Wednesday, December 10, 2025
7:00 pm
The Christmas Brass Spirit (2010)
Marc Papeghin (b. 1985)
Edward Jin Trumpet
Parker Lai, Trumpet
Koen Wang, French Horn
Brandon, French Horn
Peter Lee, French Horn
Carson Li, French Horn
Kenneth Gong, Trombone
Sean Oey, Trombone
Camren Molina, Trombone
Ryan Kim, Bass Trombone
Jerry Xu, Trombone
David Li, Trombone
Sophie Yu, Trombone
Jayden Xu, Trombone
Kaylee Yun, Euphonium
Kenneth Jin, Euphonium
Audrey Ly, Euphonium
Joseph Xu, Euphonium
Ace Tecson, Tuba
Nathan Lu, Tuba
Molly on the Shore (1907)
Percy Aldrige Grainger (1882-1961)
Arr. Jacques Larocque
Aydin Miller, Soprano Saxophone
Albus Shih, Soprano Saxophone
Maximus Mar, Alto Saxophone
Aaron Cho, Tenor Saxophone
Lucas Weng, Tenor Saxophone
Owen Huang, Baritone Saxophone
Andrew Garrigue, Baritone Saxophone (Guest alumni)
Suite for four Trombones, Op. 82 (1962)
Flor Peeters (1903-1986)
I. Entrata
III. Dans
Camren Molina, Trombone
Sean Oey, Trombone
David Li, Trombone
Ryan Kim, Bass Trombone
Entr'acte (1935)
Jacques Ibert (1890-1962)
Angela Wang, Flute
Cynthia Liu, Guitar
Trio No. 1 in D Major, Op. 45 (c.1795-1800)
Giuseppe Maria Cambini (1746-1825)
I. Allegro maestoso
Crystal Zhao, Flute
Jaden Kim, Oboe
Byron Chen, Bassoon
Cinq Pièces en Trio (1935)
Ibert
I. Allegro vivo
V. Allegro quasi marziale
Derrick Hsu, Oboe
Claire Kuo, Clarinet
Hayley Lu, Bassoon
String Quartet in C Major, Op. 9, No. 1, Hob. III:19 (c. 1769-1770)
Joseph Haydn (1732-1809)
IV. Finale: Presto
Joseph Kim, Violin
Grace Zhou, Violin
Mia Wang, Viola
Ethan Wong, Cello
Kleine Kammermusik, Op. 24 No. 2 (1922)
Paul Hindemith (1895-1963)
I. Lustig. Mäßig schnell Viertel (merry. moderately fast)
V. Sehr Lebhaft (very lively)
Sophie Dong, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Carson Li, French Horn
Intermission
Deux Interludes (1946)
Ibert (1890-1962)
I. Andante espressivo
II. Allegro Vivo
Sophia Zhou, Flute
Nicole Lin, Violin
Sylvia Wang, Piano
Grand Quintette in F Minor, Op. 76 (c. 1840s)
Georges Onslow (1784-1853)
III. Scherzo
Jonathan Lan, Violin
Angela Niu, Viola
Evan Lee, Cello
Carter Prudhomme, Double Bass
Arthy Chaisakulchai, Piano
Piano Quartet in E-Flat Major, Op. 47 (1842)
Robert Schumann (1810-1856)
III. Andante cantabile
Joel Kim, Violin
Sean Yeh, Viola
Ray Gu, Cello
Jina Ju, Piano
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
Jonathan Lan, Violin I
Joseph Kim, Violin II
Eric Wang, Cello
Ripieno
Nicole Lin, Brian Rossi & Andre Chang, Violin I
Joel Kim, Sean Yeh & Grace Zhou, Violin II
Jaelynn Au, Eireen Lu, Angela Niu & Mia Wang, Viola
Ethan Wong, Joshua Jung & Evan Lee, Cello
Scott Matsumoto & Carter Prudhomme, Double Bass
Diamond Bar High School Instrumental Music Program
Steve Acciani, Director
Marie Santos, Director
Performing Arts Academy Advanced Music Program
Aki Nishiguchi, Director
Michael Yoshimi, Assistant Director
Chamber Music Coach
Sabrina Bounds
Joshua Park
Stella Cho
Liam WIlt
DBHS Performing Arts Academy Officers
Jesse Hu, CEO
Angela Wang & Eric Wang, President
Eireen Lu & Jay Xu, Vice President
Sean Yeh & Rick Chi, Secretary
Sherlock Xu, Production Coordinator
Joseph Kim & Michelle Hsu, Librarian
Marie Santos, Director
Performing Arts Academy Advanced Music Program
Aki Nishiguchi, Director
Michael Yoshimi, Assistant Director
Chamber Music Coach
Sabrina Bounds
Joshua Park
Stella Cho
Liam WIlt
DBHS Performing Arts Academy Officers
Jesse Hu, CEO
Angela Wang & Eric Wang, President
Eireen Lu & Jay Xu, Vice President
Sean Yeh & Rick Chi, Secretary
Sherlock Xu, Production Coordinator
Joseph Kim & Michelle Hsu, Librarian
