Wednesday, April 1, 2026
7:00 pm
VStardust (1927)
Hoagy Carmichael (1899–1981)
arr. Robert Hughes
Jerry Xu, Kenneth Gong, Camren Molina & Ryan Kim, Trombone
Trois Pièces Brèves (1930)
Jacques Ibert (1890-1962)
I. Allegro
Crystal Zhao, Flute
Stephanie Zhou, Oboe
Ashley Shibuya, Clarinet
Hayley Lu, Bassoon
Brandon Tang, French Horn
Brass Quintet No. 3 in D-Flat Major, Op. 7 (1912)
Victor Ewald (1860-1935)
I. Allegro moderato
Edward Jin & Parker Lai, Trumpet
Koen Wang, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
Petite Suite (1886-89)
Claude Debussy (1862-1918)
II. Cortège
Sophia Zhou, Flute
Michelle Hsu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Carson Li, French Horn
A Cool Suite (1997)
Peter Smalley
IV. Cruisin’
Kaylee Yun, Euphonium
Jerry Xu, Trombone
Ace Tecson & Nathan Lu, Tuba
Jalen Cai, Percussion
INTERMISSION
Oboe Concerto in F Major, BWV 1053R (1738)
Johann Sebastian Bach (1685-1750)
III. Allegro
Jesse Hu, Oboe
Joel Kim & Joseph Kim, Violin
Sean Yeh, Viola
Ray Gu, Cello
Scott Matsumoto, Double Bass
Arthy Chaisakulchai, Harpsichord
Brandenburg Concerto No. 3 in G Major, BWV 1048 (1721)
Johann Sebastian Bach (1685-1750)
I. -
II. Adagio
III. Allegro
Nicole Lin, Joseph Kim & Joel Kim, Violin
Sean Yeh, Eireen Lu & Jaelynn Au, Viola
Eric Wang, Ray Gu & Ethan Wong, Cello
Scott Matsumoto, Double Bass
Trio Sonata in A Minor, TWV 42:a4 (1739-40)
Georg Philipp Telemann (1681-1767)
IV. Allegro
Angela Wang, Flute
Nicole Lin, Violin
Eric Wang, Cello
Cynthia Liu, Guitar
Cello Concerto No. 2 in D Major, Hob VIIb/2 (1783)
Joseph Haydn (1791-1809)
I. Allegro Moderato
Ray Gu, Cello
Jesse Hu & Michelle Hsu, Oboe
Carson Li & Brandon Tang, French Horn
Joel Kim & Joseph Kim, Violin I
Nicole Lin & Grace Zhou, Violin II
Sean Yeh, Eireen Lu & Jaelynn Au, Viola
Eric Wang & Joshua Jung, Cello
Scott Matsumoto, Double Bass
Hoagy Carmichael (1899–1981)
arr. Robert Hughes
Jerry Xu, Kenneth Gong, Camren Molina & Ryan Kim, Trombone
Trois Pièces Brèves (1930)
Jacques Ibert (1890-1962)
I. Allegro
Crystal Zhao, Flute
Stephanie Zhou, Oboe
Ashley Shibuya, Clarinet
Hayley Lu, Bassoon
Brandon Tang, French Horn
Brass Quintet No. 3 in D-Flat Major, Op. 7 (1912)
Victor Ewald (1860-1935)
I. Allegro moderato
Edward Jin & Parker Lai, Trumpet
Koen Wang, French Horn
Kenneth Gong, Trombone
Ace Tecson, Tuba
Petite Suite (1886-89)
Claude Debussy (1862-1918)
II. Cortège
Sophia Zhou, Flute
Michelle Hsu, Oboe
Rick Chi, Clarinet
Jay Xu, Bassoon
Carson Li, French Horn
A Cool Suite (1997)
Peter Smalley
IV. Cruisin’
Kaylee Yun, Euphonium
Jerry Xu, Trombone
Ace Tecson & Nathan Lu, Tuba
Jalen Cai, Percussion
INTERMISSION
Oboe Concerto in F Major, BWV 1053R (1738)
Johann Sebastian Bach (1685-1750)
III. Allegro
Jesse Hu, Oboe
Joel Kim & Joseph Kim, Violin
Sean Yeh, Viola
Ray Gu, Cello
Scott Matsumoto, Double Bass
Arthy Chaisakulchai, Harpsichord
Brandenburg Concerto No. 3 in G Major, BWV 1048 (1721)
Johann Sebastian Bach (1685-1750)
I. -
II. Adagio
III. Allegro
