal mastery. The Suite No. 2 in A minor begins with a bold and expressive Prelude, remarkable for its virtuosic intensity and improvisatory spirit—an unusual feature in dance suites of the time. Its energy and brilliance set the tone for the movements that follow, each rooted in Baroque dance forms yet imbued with intricate counterpoint and expressive nuance. Tonight’s performance features marimba and violin, offering a new perspective on Bach’s keyboard writing. This instrumentation draws out new colors and textures from the original score
Francis Poulenc was a central figure of 20th-century French music. A self-taught composer with a sharp instinct for melody and texture, Poulenc was equally at home writing religious works, solo piano music, operas, and popular songs. He was a member of Les Six, a group of young French composers who sought to break away from both Wagnerian heaviness and Impressionist delicacy, favoring clarity, charm, and a touch of irreverence—qualities clearly displayed in his valse chantée (waltz-song) Les chemins de l'Amour. The piece was written for the celebrated French actress and singer Yvonne Printemps, and originally composed for Jean Anouilh’s play Léocadia, with text by Anouilh himself. Though born from the world of theater, the song has become a beloved recital piece, cherished for its graceful melody and bittersweet nostalgia.
Bach’s Concerto for Oboe and Violin would not exist today had Bach not decided to recycle it as one of his harpsichord concertos. He repurposed the piece for the Collegium Musicum, a musical society where renowned artists such as Telemann and Bach would compose concertos for weekly performances at Café Zimmermann. The original manuscript of the piece for Oboe and Violin was lost, but manuscripts of the harpsichord concerto had survived in the hands of Bach’s students, and was eventually reconstructed into the concerto for Oboe and Violin we listen to today. The distinct characteristics between the two harpsichord melodies have led scholars to believe that the original solo instruments for the concerto were written for violin and oboe. Throughout the piece, Bach emphasizes the similarities between the two instruments while creating harmonies with their differences. The piece follows the traditional three movement, fast-slow-fast pattern. The first movement is a graceful and spirited Allegro, and features a theme that undergoes several modulations before returning to its original form at the end of the piece. The middle Adagio movement presents an expansive duet where the soloists dovetail and converse to create a cantabile melody imitated by the accompaniment. The third movement is a brisk and brief finale with a nonstop up-tempo theme.
Victor Chai, Bassoon, Class of 2019
Though no one knows exactly when Bach’s renowned Double Concerto for 2 Violins was composed, many speculate that the piece was written during his time at the Leipzig Collegium Musicum. Others believe that it was composed for the two principal violinists of Prince Leopold’s orchestra in Cöthen when Bach was serving as the orchestra’s Kapellmeister. The original score of the piece was lost, though the first manuscripts of the solo violin parts with Bach’s handwriting date back to 1730. Bach later arranged the piece into a Concerto for Two Harpsichords in 1739 (BWV 1062). The structure of the work, inspired by the Italian Baroque concerto style of Vivaldi, follows a fast-slow-fast movement pattern in ritornello form. The second movement features the two soloists in a gentle counterpoint, supported by the ensemble repeating an ostinato. Harmonic tension is sustained throughout by the avoidance of tonic cadences, which perhaps contributes to its fame as one of the most emotive movements in music. The final movement returns to a ritornello form similar to that of the first movement, with the soloists occasionally interrupting the orchestra’s thematic refrains.
Karen Peng, Flute, 2021
Brian Sun, Clarinet, Class of 2019
Amongst his famous piano concertos, sonatas, sonatinas and operatic works including the magical fairy tale Lulu (1824), Friedrich Kuhlau is also renowned for his chamber and solo works for flute. The Grand Quartet for Four Flutes in E Minor Op. 103 is one such work. However, its inspiration and influences are left to discretion due to the fact that Kuhlau himself was never a flautist; rather, he depended on his natural instinct for composing for the instrument. As a consequence, his numerous flute compositions were written mainly to satisfy popular demand and to acquire income. Nevertheless, his adept skill when writing for the flute is reflected in the pieces melodic and thematic devices popular to the Romantic era. In the Rondo: Allegro assai, Kuhlau employs ascending chromatic lines and a repeating theme of interrupting melodic runs with moments of more open rhythms to build tension, while still keeping a forward momentum to the piece with the use of staccato eighth-note figures. The key change towards the middle of the movement presents a thematic transformation from a denser and fast-paced mood to one that is brighter and more dance-like. The constant motion, coupled with the tension and tone changes that Kuhlau is able to create with simplistic melodic lines passed constantly between the four flautists are what gives the Grand Quartet its significance amongst his works for flute.
