ECM Chamber Music Showcase - June 11, 2024

2024 CHAMBER MUSIC SHOWCASE

Concert 1 Schedule

Concert1-1:00PM

STRING QUARTET

GUITAR DUO

WIND QUARTET

VIOLIN-HARP DUO

HARP TRIO

VIOLIN-VIOLA DUO

MAKAEV TROMBONE QUARTET

REED TRIO FLUTE AND PIANO

Concert 2 Schedule

Concert2-3:30PM

VIOLIN AND PIANO

ET AL COLLECTIVE

FLUTE-GUITAR DUO

PIANO TRIO

VIOLA DUO WIND QUARTET

STRING QUARTET

SAXOPHONE QUARTET

STRING QUARTET

String Quartet

Riki Goble - Violin

Oscar Lo - Violin

Tianyou Jiang - Viola

Masha Pavlenko - Cello

LudwigvanBeethovenStringQuartetNo.4, Op.18

Ludwig van Beethoven (1770-1827) - String Quartet No.4, Op. 18

Beethoven's 4th Quartet, part of the Opus 18 collection, presents a unique challenge for chamber groups due to the absence of original manuscripts. This encourages musicians to approach each phrase with an open mind, leading to discussions about various interpretations. Interestingly, the quartet stands as the only one among the six without any discovered drafts or sketches, making its composition date a mystery. The first movement which we will play today, is set in the dramatic key of C minor, which resonates with Beethoven's signature intensity, reminiscent of other iconic compositions such as the "Pathetique" piano sonata and Symphony No.5.

Guitar Duo

Aimee Wilson - Guitar

Marcus Howard - Guitar

FerdinandoCarulli-SerenadeNo.1forTwo Guitars,Op.96

Ferdinando Carulli (1770-1841) - Serenade No. 1 for Two Guitars, Op. 96

Ferdinando Carulli's Serenade No. 1 for Two Guitars, Op. 96, embodies the elegance and charm of classical guitar music. Composed in the early 19th century, this piece showcases Carulli's mastery in crafting melodious duets for the guitar. With its delightful melodies, graceful arpeggios, and intricate interplay between the two instruments, the Serenade exudes a sense of intimacy and camaraderie. Carulli's use of simple yet effective harmonic progressions create a serene atmosphere. This timeless composition remains a favourite among guitarists, capturing the essence of classical music's enduring appeal. This piece will be performed by Aimee Wilson and Marcus, two undergraduate classical guitar students in their second year of studying. Both musicians study under the direction of Oliver Fartach-Naini.

Marcus Howard

Wind Quartet

Caitlin Murray - Flute

Neal Perkins - Oboe

Amber Bader Hayes - Clarinet

Chiara Panetta - Bassoon

A.LouisScarmolin-Scherzo

W.A.Mozart(TranscribedbyHenriElkan)Menuet

J.S.Bach(ArrangedbyPaulJ.Dahm)-Bourrée

A. Louis Scarmolin (1890-1969) - Scherzo

A native of Italy, A. Louis Scarmolin first studied music under the tutage of his father, an accomplished musician himself, which then allow him to study at the New York College of Music. In 1988 he won a national composition for composers under the supervision of the Franklin Institute, Philadelphia. This music describes the nature of a fantasy world of sprites, hobgoblins and elves with the bassoon conveying the eerie and fantastic spirit of this piece.

W.A. Mozart (1756-1791) - Menuet

Austrian composer, Wolfgang Amadeus Mozart, was one of the most influential composers of the Classical period. He was a child prodigy, composing music from the age of 5 until his death, and wrote over 600 works in all genres of the Classical era. This piece is the second movement of Mozart’s piano Sonata no. 11 in A major, arranged for a woodwind quartet, and is comprised of a minuet and trio. It was most likely written around 1783 and was one of three sonatas published in 1784.

J.S. Bach (Arranged by Paul J. Dahm) (16851750) - Bourrée

The Bourrée in B Minor by Johann Sebastian Bach is a dance form. Specifically, it is a bourrée, which is a lively French dance in duple meter (commonly 2/4 or 4/4 time). Bourrées are typically characterized by their brisk tempo and spirited character, making them popular within Baroque dance suites. Bach's Bourrée in B Minor is part of the Violin Partita No. 1 in B Minor, BWV 1002, and is structured as a dance movement within this larger work. This Wind Quartet arrangement by Luxembourgian composer Paul J. Dahm, written for flute, oboe, clarinet, and bassoon, emulates the original violin composition. Retaining the intricate contrapuntal textures and sophisticated harmonic progressions, Dahm's arrangement adds a new dimension to the music, highlighting its rich musical tapestry.

