Johann Sebastian Bach (1685-1750)

Suite for Solo Cello No. 1 in G Major

1. Prelude
2. Sarabande
3. Gigue

Mark Summer (1958 – )

Julie-o

Andrea Casarrubios (1988 – )

Seven, A Song of Isolation

INTERMISSION

Benjamin Britten (1913 – 1976)

Suite for Solo Cello No. 3, Op. 87

1. Introduzione: Lento
2. Marcia: Allegro
3. Canto: Con Moto
4. Barcarolla: Lento
5. Dialogo: Allegretto
6. Fuga: Andante Espressivo
7. Recitativo: Fantastico
8. Moto Perpetuo: Presto
9. Passacaglia: Lento Solenne

Traditional (Catalan song arr. by Sophie Webber)

Song of the Birds

Dr. Sophie Webber, an internationally acclaimed cellist whose playing has been described as music in which “every note has meaning—rather as a look or a touch does” (Gramophone). A deeply expressive soloist and chamber musician, Sophie brings a rare combination of technical mastery, emotional depth, and intellectual curiosity to the stage.
Sophie’s artistry is shaped by a distinguished lineage and a wide-ranging career. She has released three critically praised albums, including Escape: Bach’s Six Suites for Solo Cello and Roots: Transcriptions of Romantic Works for Cello and Piano, and her interpretations of Bach, Romantic repertoire, and original reimaginings have been celebrated for their clarity, imagination, and soul. Trained at Trinity College of Music in London and holding a doctorate from Indiana University’s Jacobs School of Music—where she studied with legendary pedagogue János Starker—Sophie’s musicianship reflects both rigorous scholarship and a deeply human voice.
Beyond performance, Sophie is a passionate educator and arts activist, dedicated to amplifying voices too often left unheard through music. Her work has been featured on major classical radio stations across the U.S. and the U.K., and her teaching has shaped the next generation of cellists at leading institutions and through her innovative online platform, Dr. Sophie Cello Lab. www.sophiewebber.com

Wolfgang Amadeus Mozart (1756 – 1791)

Oboe Quartet KV 370

1. Allegro
2. Adagio
3. Rondeau: Allegro

Jiří Družecký (1745 – 1819)

1. Adagio – Allegro
2. Andante
3. Allegro

Ernest John Moeran (1894 – 1950)

Fantasy Quartet for Oboe and Strings

An Afternoon of Color, Character, and Chamber Music

Join the West Coast Wind Quintet for a vibrant and expressive program ranging from Classical elegance to contemporary storytelling. Featuring music by Reicha, Brandon, Coleman, Ibert, and Beach, this concert explores how five wind instruments can paint worlds — from lyrical landscapes to playful frogs and powerful dances of unity.

Quintuor in E-flat Major, Op. 88, No. 2………………. Antoine-Joseph Reicha (1770–1836)

Lento
Poco Andante grazioso
Finale – Allegretto

Five Frogs……………………………………………………………. Jenni Brandon (b. 1977)

Leaping
On the Lily Pond
Swimming
Bullfrog
Catching Bugs
Epilogue

Umoja……………………………………………………………… Valerie Coleman (b. 1970)

Intermission

Trois Pièces Brèves…………………………………………………. Jacques Ibert (1890–1962)

Allegro
Andante
Assez lent – Allegro scherzando

Pastorale for Wind Quintet, Op. 151………………………………. Amy Beach (1867–1944)

Petite Offrande Musicale……………………………………………… Nino Rota (1911–1979)

PROGRAM NOTES

 Antoine-Joseph Reicha — Quintuor in E-flat Major, Op. 88, No. 2

A close friend of Beethoven and one of the founders of modern chamber music for winds, Reicha wrote more than two dozen quintets that helped define the ensemble we know today. He treated each instrument as an equal conversational partner rather than simply accompanying voices.