Percy Aldridge Grainger was a 20th century Australian composer, arranger, and pianist. During the early 1900s, Grainger committed his time to composition and arranging European folk music. Inspired by Edvard Grieg, Grainger traveled around Europe searching for new folk songs using a wax cylinder and phonograph. In 1910, Grainger came to the United States to start a new life. He enlisted in the army band as a soprano saxophonist in 1915. After his time in the army band, Grainger started to focus more on composition. He became well known for writing wind band music, and many of his arrangements have made their way into the standard band literature. Grainger wrote "Molly on the Shore" as a birthday present for his mother in 1907. The piece utilizes different harmonic textures and melodic characters that give it its charming and engaging feel. His use of irregular rhythmic domination gives the piece a sense of freedom that has captivated audiences and performers alike. In addition, Grainger's use of discordant harmonies helps to express the emotion and compassion characteristic of the piece. Originally this dance-like folk song was written for a string quartet or string orchestra. However, its popularity has resulted in many different arrangements and versions being created for this piece. Tonight, you will be hearing an adaptation of Jacques Larocque's arrangement of "Molly on the Shore".
Janeen Yamak, Trumpet, Class of 2017
Much of Flor Peeters’ compositions are testaments to his affinity for Medieval and Renaissance soundscapes. His works blended Gregorian melodies, brisk rhythms, and modal harmonies characteristic of the aforementioned musical eras. Composed in the mid-20th century, Peeters’ Quatuour Pour 4 Trombones exemplifies just this; the first movement of the piece is a rhythmic antiphony initiated by the bass trombone and reciprocated by the upper three voices. Peeters was an organist, and as a result, his works (including his Suite for Trombones) often integrated a luminous tone that reverberated in large, acoustically sound environments such as the churches he served at. In contrast, the third movement starts out sneakish and light; Peeters employs a mixed-meter that accentuates the accented landing notes that punctuate each measure, right before spontaneously subsiding into the same recurring eighth note pattern. Abruptly, the piece then enters a much more melodic passage, producing a warm, comfortable feeling for the audience. Afterwards, it reiterates and concludes with the whimsical, elusive section that began the movement. Peeters’ trombone suite demonstrates his compositional tendencies of blending religious chants, inventive rhythms, and modal tendencies, which set him apart from his contemporaries.
Camren Molina, Trombone, 2026
Jacques Ibert, famously described as an "eclectic" composer, wove together neoclassical and impressionistic elements in varied instrumentations. His range extended from witty, frivolous works in traditional settings, like the Flute Concerto and Divertissement, to satirical operas marked by precision and conciseness—blending theatrical flair with tradition.
In 1935, Ibert wrote Entr'acte for flute or violin and guitar or harp. The flexibility in instrumentation allowed for a brief but persuasive storytelling of the traditional Spanish-inspired flamenco dance. Ibert's metaphorical imitation of flamenco opens in media res with a whirling dance accompanied by the percussive, fiery guitar. This dazzling intro seamlessly transitions into a hushed exchange of serenades between the two voices. Brilliantly, the push and pull of the main theme returns with the persuasive groove of the traditional flamenco dance, reiterated through variations before passing into guitar and flute cadenzas—both touching upon the gentle, conversational quality of their prior exchanges. With a definitive hitching of the tempo, the vibrant theme sounds one last time, with a dancer's arms in the air and a final stamp of the feet.
Angela Wang, Flute, Class of 2026
Born in 1746, Giuseppe Maria Cambini was an Italian composer in the classical period who settled in France after his early training in Italy. Cambini’s works were very popular in Paris and were valued for the clarity and elegance of the piece. Giuseppe Maria Cambini’s Trio No.1 in D major, was published in 1785 and comes from a collection of 6 trios that he composed. This collection is widely considered to be the first ever compositions to be written specifically for flute, oboe, and bassoon.
