Trio Concert, April 26th 2025

SAKURA TSAI, VIOLIN    STELLA CHO, CELLO    NATALIA HUDSON, PIANO

Piano Trio in D Major, Op. 70, No. 1 “Ghost” (1808)                         Ludwig van Beethoven (1770-1827)                                                           I.   Allegro vivace e con brio                                                                                                                                                                                                       II.  Largo assai ed expressivo                                                                                                                                                                                                    III. Presto                                       

                                                                                                                                                                                                                                                              Piano Trio in E Minor, Op. 90, No. 4 “Dumky” (1891)                       Antonín Dvořák  (1841-1904)                                                                     I.   Lento maestoso - Allegro quasi doppio movimento                                                                                                                                                II.  Poco adagio- Vivace non troppo                                                                                                                                                                                       III. Andante- Vivace non troppo                                                                                                                                                                                             IV. Andante moderato- Allegretto scherzando                                                                                                                                                                  V.  Allegro                                                                                                                                                                                                                                          VI. Lento majestoso- Vivace  

Ludwig van Beethoven (1770–1827) Composed during Beethoven’s intensely creative middle period, the Piano Trio in D major, Op. 70, No. 1, is one of two trios written in 1808 and dedicated to Countess Marie von Erdödy. The trio owes its famous nickname, the “Ghost,” to its haunting second movement—a slow, mysterious Largo that stirred the imagination of Beethoven’s pupil Carl Czerny, who felt it evoked a ghostly atmosphere.  The nickname was never assigned by Beethoven himself, but its association with the supernatural is not unfounded. Sketches for a never-completed opera based on Macbeth appear in Beethoven’s notebooks alongside drafts of this very movement. The shadowy,suspenseful harmonies and eerie calm may well have been born from his contemplation of Shakespearean tragedy. The first movement, marked Allegro vivace e con brio, is buoyant and exuberant, driven by rhythmic energy and bright exchanges between the piano, violin, and cello. In contrast, the Largo unfolds in a chilling and spacious soundscape, built from dark, sustained harmonies and fragmented motifs. The final movement, Presto, breaks the tension with a lively, folk-tinged playfulness, restoring light after the descent into the mysterious depths of the slow movement.  Beethoven’s “Ghost” Trio exemplifies his ability to balance dramatic intensity with structural clarity and expressive range. It remains one of the most compelling chamber works of his middle period.

Antonín Dvořák(1841-1904) Few chamber works are as instantly engaging and emotionally wide-ranging as Dvořák’s beloved “Dumky” Trio. Composed in 1891, this trio marked the culmination of Dvořák’s contributions to the piano trio genre—and it stands apart for its unconventional structure and deep Slavic soul.  The nickname “Dumky” refers to the “dumka,” a Ukrainian folk form that combines brooding introspection with sudden bursts of exuberant dance. Dvořák was fascinated by the emotional contrasts in these musical narratives, and in this work, he abandons the traditional four-movement structure in favor of six interconnected “dumky,” each a unique blend of melancholy lyricism and spirited folkloric rhythm.  Each movement shifts between reflective, often wistful passages and vibrant, rustic dances. Dvořák explores a range of textures and moods, often featuring the cello in singing, expressive lines, or using the piano to anchor folk-like rhythms and colors. Rather than building towards a grand finale, the piece moves like a series of vivid emotional vignettes—episodic, unpredictable, and deeply personal.  The “Dumky” Trio was premiered by Dvořák himself on piano, alongside violinist Ferdinand Lachner and cellist Hanuš Wihan, and it quickly became a favorite in the composer’s own performances. To this day, its irresistible blend of Slavic spirit, lyrical beauty, and rhythmic vitality continues to captivate audiences.

cello and piano concert, 2025

STELLA CHO, CELLO and NATALIA HUDSON, PIANO

Introduction and Polonaise brillante in C Major, Op. 3    Frédéric Chopin (1810-1849)

“Arpeggione” Sonata in A Minor, D. 821                                 Franz Schubert (1797-1828)                                                                                             I.   Allegro moderato                                                                                                                                                                                                                     II.  Adagio                                                                                                                                                                                                                                           III. Allegretto