Neal Perkins

Violin-Harp Duo

Javier Goh - Violin

Joyce Kwok - Harp

Saint-Saëns-FantaisieforViolinandHarp, Op.124

Saint-Saëns (1835-1921) - Fantaisie for Violin and Harp, Op. 124

For many years, Camille Saint-Saëns reigned as one of the most respected and adored composers in France, earning admiration from the public as well as forward-looking musicians like Berlioz and Liszt, who lauded him as "the greatest organist in the world." His most significant works, including masterpieces like Symphony No. 3 ("Organ"), Dance macabre, and Samson et Delila, solidified his status as a revered composer and pianist. Yet, as SaintSaëns aged, his influence waned, criticised for his conservative Romantic style and perceived lack of emotional depth, especially amidst France's musical revolutionaries like Debussy. Nonetheless, his enduring appeal persisted, particularly in England and America, where audiences continued to revere him.

In his later years, Saint-Saëns composed the Fantaisie for violin and harp, a testament to his enduring craftsmanship and creativity. Dedicated to two sisters, violinist Marianne Eisler and harpist Clara Eisler, this virtuosic piece showcases Saint-Saëns's fascination with pairing instruments of contrasting timbres. Composed during a vacation on the Italian Riviera, the Fantaisie unfolds in a single movement, characterized by its relaxed yet spontaneous form, evoking the charm of traditional French composition.

The interplay between the harp and violin, from the gentle melodies of the opening Poco allegretto to the escalating intensity of the Andante con moto, both instruments take turns to showcase virtuosity and flamboyant musical expression. With its graceful melodies and impromptu-esque form, the Fantaisie for violin and harp stands as a testament to Saint-Saëns's eternal musical legacy.

Javier Goh

Harp Trio

Alex Byrne - Flute

Tim Tran - Viola

Joyce Kwok - Harp

Jean-MichelDamase-TrioforFlute,Viola, andHarp

i.AllegroModerato

ii.Andantino

Jean-Michel Damase (1928-2013) - Trio for Flute, Viola, and Harp

Jean Michel Damase (1928-2013) was a prominent French composer of the midtwentieth century, celebrated for his unique, elegant, and lyrical style. Renowned for his prolific output in chamber music, Damase's expertise in instrumental composition is epitomised in his 1964 Trio for Flute, Viola, and Harp. Each instrument is afforded an opportunity to shine out of the rapidly varying textures.

The work is overall characterised by an eccentric juxtaposition of colours and moods –exemplified by each instrument’s unique sound and capabilities. The form of each movement is unorthodox, usually strung together by one principal theme, through which unrelated material will often interject fleetingly, disappearing before it has even registered that a dramatic change has occurred.

The trio consists of three movements, the first two of which will be performed.

2. Andantino: The second movement is characterised by its simultaneously eerie and introspective mood. The flute takes centre stage, its lyrical lines intertwining with the rich timbres of the viola and the shimmering arpeggios of the harp.

Damase’s Trio for Flute, Viola, and Harp is a work of exquisite beauty and charm, demonstrating the composer’s gift for melody, texture, and form. Its seamless blend of instrumental colours and its evocative musical language make it a captivating addition to the chamber music repertoire.

Allegro Moderato: The piece opens with a delicate interplay between the flute, viola, and harp, each instrument weaving its own melodic thread. The Allegro Moderato captures a sense of buoyancy and grace, with themes that are passed seamlessly between the instruments, creating an unmistakeable sense of dialogue.

1 Alex Byrne

Violin-Viola Duo

Thomas Cheung - Violin

Javier Goh - Viola

Handel/Halvorsen-PassacagliainGminor forViolinandViola

Handel/Halvorsen - Passacaglia in G minor

Johan Halvorsen, renowned as both a virtuoso violinist and esteemed conductor, left an indelible mark on the musical landscape with his extensive contributions. Alongside his role as conductor at the Norwegian National Theatre in Christiania for three decades, he crafted a diverse repertoire encompassing incidental music, orchestral compositions, and numerous works highlighting the violin. During his tenure as conductor in Bergen in 1894, he showcased his flair by fashioning a flamboyant adaptation of Handel's Passacaglia from a Suite originally composed for solo harpsichord.

