Wednesday, February 18, 2026
7:00 pm
Losa (1999)
Emmanuel Séjourné (b. 1961)
Talon Lu, Vibraphone
Elonzo Motus, Marimba
Jalen Cai, Cajon
Sonata for Solo Cello (1990)
György Ligeti (1923-2006)
I. Dialogo (1948)
II. Capriccio (1953)
Ray Gu, Cello
Two Pieces For Three Trombones (1965)
Raymond Premru (1934-1998)
I. Felicity
II. Episode
Jerry Xu, Trombone
Kenneth Gong, Trombone
Jayden Xu, Trombone
Quatuor Pour Saxophones (1949)
Faustin & Maurice Jeanjean
(1900-1979)/(1897-1968)
I. Gaiete Villageoise
Aaron Cho, Soprano Saxophone
Maximus Mar, Alto Saxophone
Lucas Weng, Tenor Saxophone
Aydin Miller, Baritone Saxophone
Appalachian Carol (1980)
James Canter (b. 1952)
Kenneth Jin, Euphonium
Joseph Xu, Euphonium
Ace Tecson, Tuba
Nathan Lu, Tuba
Partita (1948)
Irving Fine (1914-1962)
I. Introduction and Theme
II. Variation
Sophie Dong, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Carson Li, French Horn
Sextet Op.6 (1888)
Ludwig Thuille (1816-1907)
I. Allegro Moderato
Felix Yin, Flute
Michelle Hsu, Oboe
Evelyn Liang, Clarinet
Lauren Cheng, Bassoon
Koen Wang, French Horn
Sylvia Wang, Piano
INTERMISSION
String Quartet Op. 10 (1893)
Claude Debussy (1862-1918)
I. Animé et très décidé
III. Andantino, doucement expressif
Joel Kim, Violin
Joseph Kim, Violin
Sean Yeh, Viola
Ray Gu, Cello
Quartet No. 8 in c minor, Op. 110 (1960)
Dmitri Shostakovich (1906-1975)
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo
Nicole Lin, Violin
Jonathan Lan, Violin
Jaelynn Au, Viola
Eric Wang, Cello
Emmanuel Séjourné (b. 1961)
Talon Lu, Vibraphone
Elonzo Motus, Marimba
Jalen Cai, Cajon
Sonata for Solo Cello (1990)
György Ligeti (1923-2006)
I. Dialogo (1948)
II. Capriccio (1953)
Ray Gu, Cello
Two Pieces For Three Trombones (1965)
Raymond Premru (1934-1998)
I. Felicity
II. Episode
Jerry Xu, Trombone
Kenneth Gong, Trombone
Jayden Xu, Trombone
Quatuor Pour Saxophones (1949)
Faustin & Maurice Jeanjean
(1900-1979)/(1897-1968)
I. Gaiete Villageoise
Aaron Cho, Soprano Saxophone
Maximus Mar, Alto Saxophone
Lucas Weng, Tenor Saxophone
Aydin Miller, Baritone Saxophone
Appalachian Carol (1980)
James Canter (b. 1952)
Kenneth Jin, Euphonium
Joseph Xu, Euphonium
Ace Tecson, Tuba
Nathan Lu, Tuba
Partita (1948)
Irving Fine (1914-1962)
I. Introduction and Theme
II. Variation
Sophie Dong, Flute
Jesse Hu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Carson Li, French Horn
Sextet Op.6 (1888)
Ludwig Thuille (1816-1907)
I. Allegro Moderato
Felix Yin, Flute
Michelle Hsu, Oboe
Evelyn Liang, Clarinet
Lauren Cheng, Bassoon
Koen Wang, French Horn
Sylvia Wang, Piano
INTERMISSION
String Quartet Op. 10 (1893)
Claude Debussy (1862-1918)
I. Animé et très décidé
III. Andantino, doucement expressif
Joel Kim, Violin
Joseph Kim, Violin
Sean Yeh, Viola
Ray Gu, Cello
Quartet No. 8 in c minor, Op. 110 (1960)
Dmitri Shostakovich (1906-1975)
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo
Nicole Lin, Violin
Jonathan Lan, Violin
Jaelynn Au, Viola
Eric Wang, Cello
Losa is built around the lively dancing groove of Spanish flamenco, with crisp accents, tight syncopations, and phrases that move just like a flamenco dancer. Séjourné writes for mallet instruments in a way that highlights their natural contrast. The marimba’s warm, woody resonance often functions like a rhythmic engine, repeating short patterns and chordal punctuations, while the vibraphone adds shimmer and sustain, either doubling lines in close coordination or floating above the texture with longer, singing gestures.