Ryan Chao, Percussion, Class of 2018
After spending half of his life studying at the Paris Conservatory, Maurice Ravel was concluding his extended education there in 1903 at the age of 28. Despite several attempts, he never secured first prize in the prestigious Prix de Rome competition—his best result being second place. His String Quartet in F major, submitted as part of one of these efforts, was likewise dismissed by the judges. Yet today, the quartet is widely regarded as one of Ravel’s earliest masterpieces: a cornerstone of the chamber music repertoire, admired for its structural precision, elegance, and textural richness. The second movement, marked Assez vif (“rather lively”), is the shortest of the four but brims with rhythmic energy. Pizzicato figures dance through the ensemble, giving the music a buoyant, percussive character, while smoother, more lyrical sections offer contrast and warmth. The triple meter remains constant, but shifting rhythmic accents evoke the flair of Spanish folk dances—a reflection of Ravel’s Basque heritage and fascination with Iberian music. In the central section, eerie plucked accompaniments support a winding, expressive violin line, creating a sound world that feels both exotic and ancient. The movement then snaps back to the opening material, charging ahead with renewed vigor toward a bold, stomping conclusion.
A truly remarkable work from the golden age of Baroque, Sonata from “Die Bänkelsänger” demonstrates the unique warmth and nobility of the traditional brass quintet, as well as the striking style of early brass repertoire. Originally scored for trumpet, cornett and alto, tenor and bass trombones, the piece was revived in 1880 when it was reorchestrated in a collection of vocal works that has recently been attributed to German Baroque composer Daniel Speer, known for his musical treatises and political tracts. The title translates to “The Bench Singer,” referring to travelling musicians at the time who stood upon tavern benches to entertain their audience; the piece’s round, pompous style evokes the musical tradition of the “bench singers.” The popular sonata form of the classical era had not been invented yet; during Speer’s time, “sonata” referred to the 17th-century sonata style. In this piece, that style is specifically characterized by antiphonal passages and ebullient themes. Eventually orchestrated for two trumpets, horn, trombone, and tuba, Sonata from “Die Bänkelsänger” became a staple of the brass quintet repertoire, and continues to be performed at various ceremonies and celebrations.
Lucas O’Brien, Trombone, Class of 2024
Percy Grainger was an avid fan of English folk songs, which were clearly incorporated in many of his pieces. His portrayal of the English culture in a variety of compositions was considered an oddity for their ridiculous and unsettling chords, as he was we known for writing parts before a score. One of Grainger’s pieces, Walking Tune, was written in 1905 for wind quintet, which was then later transcribed for piano. The piece is based off the melodies he hummed during his 3 day walk in the Scottish Highlands and countryside in 1900. Grainger’s intent on this piece was to portray the beauty of the highlands and the countryside, through the use of a single melody that was passed throughout the ensemble. The theme begins with the oboe accompanied by a warm chord in the lower voices, representing his first take of the highlands. As the melody progresses, the tone changes variously from a darker, heavier texture back to the light walking tune first introduced by the oboe.
Darren Chiu, Oboe, Class of 2019
Born in Amsterdam, Jan Koetsier was taught to appreciate music from a very young age with the help of his mother, a singer, and his father, a music teacher. He began his formal studies in composition and conducting at the age of 16 in Berlin. After studying there, he began working as the principal conductor of the newly-founded Bavarian Radio Symphony Orchestra, and would continue to serve as its conductor for 16 years. Following his retirement, Koetsier primarily focused on composing from his home, which gave rise to one of his more well-known compositions for brass ensemble, Brass-Quintet Op. 65 in C Major. The first movement begins with a tempo marking of Andante con Moto, which means “slowly but with flowing motion.” Further into the piece, the tempo suddenly changes to Allegro con brio, which means “lively and spirited with energy.” These contrasting parts catch the eye of brass players, which has led the piece to be frequently included in standard brass quintet repertoire.