Nicole Lin, Joseph Kim & Joel Kim, Violin
Sean Yeh, Eireen Lu & Jaelynn Au, Viola
Eric Wang, Ray Gu & Ethan Wong, Cello
Scott Matsumoto, Double Bass
Trio Sonata in A Minor, TWV 42:a4 (1739-40)
Georg Philipp Telemann (1681-1767)
IV. Allegro
Angela Wang, Flute
Nicole Lin, Violin
Eric Wang, Cello
Cynthia Liu, Guitar
Cello Concerto No. 2 in D Major, Hob VIIb/2 (1783)
Joseph Haydn (1791-1809)
I. Allegro Moderato
Ray Gu, Cello
Jesse Hu & Michelle Hsu, Oboe
Carson Li & Brandon Tang, French Horn
Joel Kim & Joseph Kim, Violin I
Nicole Lin & Grace Zhou, Violin II
Sean Yeh, Eireen Lu & Jaelynn Au, Viola
Eric Wang & Joshua Jung, Cello
Scott Matsumoto, Double Bass
One of America's most celebrated popular songwriters, Hoagland Howard "Hoagy" Carmichael was a pianist, composer, and occasionally, an actor. His melodies became cornerstones of the Great American Songbook, including one of the most beloved jazz standards of the twentieth century, "Stardust."
Carmichael described the song's origins in an interview: "I'd just left the college hangout called the Book Nook, and I started whistling, and I whistled this opening strain of 'Stardust,' and I knew that I had something very strange and different." The melody was inspired in part by the jazz improvisations of his friend, cornetist Bix Beiderbecke. First recorded as an upbeat instrumental in 1927, the song was transformed into a ballad when bandleader Isham Jones recorded a slower arrangement in 1930. Lyricist Mitchell Parish added words in 1929, anchoring the tune to a theme of nostalgic longing. "Stardust" has been recorded more than 1,500 times over a 90-year period, a testament to the strength and adaptability of its melody.
In this arrangement for trombone quartet, the warm, blended tone of the four instruments allows the harmony to unfold with the same effortless ease that has made "Stardust" so enduring.
Peter Smalley's A Cool Suite, written for tuba-euphonium quartet and published as part of the British Tuba Quartet series, is a four-movement work in a light jazz-influenced style. Its movements — "Strollin'," "Lazin'," "Hangin' Out," and "Cruisin'" — each evoke a different mood from everyday life.
The final movement, "Cruisin'," opens with a powerful unison line and finger-snapping before passing melodies around the ensemble. A laid-back middle section provides contrast before the opening material returns, building from the lowest voice upward in a satisfying layered climax. It is a fitting close to a suite that finds charm and wit in the lower registers of the brass family. Having pushed technique and stamina to the limits in many of his earlier works for the quartet, Smalley here produces something altogether more playful. The melodic and rhythmic drive of the faster sections is irresistible, and the laid-back passages offer welcome contrast. The four voices trade material with a natural give-and-take, showcasing both the blend and the surprising agility that a tuba quartet can achieve.