The piece moves in quick-changing episodes rather than a long, gradual narrative: a kinetic opening driven by repeating cells, a more spacious central stretch where the vibraphone can sound almost vocal, and a return to the opening’s momentum that pushes into a compact, emphatic finish. In tonight’s trio version, the added cajón makes the flamenco influence more explicit. Its hand-drum timbre sharpens the underlying pulse (like footwork under a dancer), freeing the vibraphone and marimba to trade bright flashes of melody, interlocking runs, and percussive chord stabs without losing the dance-like grounding.
Jalen Cai, Percussion, Class of 2027
Ligeti is one the most renowned composers of the late 20th century for his micropolyphony, avant-garde techniques, and his generally pragmatic approach to composition. In a 1986 interview, he boldly remarked: "I hate all these pseudo-philosophical over-simplifications. I hate all ideologies.” Regarding his compositions he then mentions how he “imagine[s] music as it sounds, very concretely”, and never thinks in “philosophical terms, or never in extra-musical terms.” However, before he immigrated to Austria in 1956 to escape the oppression faced by the soviet regime, this approach had not been established. It is during this time of youth and development—a “prehistoric era” guided by his fascination with Bartók and Kodály and undoubtedly shaped by his survival of the holocaust—he wrote the Sonata for Solo Cello.
The first movement, Dialogo, was conceived by extra-musical terms. It is a dialogue, “because it's like two people, a man and a woman, conversing”. Such a dialogue, one that is played by only one instrument, was inspired by a secret infatuation for a cellist he met at the Budapest Music Academy during his studies. Although it makes use of pizzicatos separated by glissando, a technique championed by Bartók, the movement itself sought to be “more popular” in the likeness of Kodály. With a rough tonal center in D, two languidly conversing melodies that repeat in variations.
Written approximately five years after the first, the second movement was dedicated to Vera Dénes, another cellist who requested for a virtuosic solo piece. Once again, the movement was conceived through extra-musical terms, the name Capriccio and style inspired by Paganini’s Caprices. The movement is in almost every way in contrast to the previous: blazingly fast, and intended to be played as fast as possible. An unrelenting sixteenth note melody spans across ⅜ bars, only to be broken by a short callbacks to the first movement. Upon its completion, Ligeti was restricted from publishing it due to being “too modern”, and the entire sonata did not surface again until the 1980s.
Jesse Hu, Oboe, Class of 2026
Raymond Premru was an American trombonist renowned for his expansive and versatile career as both a performer and composer. As a performer, he was a longtime member of the Philharmonia Orchestra and performed with commercial artists including Frank Sinatra, The Beatles, and The Rolling Stones. He also founded a jazz orchestra whose debut recording was named one of the top ten jazz albums of 1971. This stylistic breadth is reflected in his own compositions, which draw freely from classical, jazz, and his modernist compositional style.
Two Pieces for Three Trombones was written while Premru was still in high school, which was prior to the start of his professional career, and was published a decade later in 1965. In the published edition, the first movement was retitled Felicity—named for his daughter and dedicated to his wife, Susan, while the second movement retained its original title.
The first movement is in a clear ABA form and takes inspiration from Johann Sebastian Bach’s chorales. The bass trombone provides a steady harmonic foundation throughout, supporting warm, hymn-like writing in the upper voices. The second movement offers immediate contrast, comprised of five distinct sections. Its shifting character and rhythmic vitality showcase Premru’s developing musical voice and early compositional imagination.
Jayden Xu, Trombone, Class of 2027
Faustin and Maurice JeanJean’s Quatuor Pour Saxophones is a piece of classic saxophone quartet repertoire that highlights the history of the saxophone itself, as the saxophone was pushed to create its own genre of classical music. Faustin JeanJean was an accomplished musician who initially competed in competitions as a cornet player and then later shifted to composition, joined by his brother Maurice JeanJean to compose clarinet, orchestra, and saxophone repertoire. Maurice was mainly an arranger who worked with many operas and orchestras in the late 1910s. It has always been quite rare for a pair of composers to work together on a composition, let alone brothers. Seeing the diverse arrangements of music these brothers both played and composed, it is no question that they would eventually stumble upon classical saxophone. These brothers, being French, had originally composed for the Quatuor de la Garde Républicaine, the saxophone studio of the French military wind ensemble, led by renowned saxophone player and pioneer of classical saxophone, Marcel Mule.