Ethan Kim, Trumpet, 2021
Despite the name, Bach’s English Suites likely have no direct connection to England. The title was probably added later—perhaps referencing English keyboard traditions or simply distinguishing these works from his later French Suites. Composed around 1715, the English Suites are among Bach’s earliest large-scale keyboard works, already showcasing his unique fusion of French elegance, Italian flair, and German contrapuntal mastery. The Suite No. 2 in A minor begins with a bold and expressive Prelude, remarkable for its virtuosic intensity and improvisatory spirit—an unusual feature in dance suites of the time. Its energy and brilliance set the tone for the movements that follow, each rooted in Baroque dance forms yet imbued with intricate counterpoint and expressive nuance. Tonight’s performance features marimba and violin, offering a new perspective on Bach’s keyboard writing. This instrumentation draws out new colors and textures from the original score
Francis Poulenc was a central figure of 20th-century French music. A self-taught composer with a sharp instinct for melody and texture, Poulenc was equally at home writing religious works, solo piano music, operas, and popular songs. He was a member of Les Six, a group of young French composers who sought to break away from both Wagnerian heaviness and Impressionist delicacy, favoring clarity, charm, and a touch of irreverence—qualities clearly displayed in his valse chantée (waltz-song) Les chemins de l'Amour. The piece was written for the celebrated French actress and singer Yvonne Printemps, and originally composed for Jean Anouilh’s play Léocadia, with text by Anouilh himself. Though born from the world of theater, the song has become a beloved recital piece, cherished for its graceful melody and bittersweet nostalgia.
Bach’s Concerto for Oboe and Violin would not exist today had Bach not decided to recycle it as one of his harpsichord concertos. He repurposed the piece for the Collegium Musicum, a musical society where renowned artists such as Telemann and Bach would compose concertos for weekly performances at Café Zimmermann. The original manuscript of the piece for Oboe and Violin was lost, but manuscripts of the harpsichord concerto had survived in the hands of Bach’s students, and was eventually reconstructed into the concerto for Oboe and Violin we listen to today. The distinct characteristics between the two harpsichord melodies have led scholars to believe that the original solo instruments for the concerto were written for violin and oboe. Throughout the piece, Bach emphasizes the similarities between the two instruments while creating harmonies with their differences. The piece follows the traditional three movement, fast-slow-fast pattern. The first movement is a graceful and spirited Allegro, and features a theme that undergoes several modulations before returning to its original form at the end of the piece. The middle Adagio movement presents an expansive duet where the soloists dovetail and converse to create a cantabile melody imitated by the accompaniment. The third movement is a brisk and brief finale with a nonstop up-tempo theme.
Victor Chai, Bassoon, Class of 2019
Though no one knows exactly when Bach’s renowned Double Concerto for 2 Violins was composed, many speculate that the piece was written during his time at the Leipzig Collegium Musicum. Others believe that it was composed for the two principal violinists of Prince Leopold’s orchestra in Cöthen when Bach was serving as the orchestra’s Kapellmeister. The original score of the piece was lost, though the first manuscripts of the solo violin parts with Bach’s handwriting date back to 1730. Bach later arranged the piece into a Concerto for Two Harpsichords in 1739 (BWV 1062). The structure of the work, inspired by the Italian Baroque concerto style of Vivaldi, follows a fast-slow-fast movement pattern in ritornello form. The second movement features the two soloists in a gentle counterpoint, supported by the ensemble repeating an ostinato. Harmonic tension is sustained throughout by the avoidance of tonic cadences, which perhaps contributes to its fame as one of the most emotive movements in music. The final movement returns to a ritornello form similar to that of the first movement, with the soloists occasionally interrupting the orchestra’s thematic refrains.
Karen Peng, Flute, 2021
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Les chemins de l'amour
Les chemins qui vont à la mer Ont gardé de notre passage, Des fleurs effeuillées Et l'écho sous leurs arbres De nos deux rires clairs. Hélas! des jours de bonheur, Radieuses joies envolées, Je vais sans retrouver traces Dans mon cœur. Chemins de mon amour, Je vous cherche toujours, Chemins perdus, vous n'êtes plus Et vos échos sont sourds. Chemins du désespoir, Chemins du souvenir, Chemins du premier jour, Divins chemins d'amour. Si je dois l'oublier un jour, La vie effaçant toute chose, Je veut, dans mon cœur, qu'un souvenir repose, Plus fort que l'autre amour. Le souvenir du chemin, Où tremblante et toute éperdue, Un jour j'ai senti sur moi Brûler tes mains. |
The pathways of love
The paths that lead to the sea have kept, of our passing-by, flowers with fallen petals and the echo, beneath their trees, of both our bright laughters. Alas! of the days of happiness, radiant joys now flown, I wander without finding their trace again in my heart. Paths of my love, I still seek you, lost paths, you are no more and your echos are hollow. Paths of despair, paths of memory, paths of the first day, divine paths of love. If one day I have to forget him, life effacing everything, I wish, in my heart, that one memory should remain, stronger than the other love. The memory of the path, where trembling and utterly bewildered one day, upon me, I felt your hands burning. |