A professor of Civil Engineering, a cellist of the Beliaeff Quartet, but still most well-regarded for his four brass quintets, Victor Ewald stands as a pioneer in brass composition and repertoire. Yet, his success cannot be accredited without the support of a fellow violist in his quartet: Mitrofan Petrovich Belaïev. Belaïev's organization of weekly Friday Evening orchestra concerts has been regarded as the catalyst of numerous publications carried out through his own publishing house, of which Ewald’s four quintets were certainly a part of.
The first movement begins with a repeating eighth-note driving the ensemble forward, serving to develop a warm environment that accentuates the unison of the piece throughout. The grandiose nature of the melody is transported throughout the instrumentation, creating a call-and-response effect that builds tension while moving the movement throughout multiple key shifts and intricate harmonies.
Eric Wang, Cello, Class of 2026
Despite the strong influence of Impressionism on Jacques Ibert’s diverse output, his Trois Pièces Brèves reflects many characteristics of Neoclassicism. Ibert’s fine craftsmanship and sense of humor are fully embodied in this woodwind quintet, first published in 1930. Alongside contemporaries such as Paul Dukas and Maurice Ravel, Ibert demonstrated a highly developed and colorful command of orchestration and texture.
In Trois Pièces Brèves, however, he captures the lightness and airiness of French Impressionism without its darker undertones. This carefree work of pure entertainment, in C major, frames a calm middle movement with two energetic outer movements.
The first movement, Allegro (En pressant jusqu’à la fin), clearly displays Ibert’s colorful and charming style. It opens with a lively, spirited introduction, contrasting delicate and bold sections, evoking something like an English jig in Paris.
Although Ibert was not as widely celebrated as composers such as Beethoven or Chopin, his works continue to be valued and performed today.
Amanda Hsieh, Piano, Class of 2018
Claude Debussy is commonly considered an Impressionist composer; his innovative use of harmony and instrumentation was seminal to early twentieth century music. While Impressionism is often associated primarily with French visual art, it also had a profound impact on French music, inspiring works that evoke moods and images through color and texture rather than adhering to strict formal structures.
Debussy himself, however, rejected the Impressionist label. He once stated that “the primary aim of French music is to give pleasure,” subtly distancing himself from any single ideology or “school” of composition. Throughout his early career, he was committed to challenging the conventions of Western harmony and form, particularly those of the nineteenth century.
Petite Suite was originally composed for piano four hands, though transcriptions for various ensembles later became popular. Debussy’s more radical approach to tonality was not yet fully developed at the time of its publication, and while Petite Suite remains widely loved, it is not the most representative example of his mature, idiosyncratic style.
The exact inspiration for Cortège remains uncertain, though some have suggested connections to poetic works such as Fêtes galantes by Paul Verlaine or Scènes de bal by Albert Saint-Paul.
Vasili Magaziotis, French Horn, Class of 2021
The principally lamentable aspect of the concerto lies in the “r” of its catalogue number. It is an insidious marking that stands for Reconstructed, a Reminder that despite the prolific composition of Bach there had not survived a prominent solo work for the oboe. The entire work, in fact, stands to remind Bach enthusiasts the sheer elusivity notions of being “original” and “unabridged” really are.
BWV 1053 is a harpsichord concerto. Strong evidence and argument for it being instrumental transcription was compiled in 1957 in a dissertation by Ulrich Siegele transcription of an instrumental concerto, and following analysis concluded that it is likely either for the flute, oboe, or oboe d’amore. Moreover, the entirety of the piece is transcribed from previous Leipzig cantatas written in the 1720s.
The Allegro is derived from the Sinfonia (instrumental introduction) to the church cantata Ich geh und suche mit Verlangen, which translates to I go forth and seek with longing. Modern reconstructions of the speculated instrumental concerto more or less directly copy the prominent organ melody.
Jesse Hu, Oboe, Class of 2026
In 1721, Bach presented this set of six concertos to Christian Ludwig, Margrave of Brandenburg, likely in hopes of securing a court position or patronage. Despite the remarkable quality of the music, there is no record that the Margrave ever responded, and the works were not performed at his court during Bach's lifetime.