Quartet Pour Saxophones has four movements; the first will be presented in this performance. Mvmt. 1, Gaiete Villageoise combines a playful melodic line with a shift to a cantabile transition by the soprano saxophone.
Aydin Miller, Saxophone, Class of 2026
James Canter’s Appalachian Carol is a sophisticated demonstration of American folk tunes, resembling the nostalgia of traditional English carols. Written for a tuba-euphonium quartet, the work evokes a resonant Christmas spirit, rooted in the heritage of the Appalachian Mountains. The work opens with an expressive simplicity, establishing a repeating melodic line that leverages the full, round tone of the tuba-euphonium quartet. As the narrative progresses, the atmosphere shifts into spirited contrast. Canter employs alternating fragments of staccato, accented, and legato phrases to create a rhythm reminiscent of a mountain tune. A brief turn from F major towards a darker C major leads to an introspective turn. As the overall theme darkens, the tubas engage in alternating dialogue, providing the foundation for the euphoniums’ lyrical melodies. This tension eventually settles, returning to a restatement of the opening theme. The piece concludes with a folk-like simplicity, ending the refined brass chamber music.
Kenneth Jin, Euphonium, Class of 2028
The American composer Irving Fine was a gifted lyricist whose works were praised for their clarity of organization and melodic grace. Many of his pieces feature clean textures, rhythmic energy, and counterpoint that is structurally significant but unobtrusive. While teaching at Harvard University, he became a close associate of Stravinsky, whose neoclassical influences can be seen in compositions such as his Partita for Wind Quintet. Fine’s limited but estimable repertoire reveals his tendency towards perfectionism on the same order of his more well-known contemporaries. The melody in Introduction and Theme is passed amongst the instruments in spirited bursts, while numerous running lines create a busier texture in the following movement. The Partita is a set of free variations, yet only the second movement, Variation, presents any clear resemblance to the formal and tonal schemes of the “classical” theme introduced in the first movement. It is elaborated upon using a technique closest to thematic metamorphosis, which accommodates dramatically charged phrases while keeping unity within variety.
Catherine Zhang, Oboe, 2019
Ludwig Thuille's path toward becoming a great composer and instructor first occurred after he was orphaned at the age of 11 which resulted in him residing with relatives in Kremsmunster. There, he received training as a church musician and acquired a patron, allowing him to further his studies and establish himself as a pianist and composer. Thuille was a childhood friend of Richard Strauss who had an influence on Thuille's compositions, which can be heard in this sextet's first two movements with its Brahmsian style as indicated by the rich piano and horn melody. This piece also displays Thuille's thorough understanding of instrumental balance which is an essential skill with the unusual instrument combination of a woodwind quintet and a piano. However, Thuille successfully creates a harmony with the underlying piano melody during the Allegro moderato and the thematic material of the woodwinds. The fluidity of the keyboard textures as well as the bright, varied timbres of the woodwind quintet build upon each other and then smoothly transition to a piano/horn duo that begins the Larghetto with balanced dialogues soon emerging among the winds. Although chamber pieces were uncommon during Thuille's time, the Sextet in B‐flat Major Op.6 was a major success and continues to be his most frequently performed works.
Catherine Chiang, Class of 2017
String Quartet in G Minor, Debussy’s first and last string quartet, encapsulates his ventures into his own unique style as an emerging composer. At 31 years old, Debussy was still relatively unknown, and so decided to falsely designate this work as Op. 10, presumably in an attempt to seem more accomplished than he was at that time. He had been heavily influenced by the Impressionist painters of his day, who often employed a contrast between light and dark in their works. Similarly, Debussy alternates between warmth and its withdrawal in the quartet’s slow third movement, Andantino, doucement expressif. Points of clarity are created by the overarching lullaby, first heard in the second violin’s introduction, then carried over to the viola and first violin. These harmonies later echo as clouds of mist, making the quartet resemble a musical expression of brightness. This quartet exemplifies Debussy’s sole purpose of capturing beauty in his music, successfully marking his first and last attempt at composing a string quartet.