The first movement, Allegro maestoso, stands out for its simplicity, gracefulness, and the balance between the 3 voices. Each instrument has a key part in the dialogue, with the flute and oboe trading motifs while the bassoon supports by providing the pulse and its own moments of melodic independence. The piece transitions naturally into a more lyrical secondary half that’s more songlike.
This piece leaves the listener with a sense of delight and pleasure. The movement gives the listener a sense of stepping out into the sunlight and taking a stroll. The trio’s elegance makes it not just enjoyable, but comforting.
Byron Chen, Bassoon, Class of 2028
Jacques Ibert's Cinq Pièces en Trio (1935) is a neoclassical suite originally written for the Trio d'Anches de Paris, consisting of five short movements. Each movement showcases different characters: the first movement, Allegro Vivo , sets a playful tone and lighthearted dialogue between the instruments. Its brisk, carefree nature highlights a memorable oboe tune that gets passed throughout the reed trio. By contrast, the second movement, Andantino, offers a lyrical contrast with an emphasis on harmonic shifts and melodic lines—ultimately leading into the rhythmic themes of the third movement, Allegro Assai. Like the Andantino, the fourth movement, Andante, brings out an expressive contrast to the third, allowing for a moment of brief pause before the last. In the finale, Allegro quasi marziale, the suite parallels the buoyant character of the piece, bringing it full circle.
Angela Wang, Flute, Class of 2026
Composed around 1769-1770, Joseph Haydn's Op. 9 quartets represent a pivotal moment in chamber music history. By this time, Haydn had served Prince Nikolaus Esterházy for nearly a decade, enjoying artistic freedom that allowed bold experimentation. These six quartets mark his decisive shift from the lighter divertimento tradition toward a more serious, integrated four-part style.
The string quartet as we know it was still being invented, and Haydn was its primary architect. The Op. 9 set shows him developing the revolutionary principle of "four people conversing"—a democratic ideal where each instrument contributes equally to the musical discourse, rather than simply accompanying a dominant melody.
Tonight's Presto finale exemplifies this emerging mastery with its witty character and brilliant interplay between voices. These quartets would directly inspire Mozart's own quartet writing and establish the foundation for Beethoven's later innovations in the form.
Paul Hindemith was a German-American composer, whose iconic compositions include the Symphonic Metamorphosis and the song cycle Das Marienleben. His compositions generally feature a tonal center and traditional musical forms with a unique 12-tone musical system, which ranks the tonality of the 12 respective intervals. He utilized this system as a means to understand and analyze harmony of music, claiming that it has a broader reach than the traditional Roman numeral approach to chords.
Kleine Kammermusik was composed in 1922 for the Frankfurt Wind Chamber Music Association, one of the very first of its kind. It contains borrowed material from his previous chamber piece, Kammermusik No. 1, contributing to the "klein" (small) in its name along with a lack of numbering. The movements are all contrasting in style and structure, ranging from merry and humorous (first movement), a slow waltz (second movement), and aggressively lively (fifth movement), of which the first and fifth we will be performing.
Jesse Hu, Oboe, Class of 2026
Born and raised in Paris, composer Jacques Ibert was interested in both music and theater. In addition to his musical training, he took acting lessons after graduating from high school. Although his parents were reluctant to allow him to pursue his livelihood in the theater, Ibert was able to enroll in Paris Conservatory as a music student at the age of 20. He continued to pursue his passions in music and theater after graduating from the conservatory, serving as director and composer for the Academy of France. Ibert's compositions were extremely versatile, covering many different genres such as opera, ballet, film, chamber, and incidental music. Deux Interludes was derived from incidental music composed in 1946 for Le Burlador (Mocker), a play based on the myth of Don Juan from the female perspective. The piece starts with a lyrical melodic line, but shifts to a more energetic rhythm later; this contrast exemplifies the qualities of early impressionistic French music. Though the piece was originally written for harpsichord, flute, and violin, it is also often played on piano. Ibert's music is described as "festive and gay, lyrical and inspired, or descriptive and evocative, often tinged with gentle humor"; Deux Interludes is a prime example of Ibert's compositional idiosyncrasies, and demonstrates his talent for composing both lyrical and festive melodies.
Gloria Choi, Viola, Class of 2020
George Onslow remains one of history's most unjustly neglected composers. Born in Clermont-Ferrand to an English aristocratic father and French noblewoman mother, Onslow was hailed during his lifetime as "the French Beethoven." Berlioz called him one of France's finest musical glories, while Schumann praised his writing and he stood alongside Mozart, Haydn, and Beethoven in contemporary esteem.