Transforming this piece into a duet for violin and viola, Halvorsen seized the opportunity to showcase his virtuosity. Expanding upon Handel's variations, he infused the composition with an array of instrumental flourishes, including double stops, cascading scales, harmonics, and a dynamic spectrum of timbres and articulations, thereby elevating the work to new heights of expressive prowess. Being one of the most prominent duet repertoires in violin and viola music, there have been many notable performances and recordings throughout history, such as one performed by Itzhak Perlman and Pinchas Zukerman as a virtuosic encore piece. It has also been often performed by a violin and cello duo.

Javier Goh & Thomas Cheung

Makaev Quartet

Michael Stacey - Trombone

Finn Pattinson - Trombone

Victoria Katsoulis - Trombone

Charlie Makaev - Bass Trombone

ClaudeDebussy-TheGirlwiththeFlaxen Hairarr.CraigKaucher

PhilipSparke-SongForInaarr.Ryu Kawakami

GyörgyGyivicsan-Trombumba

Claude Debussy (1862-1918) - The Girl with the Flaxen Hair arr. Craig Kaucher

Charlie Makaev’s trombone quartet will open their set with ‘The Girl with the Flaxen Hair’ by French impressionist and composer Claude Debussy. The piece expresses the innocence and naivety of a portrait by fellow French impressionist Renoir named Little Irene. Originally written for solo piano, the piece was arranged for a trombone quartet by Craig Kaucher, known for his various arrangements for brass ensembles.

Philip Sparke (1951-Present) - Song For Ina arr. Ryu Kawakami

Following is ‘Song for Ina’ written by renowned English musician and composer Philip Sparke, who is widely recognised for his contributions to the concert band and brass ensemble world.

‘Song for Ina’ was originally written for solo euphonium, commissioned by musician Riki McDonnell to give as a present to a friend whose wife Ina had passed. It has been adapted for trombone quartet by Ryu Kawakmi, a Japanese composer and arranger who has frequented Sparke’s music.

György Gyivicsan - Trombumba

The set will be concluded with ‘Trombumba’ by trombonist György Gyivicsan, inspired by the sounds associated with a traditional rumba dance. The rumba originated as a romantic dance from the poor neighborhoods of Havana and Matanzas in Cuba, the word rumba meaning party. The style of rumba spread throughout regions of Africa and South America spurring all different interpretations of the dance which this piece celebrates and embraces.

Following is ‘Song for Ina’ written by renowned English musician and composer Philip Sparke, who is widely recognised for his contributions to the concert band and brass ensemble world.

‘Song for Ina’ was originally written for solo euphonium, commissioned by musician Riki McDonnell to give as a present to a friend whose wife Ina had passed. It has been adapted for trombone quartet by Ryu Kawakmi, a Japanese composer and arranger who has frequented Sparke’s music.

Charlie Makaev

Reed Trio

Oboe - Jade Elsdon

Clarinet - Annelie Budgen

Bassoon - Angus McBride

WolfgangAmadeusMozart-Divertimento

inB-flatMajor,K.439bNo.1

Wolfgang Amadeus Mozart (1756-1791)Divertimento in B-flat Major, K. 439b No 1 arr. Nicholas D’Silva

Wolfgang Amadeus Mozart is widely recognised as one of the most popular composers of all time. His compositions have contributed enormously to the canon of symphonic and operatic repertoire, as well as to the chamber music genre. It was here in these smaller ensembles that some of his most popular works were written, including his Clarinet Quintet and Eine Kleine Nachtmusik (originally written for string quintet).

His Divertimento in B-flat Major, K. 439b No.1 was originally part of a set of 5 divertimenti written for 3 basset horns in 1785 and published posthumously in 1803. These divertimenti, alongside many of his others, have since been arranged for a wide array of different instrumentations, including this arrangement for reed trio (also known as trio d’anches). The basset horn, a now extinct instrument, is a member of the clarinet family and features a single reed and bend in the middle.