Emily Ren, Cello, Class of 2024
Written during the composer’s time in East Germany, Dmitri Shostakovich’s String Quartet No. 8 is a dramatic work supposedly dedicated to the “victims of facism and war.” While this much is said on the front cover, many believe it to be a facade disguising the true autobiographical contents of the string quartet. Some even go as far as to call it a suicide note as it was written during a very devastating time in Shostakovich's life. It is also not unfounded to think that this piece is centered around the horrors of Nazi cruelty. Although Shostakovich was not Jewish himself, he still incorporated aspects of Jewish folk music into this quartet, possibly in favor of his friends and students who were Jewish. The string quartet is famous for its extensive quotations of Shostakovich's own works as well as the use of the "DSCH" motif. This is a musical spelling of the composer’s name, Dmitri Shostakovich. The "S" and "H" come from German notation, with the sounding pitches being "Eb" and "B". This motif could also be seen as a variation on the Dies Irae Gregorian chant, a common musical symbol for death. The piece opens with a choral-like first movement focussing on the lower register of the strings to bring out the brooding tone. He starts with the infamous DSCH motif which is distributed throughout each instrument and register, reminiscent of Baroque counterpoint. He later goes on to quote themes from his 5th and 1st symphonies. This movement leads straight to its frantic second movement. This movement utilizes the higher pitches of lower strings and harsh dissonances to give the sound an overall choked quality. It most famously quotes Shostakovich’s Piano Trio No. 2 in E Minor in a cataclysmic climax. The third movement is a sarcastic and unsettling waltz, using the skittish quality of the higher strings. The DSCH motif is used as the main melody, being interrupted numerous times suggesting a Rondo form. It contains an almost exact quote of Shostakovich’s Cello Concerto No. 1. The waltz calms down and goes directly into the three note stabs that introduce the fourth movement. After a powerful full-string tutti, Shostakovich quotes a Russian folk song titled “Tormented by Grievous Bondage”. He then quotes an aria from his opera, Lady MacBeth. The fifth movement is a reprise of the first movement, invoking the same choral-like sound. The DSCH motif is once again used as the primary motif, building towards a final resolution of an ambiguous open fifth.
Bryan Chiu, French Horn, Class of 2023
The piece moves in quick-changing episodes rather than a long, gradual narrative: a kinetic opening driven by repeating cells, a more spacious central stretch where the vibraphone can sound almost vocal, and a return to the opening’s momentum that pushes into a compact, emphatic finish. In tonight’s trio version, the added cajón makes the flamenco influence more explicit. Its hand-drum timbre sharpens the underlying pulse (like footwork under a dancer), freeing the vibraphone and marimba to trade bright flashes of melody, interlocking runs, and percussive chord stabs without losing the dance-like grounding.
Jalen Cai, Percussion, Class of 2027
Ligeti is one the most renowned composers of the late 20th century for his micropolyphony, avant-garde techniques, and his generally pragmatic approach to composition. In a 1986 interview, he boldly remarked: "I hate all these pseudo-philosophical over-simplifications. I hate all ideologies.” Regarding his compositions he then mentions how he “imagine[s] music as it sounds, very concretely”, and never thinks in “philosophical terms, or never in extra-musical terms.” However, before he immigrated to Austria in 1956 to escape the oppression faced by the soviet regime, this approach had not been established. It is during this time of youth and development—a “prehistoric era” guided by his fascination with Bartók and Kodály and undoubtedly shaped by his survival of the holocaust—he wrote the Sonata for Solo Cello.
The first movement, Dialogo, was conceived by extra-musical terms. It is a dialogue, “because it's like two people, a man and a woman, conversing”. Such a dialogue, one that is played by only one instrument, was inspired by a secret infatuation for a cellist he met at the Budapest Music Academy during his studies. Although it makes use of pizzicatos separated by glissando, a technique championed by Bartók, the movement itself sought to be “more popular” in the likeness of Kodály. With a rough tonal center in D, two languidly conversing melodies that repeat in variations.