Unlike most French composers pursuing opera, the independently wealthy Onslow devoted himself almost exclusively to chamber music—a rarity in Paris. He studied with Anton Reicha, whose training shaped his sophisticated contrapuntal style. His 36 string quartets and 34 string quintets supplied European concert societies for decades, yet he faded from repertoire after his death.
The Grand Quintette in F Minor, Op. 76 represents a late masterwork, an arrangement of his Fourth Symphony. Written for the unusual combination of piano, violin, viola, cello, and double bass, this substantial work showcases Onslow's dramatic Romantic temperament—rich harmonies, chromatic passages, and passionate lyricism that bridge Classical and Romantic eras. Tonight's performance offers a rare opportunity to discover this forgotten master.
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
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 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.
However, 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
Janeen Yamak, Trumpet, Class of 2017
Much of Flor Peeters’ compositions are testaments to his affinity for Medieval and Renaissance soundscapes. His works blended Gregorian melodies, brisk rhythms, and modal harmonies characteristic of the aforementioned musical eras. Composed in the mid-20th century, Peeters’ Quatuour Pour 4 Trombones exemplifies just this; the first movement of the piece is a rhythmic antiphony initiated by the bass trombone and reciprocated by the upper three voices. Peeters was an organist, and as a result, his works (including his Suite for Trombones) often integrated a luminous tone that reverberated in large, acoustically sound environments such as the churches he served at. In contrast, the third movement starts out sneakish and light; Peeters employs a mixed-meter that accentuates the accented landing notes that punctuate each measure, right before spontaneously subsiding into the same recurring eighth note pattern. Abruptly, the piece then enters a much more melodic passage, producing a warm, comfortable feeling for the audience. Afterwards, it reiterates and concludes with the whimsical, elusive section that began the movement. Peeters’ trombone suite demonstrates his compositional tendencies of blending religious chants, inventive rhythms, and modal tendencies, which set him apart from his contemporaries.
Camren Molina, Trombone, 2026
Jacques Ibert, famously described as an "eclectic" composer, wove together neoclassical and impressionistic elements in varied instrumentations. His range extended from witty, frivolous works in traditional settings, like the Flute Concerto and Divertissement, to satirical operas marked by precision and conciseness—blending theatrical flair with tradition.
In 1935, Ibert wrote Entr'acte for flute or violin and guitar or harp. The flexibility in instrumentation allowed for a brief but persuasive storytelling of the traditional Spanish-inspired flamenco dance. Ibert's metaphorical imitation of flamenco opens in media res with a whirling dance accompanied by the percussive, fiery guitar. This dazzling intro seamlessly transitions into a hushed exchange of serenades between the two voices. Brilliantly, the push and pull of the main theme returns with the persuasive groove of the traditional flamenco dance, reiterated through variations before passing into guitar and flute cadenzas—both touching upon the gentle, conversational quality of their prior exchanges. With a definitive hitching of the tempo, the vibrant theme sounds one last time, with a dancer's arms in the air and a final stamp of the feet.
Angela Wang, Flute, Class of 2026
Born in 1746, Giuseppe Maria Cambini was an Italian composer in the classical period who settled in France after his early training in Italy. Cambini’s works were very popular in Paris and were valued for the clarity and elegance of the piece. Giuseppe Maria Cambini’s Trio No.1 in D major, was published in 1785 and comes from a collection of 6 trios that he composed. This collection is widely considered to be the first ever compositions to be written specifically for flute, oboe, and bassoon.
The first movement, Allegro maestoso, stands out for its simplicity, gracefulness, and the balance between the 3 voices. Each instrument has a key part in the dialogue, with the flute and oboe trading motifs while the bassoon supports by providing the pulse and its own moments of melodic independence. The piece transitions naturally into a more lyrical secondary half that’s more songlike.
This piece leaves the listener with a sense of delight and pleasure. The movement gives the listener a sense of stepping out into the sunlight and taking a stroll. The trio’s elegance makes it not just enjoyable, but comforting.