Divertimenti are light works performed by several solo instruments in a chamber music setting. Many of these divertimenti written for 3 basset horns by Mozart were intended to be performed as background music for banquets or events and feature a light character and simple but enjoyable melodies.

Angus McBride

Flute and Piano

Flute - Ronnie Xiao

Piano - Xiaoke Yang

ClaraSchumann-3Romances,Op.22

SallyGreenaway-SummerBeckons

PhillipeGaubert-FantaisieforFluteand Piano

GabrielFauré-Fantaisie,Op.79

Clara Schumann (1819-1969) - 3 Romances, Op. 22

Clara Schumann was a renowned German pianist, composer and teacher. She was widely considered as one of the most virtuosic pianists of her time. The Three Romances were written in 1853 and dedicated to Clara’s friend, Joseph Joachim. The work is in three movements akin to three independent musical sketches. Although originally scored for violin and piano, it is often performed on other instruments.

Sally Greenaway (1984-Present) - Summer Beckons

Sally Greenaway is an Australian composer and pianist based in Canberra. Written in 2014, Summer Beckons' melodic lines are inspired by birds and leafy summer growth, and inspired by a stanza of Martina Hoffman's poem My Love is a House: "... In summer, the walls are covered with blossoms and buds and tendrils reaching......". It was commissioned for a song cycle of works by Australian composers for the "My Love is a House" concert.

Phillipe Gaubert (1879-1941) - Fantaisie for Flute and Piano

Gaubert was a distinguished French flautist, a respected conductor and a composer, primarily for the flute. Fantaisie was written in 1912 and used as an exam piece at the Paris Conservatoire in 1920 and 1932.

This work is in two movements. The lyrical slow movement is followed by the ensuing fast movement requiring accurate rhythmic and technical control.

Gabriel Fauré (1845-1923) - Fantaisie, Op. 79

One of the most important French composers of his generation, Fauré was also an organist, pianist and celebrated teacher. His musical style influenced many composers in the 20th century. Written in 1898, Fantaisie became one of the staples in the repertoire for flute competitions. The Fantaisie consists of two movements separated by a grand pause. Its seemingly simple "slow-fast" two-part form contains rich musical changes and a vast variety of musical elements.

Xiaoke Yang

Violin and Piano

Tahlia Williams - Violin

Ioanna Salmanidis - Piano

JohannesBrahms

SonataforPianoandViolininGmajor,Op.78

i.Vivacemanontroppo

ii.Adagio

iii.Allegromoltomoderato

Johannes Brahms ( 1833-1897)

Sonata for Piano and Violin in G major, Op. 78

Johannes Brahms wouldn’t be the first composer to repurpose a song for an instrumental chamber setting, which is where the origins of this Sonata for Piano and Violin in G major, Op. 78 came from. The third movement, ‘Allegro molto moderato’, is based on his song ‘Regenlied’ (‘Rain Song’), Op. 59 No. 3. It was composed to a poem by Brahms’s close friend, Klaus Groth, who in it explores memories from his childhood, brought on by the patter of rain on the window.

Composed from 1878-79, Brahms began to write this work after visiting his godson Felix Schumann (the youngest child of Robert and Clara Schumann) in Palermo. Felix, who was a serious violinist before he became unwell, was specifically in Brahms’s thoughts when he composed the second movement. He sent the entire sonata to Clara Schumann inviting her to play it to understand how much they were in his thoughts. She replied: “I must…tell you how deeply affected I am by your sonata…you can imagine my delight when in the third [movement], I rediscovered my so ardently beloved melody [‘Regenlied’]…my heart beats for you in emotion and gratitude, and in spirit I press your hand.”

The song is directly quoted in the third movement; the violin melody replacing the song’s vocal line while the piano part remains the same. The dotted-note rhythm that the melody begins with is also featured in the main subject of the first movement, as well as the funereal theme in the middle of the second movement. The multifaceted use of this rhythmic figure, as well as the reappearance of the opening melody of the ‘Adagio’ in the third movement, allows for a variety of characters and colours to emerge and creates a thread throughout the entire work.