Written approximately five years after the first, the second movement was dedicated to Vera Dénes, another cellist who requested for a virtuosic solo piece. Once again, the movement was conceived through extra-musical terms, the name Capriccio and style inspired by Paganini’s Caprices. The movement is in almost every way in contrast to the previous: blazingly fast, and intended to be played as fast as possible. An unrelenting sixteenth note melody spans across ⅜ bars, only to be broken by a short callbacks to the first movement. Upon its completion, Ligeti was restricted from publishing it due to being “too modern”, and the entire sonata did not surface again until the 1980s.
Jesse Hu, Oboe, Class of 2026
Raymond Premru was an American trombonist renowned for his expansive and versatile career as both a performer and composer. As a performer, he was a longtime member of the Philharmonia Orchestra and performed with commercial artists including Frank Sinatra, The Beatles, and The Rolling Stones. He also founded a jazz orchestra whose debut recording was named one of the top ten jazz albums of 1971. This stylistic breadth is reflected in his own compositions, which draw freely from classical, jazz, and his modernist compositional style.
Two Pieces for Three Trombones was written while Premru was still in high school, which was prior to the start of his professional career, and was published a decade later in 1965. In the published edition, the first movement was retitled Felicity—named for his daughter and dedicated to his wife, Susan, while the second movement retained its original title.
The first movement is in a clear ABA form and takes inspiration from Johann Sebastian Bach’s chorales. The bass trombone provides a steady harmonic foundation throughout, supporting warm, hymn-like writing in the upper voices. The second movement offers immediate contrast, comprised of five distinct sections. Its shifting character and rhythmic vitality showcase Premru’s developing musical voice and early compositional imagination.
Jayden Xu, Trombone, Class of 2027
Faustin and Maurice JeanJean’s Quatuor Pour Saxophones is a piece of classic saxophone quartet repertoire that highlights the history of the saxophone itself, as the saxophone was pushed to create its own genre of classical music. Faustin JeanJean was an accomplished musician who initially competed in competitions as a cornet player and then later shifted to composition, joined by his brother Maurice JeanJean to compose clarinet, orchestra, and saxophone repertoire. Maurice was mainly an arranger who worked with many operas and orchestras in the late 1910s. It has always been quite rare for a pair of composers to work together on a composition, let alone brothers. Seeing the diverse arrangements of music these brothers both played and composed, it is no question that they would eventually stumble upon classical saxophone. These brothers, being French, had originally composed for the Quatuor de la Garde Républicaine, the saxophone studio of the French military wind ensemble, led by renowned saxophone player and pioneer of classical saxophone, Marcel Mule.
Quartet Pour Saxophones has four movements; the first will be presented in this performance. Mvmt. 1, Gaiete Villageoise combines a playful melodic line with a shift to a cantabile transition by the soprano saxophone.
Aydin Miller, Saxophone, Class of 2026
James Canter’s Appalachian Carol is a sophisticated demonstration of American folk tunes, resembling the nostalgia of traditional English carols. Written for a tuba-euphonium quartet, the work evokes a resonant Christmas spirit, rooted in the heritage of the Appalachian Mountains. The work opens with an expressive simplicity, establishing a repeating melodic line that leverages the full, round tone of the tuba-euphonium quartet. As the narrative progresses, the atmosphere shifts into spirited contrast. Canter employs alternating fragments of staccato, accented, and legato phrases to create a rhythm reminiscent of a mountain tune. A brief turn from F major towards a darker C major leads to an introspective turn. As the overall theme darkens, the tubas engage in alternating dialogue, providing the foundation for the euphoniums’ lyrical melodies. This tension eventually settles, returning to a restatement of the opening theme. The piece concludes with a folk-like simplicity, ending the refined brass chamber music.
Kenneth Jin, Euphonium, Class of 2028
The American composer Irving Fine was a gifted lyricist whose works were praised for their clarity of organization and melodic grace. Many of his pieces feature clean textures, rhythmic energy, and counterpoint that is structurally significant but unobtrusive. While teaching at Harvard University, he became a close associate of Stravinsky, whose neoclassical influences can be seen in compositions such as his Partita for Wind Quintet. Fine’s limited but estimable repertoire reveals his tendency towards perfectionism on the same order of his more well-known contemporaries. The melody in Introduction and Theme is passed amongst the instruments in spirited bursts, while numerous running lines create a busier texture in the following movement. The Partita is a set of free variations, yet only the second movement, Variation, presents any clear resemblance to the formal and tonal schemes of the “classical” theme introduced in the first movement. It is elaborated upon using a technique closest to thematic metamorphosis, which accommodates dramatically charged phrases while keeping unity within variety.