INTERMISSION

Sonata for Cello and Piano in G Minor, Op. 19                      Sergei Rachmaninoff (1873-1943)                                                                                I.   Lento - Allegro moderato                                                                                                                                                                                                     II.  Allegro scherzando                                                                                                                                                                                                                 III.  Andante                                                                                                                                                                                                                                      IV.  Allegro mosso                                                                

Violin and Piano Concert, May 18th 2024

SAKURA TSAI, VIOLIN and NATALIA HUDSON, PIANO

Sonata No. 8 for Violin and Piano in G Major, Op. 30 No. 3      Ludwig van Beethoven (1770-1827)                                                               I.   Allegro assai                                                                                                                                                                                                                               II.  Tempo di minuetto, ma molto moderato e grazioso                                                                                                                                               III. Allegro vivace

Caprice Viennois, Op. 2                                                                             Fritz Kreisler (1875-1962)

Tambourin Chinois, Op. 3

Sonata No. 2 for Violin and Piano in G Major, Op. 13                   Edvard Grieg (1843-1907)                                                                                   I.    Lento doloroso - Allegro vivace                                                                                                                                                                                       II.   Allegretto tranquillo                                                                                                                                                                                                             III.  Allegro animato

Berceuse                                                                                                         Germaine Tailleferre (1892-1983)

Ludwig van Beethoven (1770–1827) The three sonatas for violin and piano that form Op. 30 were written in 1802 and published the following year with a dedication to Czar Alexander I of Russia. These were very important years in Beethoven’s life both artistically and personally. They mark the emergence of what has been called his ‟middle period” or his ‟heroic style.” On a personal level, these are the years when Beethoven’s hearing began to seriously deteriorate. In October 1802, he wrote the dramatic Heiligenstadt Testament in which he confessed his feelings of despair over his condition and about art as his only source of comfort. The C minor Sonata No. 7 of the set, written in Beethoven's “tragic key,” seems to be directly related to this crisis. The other two works are more cheerful in their tone, yet stylistically, they, too, represent a considerable advance over the early works. Central European musicians at one time dubbed this Sonata No. 8 in G-major work the ‟Champagne Sonata” because of the way its first theme explodes, spurting up like sparkling wine when the bottle is opened. One can even hear the popping of the cork, represented by an unaccompanied high sforzato (accented) note on the violin. Beethoven himself did not specify this metaphor, yet it expresses something of the cheerful mood of the whole sonata. Both the first and the last movements are characterized by a relentless vitality. The themes in the opening Allegro assai receive an extra sense of urgency from the frequent sforzatos (stressed notes), many of which fall on what would normally be the unstressed part of the measure. The central development section takes the main melody as far from the main key as the classical tonal system allows (from G major all the way to C-sharp minor). The hyper-active pace of the sonata did not leave room for a full-fledged slow movement. Instead, Beethoven inserted a gentle and graceful tempo di minuetto, a slight touch of nostalgia for the 18th century which has just come to an end. The sonata ends with a true perpetuum mobile, a vigorous contradance with a drone that seems to evoke a folk bagpipe. ~Peter Laki

Fritz Kreisler (1875-1962) was an Austrian-born American violinist and composer. Known for his expressive phrasing and “sweet” tone that prioritized a simple, tasteful beauty, he is regarded as one of the greatest violinists of all time. Also known for his virtuosic technique and wide-ranging repertoire, he was a gifted composer and wrote over 100 works for violin, including sonatas, concertos, and short pieces. Caprice Viennois (1910) was Kreisler’s own favorite among his tributes to his native city of Vienna. It is beautifully constructed in four sections, with the nostalgic slow waltz theme appearing twice. Also composed in 1910, Tamborin Chinois, Chinese Tambourin or Chinese Drum, is one of his most well-known pieces, inspired by a performance of traditional Chinese music with the beautiful pentatonic scale heard while Kreisler was visiting San Francisco. 