The collection reflects the influence of the Italian concerto style, particularly that of composers such as Vivaldi. Each concerto features a different combination of instruments, some of them resembling the concerto grosso — a group of soloists with a ripieno orchestra.
To modern ears, Concerto No. 3 in G major may seem to be the least concerto-like of the set. Scored for three violins, three violas, three cellos, and continuo, it moves away from the usual contrast between soloist and ensemble. Instead, the three groups function both independently and together.
The opening movement is built on a short three-note motive that passes between the groups, creating a continuous sense of motion and exchange. The second movement is notably brief, consisting of only two chords. The final movement returns with a lively Allegro, built on driving and tightly interlocking scales. It emphasizes coordination as the three groups pass material back and forth, bringing the concerto to an energetic close.
Georg Philipp Telemann wrote over 150 trio sonatas in his lifetime, popularizing the development of its two high melodic lines and basso continuo structure in the Baroque era. Telemann’s Trio Sonata in A Minor is the fifth work of 24 in the Essercizii Musici collection, one of the highly coveted anthologies of the late Baroque period. Written for the recorder, violin, and basso continuo, the sonata's four movements follow the Italian da chiesa layout, influenced by Corelli. The opening movement, Largo, establishes solemn melodic lines and suspensions that lead the music into Vivace , a lively interchange of melodic lines between recorder and violin, driven by the rhythmic percussion from the basso continuo. The third movement, Affettuoso, offers a tender exchange of lyrical, interweaving lines between recorder and violin over the harpsichord, its unhurried beat creating rhythmic restraint that makes the arrival of the energetic Allegro all the more striking. The final movement, rich in ornamentation and propelled by a driving basso continuo, recaptures the flair of Vivace and brings the sonata to a sophisticated and spirited close.
Angela Wang, Flute, Class of 2026
Haydn wrote his second cello concerto nearly two decades after the first. For the entirety of these two decades he was employed by the Esterházy family, the estate of which was from Vienna. Exacerbated by the family head Prince Nikolaus Esterházy’s increasingly elongated summer retreats to the country, in which he was obligated to follow, Haydn’s composition was circumstantially “forced to be original”.
Inspiration for writing the work is commonly cited to be Antonín Kraft, a cellist of the Esterházy orchestra at the time. However, this close association would later give rise to controversy. Kraft was a highly virtuosic performer, his skill undoubtedly giving Haydn confidence in incorporating exceptionally difficult soprano parts, though some early scholars questioned whether the concerto was in fact composed by Haydn at all, attributing it instead to Kraft.
Modern retrospect now speculates that this misattribution, despite being premiered under Haydn’s name, could be due to the common practice of using Haydn’s name to attract a more favorable audience and reception, but also Kraft’s grandson’s boastful affirmations. Whatever the case is, this ambiguity was cleared when an original signed manuscript was found in the 1950’s.
Jesse Hu, Oboe, Class of 2026
Carmichael described the song's origins in an interview: "I'd just left the college hangout called the Book Nook, and I started whistling, and I whistled this opening strain of 'Stardust,' and I knew that I had something very strange and different." The melody was inspired in part by the jazz improvisations of his friend, cornetist Bix Beiderbecke. First recorded as an upbeat instrumental in 1927, the song was transformed into a ballad when bandleader Isham Jones recorded a slower arrangement in 1930. Lyricist Mitchell Parish added words in 1929, anchoring the tune to a theme of nostalgic longing. "Stardust" has been recorded more than 1,500 times over a 90-year period, a testament to the strength and adaptability of its melody.
In this arrangement for trombone quartet, the warm, blended tone of the four instruments allows the harmony to unfold with the same effortless ease that has made "Stardust" so enduring.
Peter Smalley's A Cool Suite, written for tuba-euphonium quartet and published as part of the British Tuba Quartet series, is a four-movement work in a light jazz-influenced style. Its movements — "Strollin'," "Lazin'," "Hangin' Out," and "Cruisin'" — each evoke a different mood from everyday life.