Catherine Zhang, Oboe, 2019
Ludwig Thuille's path toward becoming a great composer and instructor first occurred after he was orphaned at the age of 11 which resulted in him residing with relatives in Kremsmunster. There, he received training as a church musician and acquired a patron, allowing him to further his studies and establish himself as a pianist and composer. Thuille was a childhood friend of Richard Strauss who had an influence on Thuille's compositions, which can be heard in this sextet's first two movements with its Brahmsian style as indicated by the rich piano and horn melody. This piece also displays Thuille's thorough understanding of instrumental balance which is an essential skill with the unusual instrument combination of a woodwind quintet and a piano. However, Thuille successfully creates a harmony with the underlying piano melody during the Allegro moderato and the thematic material of the woodwinds. The fluidity of the keyboard textures as well as the bright, varied timbres of the woodwind quintet build upon each other and then smoothly transition to a piano/horn duo that begins the Larghetto with balanced dialogues soon emerging among the winds. Although chamber pieces were uncommon during Thuille's time, the Sextet in B‐flat Major Op.6 was a major success and continues to be his most frequently performed works.
Catherine Chiang, Class of 2017
String Quartet in G Minor, Debussy’s first and last string quartet, encapsulates his ventures into his own unique style as an emerging composer. At 31 years old, Debussy was still relatively unknown, and so decided to falsely designate this work as Op. 10, presumably in an attempt to seem more accomplished than he was at that time. He had been heavily influenced by the Impressionist painters of his day, who often employed a contrast between light and dark in their works. Similarly, Debussy alternates between warmth and its withdrawal in the quartet’s slow third movement, Andantino, doucement expressif. Points of clarity are created by the overarching lullaby, first heard in the second violin’s introduction, then carried over to the viola and first violin. These harmonies later echo as clouds of mist, making the quartet resemble a musical expression of brightness. This quartet exemplifies Debussy’s sole purpose of capturing beauty in his music, successfully marking his first and last attempt at composing a string quartet.
Emily Ren, Cello, Class of 2024
Written during the composer’s time in East Germany, Dmitri Shostakovich’s String Quartet No. 8 is a dramatic work supposedly dedicated to the “victims of facism and war.” While this much is said on the front cover, many believe it to be a facade disguising the true autobiographical contents of the string quartet. Some even go as far as to call it a suicide note as it was written during a very devastating time in Shostakovich's life. It is also not unfounded to think that this piece is centered around the horrors of Nazi cruelty. Although Shostakovich was not Jewish himself, he still incorporated aspects of Jewish folk music into this quartet, possibly in favor of his friends and students who were Jewish. The string quartet is famous for its extensive quotations of Shostakovich's own works as well as the use of the "DSCH" motif. This is a musical spelling of the composer’s name, Dmitri Shostakovich. The "S" and "H" come from German notation, with the sounding pitches being "Eb" and "B". This motif could also be seen as a variation on the Dies Irae Gregorian chant, a common musical symbol for death. The piece opens with a choral-like first movement focussing on the lower register of the strings to bring out the brooding tone. He starts with the infamous DSCH motif which is distributed throughout each instrument and register, reminiscent of Baroque counterpoint. He later goes on to quote themes from his 5th and 1st symphonies. This movement leads straight to its frantic second movement. This movement utilizes the higher pitches of lower strings and harsh dissonances to give the sound an overall choked quality. It most famously quotes Shostakovich’s Piano Trio No. 2 in E Minor in a cataclysmic climax. The third movement is a sarcastic and unsettling waltz, using the skittish quality of the higher strings. The DSCH motif is used as the main melody, being interrupted numerous times suggesting a Rondo form. It contains an almost exact quote of Shostakovich’s Cello Concerto No. 1. The waltz calms down and goes directly into the three note stabs that introduce the fourth movement. After a powerful full-string tutti, Shostakovich quotes a Russian folk song titled “Tormented by Grievous Bondage”. He then quotes an aria from his opera, Lady MacBeth. The fifth movement is a reprise of the first movement, invoking the same choral-like sound. The DSCH motif is once again used as the primary motif, building towards a final resolution of an ambiguous open fifth.
Bryan Chiu, French Horn, Class of 2023
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