Byron Chen, Bassoon, Class of 2028
Jacques Ibert's Cinq Pièces en Trio (1935) is a neoclassical suite originally written for the Trio d'Anches de Paris, consisting of five short movements. Each movement showcases different characters: the first movement, Allegro Vivo , sets a playful tone and lighthearted dialogue between the instruments. Its brisk, carefree nature highlights a memorable oboe tune that gets passed throughout the reed trio. By contrast, the second movement, Andantino, offers a lyrical contrast with an emphasis on harmonic shifts and melodic lines—ultimately leading into the rhythmic themes of the third movement, Allegro Assai. Like the Andantino, the fourth movement, Andante, brings out an expressive contrast to the third, allowing for a moment of brief pause before the last. In the finale, Allegro quasi marziale, the suite parallels the buoyant character of the piece, bringing it full circle.
Angela Wang, Flute, Class of 2026
Composed around 1769-1770, Joseph Haydn's Op. 9 quartets represent a pivotal moment in chamber music history. By this time, Haydn had served Prince Nikolaus Esterházy for nearly a decade, enjoying artistic freedom that allowed bold experimentation. These six quartets mark his decisive shift from the lighter divertimento tradition toward a more serious, integrated four-part style.
The string quartet as we know it was still being invented, and Haydn was its primary architect. The Op. 9 set shows him developing the revolutionary principle of "four people conversing"—a democratic ideal where each instrument contributes equally to the musical discourse, rather than simply accompanying a dominant melody.
Tonight's Presto finale exemplifies this emerging mastery with its witty character and brilliant interplay between voices. These quartets would directly inspire Mozart's own quartet writing and establish the foundation for Beethoven's later innovations in the form.
Paul Hindemith was a German-American composer, whose iconic compositions include the Symphonic Metamorphosis and the song cycle Das Marienleben. His compositions generally feature a tonal center and traditional musical forms with a unique 12-tone musical system, which ranks the tonality of the 12 respective intervals. He utilized this system as a means to understand and analyze harmony of music, claiming that it has a broader reach than the traditional Roman numeral approach to chords.
Kleine Kammermusik was composed in 1922 for the Frankfurt Wind Chamber Music Association, one of the very first of its kind. It contains borrowed material from his previous chamber piece, Kammermusik No. 1, contributing to the "klein" (small) in its name along with a lack of numbering. The movements are all contrasting in style and structure, ranging from merry and humorous (first movement), a slow waltz (second movement), and aggressively lively (fifth movement), of which the first and fifth we will be performing.
Jesse Hu, Oboe, Class of 2026
Born and raised in Paris, composer Jacques Ibert was interested in both music and theater. In addition to his musical training, he took acting lessons after graduating from high school. Although his parents were reluctant to allow him to pursue his livelihood in the theater, Ibert was able to enroll in Paris Conservatory as a music student at the age of 20. He continued to pursue his passions in music and theater after graduating from the conservatory, serving as director and composer for the Academy of France. Ibert's compositions were extremely versatile, covering many different genres such as opera, ballet, film, chamber, and incidental music. Deux Interludes was derived from incidental music composed in 1946 for Le Burlador (Mocker), a play based on the myth of Don Juan from the female perspective. The piece starts with a lyrical melodic line, but shifts to a more energetic rhythm later; this contrast exemplifies the qualities of early impressionistic French music. Though the piece was originally written for harpsichord, flute, and violin, it is also often played on piano. Ibert's music is described as "festive and gay, lyrical and inspired, or descriptive and evocative, often tinged with gentle humor"; Deux Interludes is a prime example of Ibert's compositional idiosyncrasies, and demonstrates his talent for composing both lyrical and festive melodies.
Gloria Choi, Viola, Class of 2020
George Onslow remains one of history's most unjustly neglected composers. Born in Clermont-Ferrand to an English aristocratic father and French noblewoman mother, Onslow was hailed during his lifetime as "the French Beethoven." Berlioz called him one of France's finest musical glories, while Schumann praised his writing and he stood alongside Mozart, Haydn, and Beethoven in contemporary esteem.
Unlike most French composers pursuing opera, the independently wealthy Onslow devoted himself almost exclusively to chamber music—a rarity in Paris. He studied with Anton Reicha, whose training shaped his sophisticated contrapuntal style. His 36 string quartets and 34 string quintets supplied European concert societies for decades, yet he faded from repertoire after his death.
The Grand Quintette in F Minor, Op. 76 represents a late masterwork, an arrangement of his Fourth Symphony. Written for the unusual combination of piano, violin, viola, cello, and double bass, this substantial work showcases Onslow's dramatic Romantic temperament—rich harmonies, chromatic passages, and passionate lyricism that bridge Classical and Romantic eras. Tonight's performance offers a rare opportunity to discover this forgotten master.
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
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 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.
However, 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