The final movement, "Cruisin'," opens with a powerful unison line and finger-snapping before passing melodies around the ensemble. A laid-back middle section provides contrast before the opening material returns, building from the lowest voice upward in a satisfying layered climax. It is a fitting close to a suite that finds charm and wit in the lower registers of the brass family. Having pushed technique and stamina to the limits in many of his earlier works for the quartet, Smalley here produces something altogether more playful. The melodic and rhythmic drive of the faster sections is irresistible, and the laid-back passages offer welcome contrast. The four voices trade material with a natural give-and-take, showcasing both the blend and the surprising agility that a tuba quartet can achieve.
A professor of Civil Engineering, a cellist of the Beliaeff Quartet, but still most well-regarded for his four brass quintets, Victor Ewald stands as a pioneer in brass composition and repertoire. Yet, his success cannot be accredited without the support of a fellow violist in his quartet: Mitrofan Petrovich Belaïev. Belaïev's organization of weekly Friday Evening orchestra concerts has been regarded as the catalyst of numerous publications carried out through his own publishing house, of which Ewald’s four quintets were certainly a part of.
The first movement begins with a repeating eighth-note driving the ensemble forward, serving to develop a warm environment that accentuates the unison of the piece throughout. The grandiose nature of the melody is transported throughout the instrumentation, creating a call-and-response effect that builds tension while moving the movement throughout multiple key shifts and intricate harmonies.
Eric Wang, Cello, Class of 2026
Despite the strong influence of Impressionism on Jacques Ibert’s diverse output, his Trois Pièces Brèves reflects many characteristics of Neoclassicism. Ibert’s fine craftsmanship and sense of humor are fully embodied in this woodwind quintet, first published in 1930. Alongside contemporaries such as Paul Dukas and Maurice Ravel, Ibert demonstrated a highly developed and colorful command of orchestration and texture.
In Trois Pièces Brèves, however, he captures the lightness and airiness of French Impressionism without its darker undertones. This carefree work of pure entertainment, in C major, frames a calm middle movement with two energetic outer movements.
The first movement, Allegro (En pressant jusqu’à la fin), clearly displays Ibert’s colorful and charming style. It opens with a lively, spirited introduction, contrasting delicate and bold sections, evoking something like an English jig in Paris.
Although Ibert was not as widely celebrated as composers such as Beethoven or Chopin, his works continue to be valued and performed today.
Amanda Hsieh, Piano, Class of 2018
Claude Debussy is commonly considered an Impressionist composer; his innovative use of harmony and instrumentation was seminal to early twentieth century music. While Impressionism is often associated primarily with French visual art, it also had a profound impact on French music, inspiring works that evoke moods and images through color and texture rather than adhering to strict formal structures.
Debussy himself, however, rejected the Impressionist label. He once stated that “the primary aim of French music is to give pleasure,” subtly distancing himself from any single ideology or “school” of composition. Throughout his early career, he was committed to challenging the conventions of Western harmony and form, particularly those of the nineteenth century.
Petite Suite was originally composed for piano four hands, though transcriptions for various ensembles later became popular. Debussy’s more radical approach to tonality was not yet fully developed at the time of its publication, and while Petite Suite remains widely loved, it is not the most representative example of his mature, idiosyncratic style.
The exact inspiration for Cortège remains uncertain, though some have suggested connections to poetic works such as Fêtes galantes by Paul Verlaine or Scènes de bal by Albert Saint-Paul.
Vasili Magaziotis, French Horn, Class of 2021
The principally lamentable aspect of the concerto lies in the “r” of its catalogue number. It is an insidious marking that stands for Reconstructed, a Reminder that despite the prolific composition of Bach there had not survived a prominent solo work for the oboe. The entire work, in fact, stands to remind Bach enthusiasts the sheer elusivity notions of being “original” and “unabridged” really are.