Ioanna Salmanidis

Et Al Collective

Flute - Hope Sawers

Clarinet - Daniel Hurst

Saxophone - Alisha Roberts

Trombone - Will Barrett

DanielHurst-Sonatina

i.Largo-Vivace

ii.Misterioso

iii.BrokenThoughts

Daniel Hurst (2005-Present) - Sonatina

Sonatina is a piece composed for the Et Al Collective by their clarinettist Daniel Hurst. Consisting of three movements, this piece experiments with the variety of tone colours such a unique ensemble can create. The first movement (Largo- Vivace) is an experiment with time signatures and rhythm. It opens with a freely played trombone solo before jumping into the main theme of the movement. As the movement progresses, it slowly speeds up until it falls apart, then resolves with a sorrowful clarinet melody.

This leads straight into the third movement (Broken Thoughts) which is a musical representation of a composer with writer's block. The movement has a number of “false starts” representing an idea that never quite got finished. A four-note motif can be heard throughout, representing an idea forming in the composer's mind. This motif gains momentum, representing the ideas finally coming together. The middle section of the movement represents procrastination, being much slower and laid back compared to the rest of the piece. This section is an argument between the trombone and saxophone, representing the two mindsets of the composer: productivity and laziness. This procrastination is stopped by the return of the idea motif which pushes us through to the end of the piece.

About The Et Al Collective

In 2023, Will, Alisha, Daniel, and Hope formed the ‘Et Al Collective’, consisting of Clarinet, Trombone, Tenor Saxophone, and Flute. Their name “Et Al” comes from the fact that these instruments are often neglected from chamber music, and as such, Et Al aspires to be as inclusive and freethinking as possible. Recently, Et Al held their first concert at the Flinders Street Baptist Church which included the premiere of 'Sonatina' which they will be performing today.

Daniel Hurst

Flute-Guitar Duo

Lucy Ryan - Flute

Hope Sawers - Guitar

RobertBeaser-MountainSongs

iii.He’sGoneAway

v.Cindy

JacquesIbert-Entr’acte

Jacques Ibert (1890-1962) - Entr’acte

Jacques Ibert (1890-1962) was a French composer who, unusually, did not conform to any particular musical style or genre of the time. He composed many works for the stage and film as well as solo, chamber and orchestral works, and his music was often light-hearted and frivolous. Entr’acte, written for flute or violin with guitar or harp, was inspired by Ibert’s love of Spanish music and literature and draws on flamenco guitar music. It’s continuous motion is dance-like and includes a short cadenza for both instruments, before ending with a flourish.

Robet Beaser (1954-Present) - Mountain Songs

Robert Beaser’s (b. 1954) Mountain Songs for flute and guitar is a collection of eight songs based on American folk music. The songs have an improvisational spirit and each have their own distinctive character.

iii. He’s Gone Away

He’s Gone Away, like most songs in this cycle, is based on a lyric ballad from the Southern Appalachian Mountains. It evokes feelings of longing and melancholy with its haunting opening melody, followed by a more energetic, joyful middle section before returning to the tranquility of the opening.

v. Cindy

Cindy is based on a traditional minstrel fiddle song and is full of fun and playful charm. It allows the performers some license for improvisation in keeping with the minstrel song spirit, and builds towards a wild and raucous conclusion.

Lucy Ryan

Piano Trio

Maria Lin - Oboe

Ethan Buckoke - Trombone

Phoebe Xeros - Piano

EricEwazen-PastoraleforTrombone (Oboe),Trombone,andPiano

AstorPiazzolla-OblivionforPianoTrio

Eric Ewazen (1954-Present) - Pastorale for Trumpet (Oboe), Trombone, and Piano

American-born composer, Eric Ewazen (1954-), is one of the most celebrated composers of the 21st century. Hailing from Cleveland, Ohio, he studied composition at the Eastman School of Music and Julliard, where he received his DMA. He is a current member of staff at Julliard and a composer-in-residence with numerous chamber ensembles in New York State, most notably, St. Luke’s Chamber Ensemble of New York City. As a recipient of numerous prizes and awards, his works have been commissioned and performed by many ensembles and orchestras globally such as the highly acclaimed New York Philharmonic and Vienna Philharmonic Orchestras. He is a highly sought-after composer for chamber music featuring wind and brass instruments, with several of his compositions now being highly regarded as staples of the repertory.