Edvard Grieg (1843-1907) was a Norwegian composer who brought to his music a warmth and natural melodic facility that owed much to the folk music of his native land. Grieg was inspired to compose his 3 Violin and Piano Sonatas by Ole Bull, a founding father of nationalism in Norwegian music and a critical influence on Grieg’s education and career. Bull was an advocate of the hardingfele or “Hardanger fiddle,” a sophisticated folk violin with understrings that provide resonance and a flattened bridge that allows much easier playing of double and triple stops. Hardanger folk tunes are frequent in Grieg’s works, including Peer Gynt, and were a direct influence on his violin sonatas as well as the effective and idiomatic string writing found in them.  Grieg composed his 2nd Violin and Piano Sonata in 1867, when he was just recently married and fully took up the cause of Norwegian nationalist music. In this Sonata, Grieg’s own unique and colorful character shines through with great power. The slow introduction is somber, but soon enough gives way to a buoyant, folk-infused first movement. The Allegretto tranquillo slow movement, in a three-part form, contrasts an introspective reprise in E minor with calm lyricism in E major. This sonata ends with a dancelike finale with a sturdy folk-infused theme.

Germaine Tailleferre(1892-1983) was a French composer and the only female member of the group of composers known as Les Six. She was born Marcelle Germaine Taillefesse but changed her last name to “Tailleferre” since her father was opposed to her musical studies. She first studied piano with her mother at home, composing short works of her own and then studied at the Paris Conservatory where she met composers Francis Poulenc, Darius Milhaud, Arthur Honegger, Georges Auric, and Louis Durey (Les Six.) They appeared on concert programs together in unconventional venues in Montparnasse, many traditional concert halls being closed because of World War I. She was also greatly encouraged by composer Maurice Ravel. Tailleferre is best known as a 20^th century composer who built a bridge between the contemporary mode and the classical tradition, combining straightforward Classical tonal material with complexifying harmony. She composed a vast amount of works during her lifetime including two Sonatas for Violin and Piano, two Piano Concertos, Violin Concerto, Harp Concertino, ballets, operas, Concerto for Two Pianos, Chorus, Saxophones, and Orchestra, Concerto for baritone voice, piano and orchestra, Concertino for Flute, Piano and Orchestra, to name a few. This beautiful Berceuse was composed in 1913. She continued to compose right up until a few weeks before her death.

Piezas for Voice, Flute, Piccolo, Piano

April 29, 2023

Deh vieni, non tardar from Le Nozze de Figaro                                                           W. A. Mozart                                                                Exsultate jubilate, K. 165                                                                                                          (1756-1791) 

Wehmut D. 772                                                                                                                       Franz Schubert                                                                  Ganymed D. 544                                                                                                                           (1797-1828)                                                                    Nähe des Geliebten                                                                                                                             

                                       Alina Roitstein-Anderies, soprano     Natalia Hudson, piano 

Sonata for flute and piano                                                                                                     Cynthia Folio                                                                                       II.   Tema del Mar                                                                                                                   (b. 1954)                                                                                       III.  Joropo* (Venezuelan) 

                                                Dr. Kim Kilmer, flute      Natalia Hudson, piano 

Shéhérazade                                                                                                                                Maurice Ravel                                                                                    II.   Le flûte enchantée                                                                                                      (1875-1937)                                                                                  III.  L’indifferent                     

                        Alina Roitstein-Anderies, soprano     Dr. Kim Kilmer, flute    Natalia Hudson, piano                                                                                                                             

Philadelphia Portraits: A Spiritual Journey                                                                          Cynthia Folio                                                                              II.    John Coltrane                                                                                                                           (b. 1954)                                                                              III.   Marian Anderson*  

                                                 Dr. Kim Kilmer, piccolo    Natalia Hudson, piano             

Cuatro Madrigales Amatorios                                                                                                   Joaquín Rodrigo                                                                          1. Con qué la lavaré?                                                                                                                    (1901-1999)                                                                          2. Vos me matásteis                                                                                                                                                                                                                      3. De donde venís, amore?                                                                                                                                                                                                          4. De los álamos vengo, madre                         

                                        Alina Roitstein-Anderies, soprano     Natalia Hudson, piano 

El Mariachi Desperado                                                                                                        Michael Glenn Williams                                                                                                                                                                                                                                              (b. 1957)                                                                                                          Dr. Kim Kilmer, flute      Natalia Hudson, piano