BWV 1053 is a harpsichord concerto. Strong evidence and argument for it being instrumental transcription was compiled in 1957 in a dissertation by Ulrich Siegele transcription of an instrumental concerto, and following analysis concluded that it is likely either for the flute, oboe, or oboe d’amore. Moreover, the entirety of the piece is transcribed from previous Leipzig cantatas written in the 1720s.
The Allegro is derived from the Sinfonia (instrumental introduction) to the church cantata Ich geh und suche mit Verlangen, which translates to I go forth and seek with longing. Modern reconstructions of the speculated instrumental concerto more or less directly copy the prominent organ melody.
Jesse Hu, Oboe, Class of 2026
In 1721, Bach presented this set of six concertos to Christian Ludwig, Margrave of Brandenburg, likely in hopes of securing a court position or patronage. Despite the remarkable quality of the music, there is no record that the Margrave ever responded, and the works were not performed at his court during Bach's lifetime.
The collection reflects the influence of the Italian concerto style, particularly that of composers such as Vivaldi. Each concerto features a different combination of instruments, some of them resembling the concerto grosso — a group of soloists with a ripieno orchestra.
To modern ears, Concerto No. 3 in G major may seem to be the least concerto-like of the set. Scored for three violins, three violas, three cellos, and continuo, it moves away from the usual contrast between soloist and ensemble. Instead, the three groups function both independently and together.
The opening movement is built on a short three-note motive that passes between the groups, creating a continuous sense of motion and exchange. The second movement is notably brief, consisting of only two chords. The final movement returns with a lively Allegro, built on driving and tightly interlocking scales. It emphasizes coordination as the three groups pass material back and forth, bringing the concerto to an energetic close.
Georg Philipp Telemann wrote over 150 trio sonatas in his lifetime, popularizing the development of its two high melodic lines and basso continuo structure in the Baroque era. Telemann’s Trio Sonata in A Minor is the fifth work of 24 in the Essercizii Musici collection, one of the highly coveted anthologies of the late Baroque period. Written for the recorder, violin, and basso continuo, the sonata's four movements follow the Italian da chiesa layout, influenced by Corelli. The opening movement, Largo, establishes solemn melodic lines and suspensions that lead the music into Vivace , a lively interchange of melodic lines between recorder and violin, driven by the rhythmic percussion from the basso continuo. The third movement, Affettuoso, offers a tender exchange of lyrical, interweaving lines between recorder and violin over the harpsichord, its unhurried beat creating rhythmic restraint that makes the arrival of the energetic Allegro all the more striking. The final movement, rich in ornamentation and propelled by a driving basso continuo, recaptures the flair of Vivace and brings the sonata to a sophisticated and spirited close.
Angela Wang, Flute, Class of 2026
Haydn wrote his second cello concerto nearly two decades after the first. For the entirety of these two decades he was employed by the Esterházy family, the estate of which was from Vienna. Exacerbated by the family head Prince Nikolaus Esterházy’s increasingly elongated summer retreats to the country, in which he was obligated to follow, Haydn’s composition was circumstantially “forced to be original”.
Inspiration for writing the work is commonly cited to be Antonín Kraft, a cellist of the Esterházy orchestra at the time. However, this close association would later give rise to controversy. Kraft was a highly virtuosic performer, his skill undoubtedly giving Haydn confidence in incorporating exceptionally difficult soprano parts, though some early scholars questioned whether the concerto was in fact composed by Haydn at all, attributing it instead to Kraft.
Modern retrospect now speculates that this misattribution, despite being premiered under Haydn’s name, could be due to the common practice of using Haydn’s name to attract a more favorable audience and reception, but also Kraft’s grandson’s boastful affirmations. Whatever the case is, this ambiguity was cleared when an original signed manuscript was found in the 1950’s.
Jesse Hu, Oboe, Class of 2026
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