Pastorale for Trumpet (oboe), tenor/bass trombone, and piano is an arrangement of the second movement of an earlier composition for flute, horn, and piano entitled Ballade, Pastorale, and Dance. Ewazen described Pastorale as having a “gentle impressionistic feel”, and this is clearly reflected in the warm harmonic language and long, interweaving lyrical phrases. The soft dynamics of the piece supports this warmth, providing musical light and shade within the smooth texture, transporting listeners to a calm and open landscape.

Astor Piazzolla (1921-1992)

Astor Piazzolla (1921-1992) was an Argentinian composer raised in the musical landscape of New York at the height of its jazz scene. A true revolutionary, he pioneered his signature compositional style, nuevo tango, which incorporates jazz and classical mimicry into the soundscape of Argentinian folk tunes. Having been advised to study composition by Arthur Rubinstein in his youth, his initial study with Argentinian, Alberto Ginastera saw him through a competition where he was granted the opportunity to study under French composer, Nadia Boulanger, who pushed him to explore and eventually pioneer the nuevo tango.

Oblivion was written as a reflection from Piazzolla’s life during the Argentinian dictatorship (1976-1983). Oblivion was written in 1984 for a film adaptation of the Italian play, Enrico IV, a tragedy about the Holy Roman Emperor Henry IV. Oblivion is written in the style of a milonga which predates tango and is a dance style most well-known for its long and slowly drawn-out movements. A greater sense of relaxation and longing is evoked in this style and is encapsulated in Oblivion.

Maria Lin

Wind Quartet

Lucy Ryan - Flute

Maria Lin - Oboe

Thomas Hopgood - Bass Clarinet

Annaliese Jeffery - Alto Flute

KarlGoepfart-WindQuartet,Op.93

i.AllegroRisoluto

ii.Scherzo.Vivace

Karl Goepfart (1859-1942) - Wind Quartet, Op. 93

German-born romantic composer Karl Eduard Goepfart (1859-1942) began his musical journey under the guidance of his father before furthering his studies with Franz Liszt in Weimar. He pursued a successful career as both a concert pianist and conductor, gracing stages in Europe and the United States. In addition to his performances, he showcased his compositional talent through operas, symphonies, and various chamber music compositions.

The wind quartet in d minor, Op.93 dates from 1907. It begins with an Allegro risoluto which is in two sections that alternate with each other. The first begins with a brisk canonic melody being passed around. The second section is slower and somewhat light and dreamy. The second movement is a lively, nervous Scherzo with a legato trio section. This wind quartet was dedicated to Adolf Goldberg (1852-1925) a German flautist who published the biographies of Parisian flute players of the time.

Today, Goepfart remains relatively unknown. Although he has an entry in Hugo Riemann's old dictionary of music, he is absent from the new MGG dictionary (Music in the Past and Present), sharing a similar fate with fellow composer Gustav Schreck. Despite this, Goepfart's chamber music continues to delight both listeners and performers alike.

Annaliese Jeffery

Viola Duo

Oliver Brown - Viola

Sterling Rieck - Viola

FrankBridge-LamentforTwoViolas

Frank Bridge (1879-1941) - Lament for Two Violas

Bridge’s Lament was part of a series of viola duets he wrote for himself and 20th century viola virtuoso Lionel Tertis to play in a concert together. The piece has the rhapsodic style which has become synonymous with English late romantic and neoclassical workscombining tuneful melodies with complex harmonies and thick texture. The work is a duet in the truest fashion, each player taking soloistic and supporting roles throughout, exploring different ranges of the viola’s register.

Sterling Rieck

String Quartet

Joaquin Velasco - Violin

Shannon Whitehead - Violin

Samvel Berberyan - Viola

AJ Singh - Cello

FranzSchubert-StringQuartetNo.14inD

Minor,D810-DeathandtheMaiden

i.Allegro

Franz Schubert (1824-1884) - String Quartet No. 14 D minor - Death and the Maiden

Schubert’s “Death and the Maiden” string quartet is a sombre work, with all four of its movements set in a minor key. The poem’s depiction of Death coming to claim a young life may well have had personal resonance for the 27-year-old Schubert, since in 1824, when this quartet was written, symptoms of the disease that would kill him four years later had already begun to appear.

Despite the despairing backstory, or perhaps because of it, the first movement of this quartet is unusually muscular in its scoring, thick with double-stop accompaniment patterns and punchy triple- and quadruple-stop chords at important cadences. This orchestral quality is evident from the startling salvo of string sound that opens the work, comparable in its dramatic abruptness to the opening of Beethoven’s Fifth Symphony. This fanfare-like call to attention announces the serious tone of the movement while at the same time introducing the descending triplet figure that will be the principal motive of its first theme, presented immediately following. The other important motive dominating the movement arrives in the work’s second theme: a small grouping of notes ending in a lilting dotted rhythm, lovingly offered up in thirds, Viennese-style.

Joaquin Velasco

Saxophone Quartet

Rachel Banham - Soprano Saxophone

Olivia Marton - Alto Saxophone

Alisha Roberts - Tenor Saxophone

Max Pook-Kathriner - Baritone Saxophone

IsaacAlbéniz-SuiteEspañolaNo.1,3Sevilla

PedroIturralde-SuiteHellenique

Isaac Albéniz (1860-1909) - Suite Española No.

1, 3 Sevilla

In honour of the Queen of Spain, Isaac Albéniz's Suite Española (1886) was originally written for solo piano, containing eight pieces depicting varying regions and musical styles in Spain. Sevilla is the third of these pieces, inspired by Sevillanas, a type of folk music and dance. The dances are typically limited in musical pattern but are rich in lyrics based on country life, towns and neighbourhoods. It has been transcribed for various instrumentations, with one of the most famous being for classical guitar, with performances from many famous musicians. This piece was later arranged for saxophone quartet by Canadian saxophonist and arranger, Jacques Larocque. This arrangement is filled with harmonic variation and features solos from the soprano saxophone.

Pedro Iturralde (1929-2020) - Suite Hellenique

Suite Hellenique, written by Spanish saxophonist Pedro Iturralde (1929-2020), consists of four movements based in Greek history and culture, blending traditional melodies with contemporary jazz harmonies. The first movement, Kalamatianos, is based on the traditional Greek dance of the same title, characterised by its irregular 7/8 feel. The name refers to the region of Greek islands, where the dance is widespread. It features call and response between members of the quartet, using distinctive flourishes in the spirited melody to convey the lively energy. Funky consists of an ostinato in the lower three saxophones, setting up a groovy foundation for a free moving soprano melody over the top, a written transcription of an improvised solo. Valse opens with an introduction to set the groove, like other movements, in a fast-paced 3/4 jazz waltz. The suite wraps up with Kritis, introduced by a strong pulse by the tenor and baritone saxophones. The name refers to the island of Crete, again alluding to Greek folklore within the mixed jazz and traditional setting, and later calls back to motifs used in the first movement.

Alisha Roberts

String Quartet

Adina Lopez - Violin

Sofia Tortorelli - Violin

Tim Tran - Viola

AJ Singh - Cello

BedřichSmetana-StringQuartetNo.1inE

Minor‘FrommyLife’

i.Allegrovivoappassionato

ii.AllegromoderatoalaPolka

iii.Largosostenuto

Bedřich Smetana (1824-1884) - String Quartet in E minor ‘From my Life’

Unlike most of his works which have a nationalistic focus, Smetana’s first string quartet is more autobiographical in nature. Composed toward the end of his career and life, Smetana found himself reflecting the joys of his past, as well as the crippling deterioration of his health.

Smetana described the first movement as being an “inclination to art in my youth” and “the unspeakable yearning for something I could not express or definitely imagine, and also a sort of warning of my future disaster,” with the main motif in the opening viola solo being symbolic of Smetana’s tinnitus. The lyrical second subject juxtaposes the later turmoil of his life with the memories of his youth.

In the second movement, he continued, “the quasi-Polka carries me back in retrospection to the happy life of my youth when, as a composer of dance music, I frequented the fashionable world, where I was known as a passionate dancer.” The slower middle section of the movement are Smetana's “impressions of the aristocratic circles in which [he] lived for many years”.

In the third movement, Largo sostenuto, Smetana reveals the depths of his sorrow and anguish. Here, the composer reflects on his first love with his wife, and the longing he feels after her death. The music unfolds with haunting beauty, imbued with a sense of resignation and acceptance

AJ Singh