The three movements performed today create a satisfying arc. The opening Lento introduces a noble, spacious tone, allowing each instrument to speak. The Poco Andante grazioso offers warmth and elegance, filled with lyrical exchanges. The Finale brings buoyant energy and playful interplay, showcasing Reicha’s gift for musical dialogue.

Jenni Brandon — Five Frogs

Five Frogs is a charming and imaginative suite inspired by the sights and sounds of a pond. Brandon uses the wide palette of the wind quintet to paint a series of miniature scenes. From the athletic jumps of Leaping to the shimmering stillness of On the Lily Pond, each movement captures a different frog personality. Deep croaks in Bullfrog, darting gestures in Catching Bugs, and the calm of the Epilogue create a vivid, almost cinematic portrait of nature brought to life through sound.

Valerie Coleman — Umoja

“Umoja” means “unity” in Swahili, and this piece celebrates collective strength and joy. Valerie Coleman blends classical technique with rhythmic and melodic influences from African and African-American musical traditions.  The music begins introspectively before growing into a powerful, dance-like affirmation. Driving rhythms, soaring melodies, and vibrant ensemble writing make Umoja one of the most frequently performed contemporary works for wind quintet.

Jacques Ibert — Trois Pièces Brèves

Ibert’s Trois Pièces Brèves is a gem of French neoclassicism. Each movement is compact, colorful, and full of wit.  The opening Allegro sparkles with light-hearted exchanges. The Andante offers warmth and lyricism, while the final movement begins mysteriously before bursting into playful, dancing energy. The work’s elegance and charm have made it a staple of the quintet repertoire.

Amy Beach — Pastorale, Op. 151

Amy Beach was one of the first American composers to achieve international acclaim. Her Pastorale is a gentle, flowing piece that evokes pastoral calm and lyrical beauty. Long melodic lines pass between the instruments, creating a feeling of quiet conversation and peaceful reflection. The music glows with warmth and tenderness, offering a moment of repose before the lively finale of the program.

Nino Rota — Petite Offrande Musicale

Known to many as a great film composer, Nino Rota was also a gifted writer of chamber music. Petite Offrande Musicale is playful, graceful, and full of melodic charm. With its light textures, elegant lines, and gentle humor, the piece provides a bright and cheerful conclusion to the concert — sending listeners out with a smile.

Archangelo Corelli

Christmas Concerto (excerpts)

Traditional/Tchaikovsky

Joy to the World/Trepak

Traditional

Wexford Carol/Go Tell It on the Mountain

Irving Berlin

White Christmas

Additional selection to be announced

INTERMISSION
Please join us in the Gallery for a glass of bubbly and a treat!

Walter Kent

I’ll Be Home for Christmas

Frank Loesser

What Are You Doing New Year’s Eve

Traditional

Auld Lang Syne

We Wish You a Merry Christmas

Additional selection to be announced 

Ludwig Van Beethoven (1770-1827)
Sonata Op. 81a 1st movement

Claude Debussy (1862-1918)
The Gate of Wine Prelude

 Intermission

 Frederic Chopin (1810-1849)
Nocturne Op. 48 No. 1

Sergei Rachmaninoff (1873-1943)
Sonata No. 2 2nd and 3rd movement

Beth Ross Buckley, flute; David Buckley, violin
Andrés Martin, double bass; Dana Burnett, piano

A powerful program of tango through time – a curated time-travel experience highlighting several famous traditional tango composers.

El Marne                              Eduardo Arolas (1892-1924)

Tanguera                             Mariano Mores (1918-2016)

Adiós Nonino                      Astor Piazzolla (1921-1992)

Recuerdo                             Osvaldo Pugliese (1905-1995)

Brutal                                      Andrés Martín (b.1981)

INTERMISSION

Inspiración                           Enrique Mario Francini (1916-1978), Armando Pontier (1917-1983)

A don Agustin Bardi             Horacio Salgán (1916-2016)

Lifemakers                           Andrés Martín (b.1981)

1. A Don Humberto Gaspar
2. Like Water
3. Ding Dong Danger

Astor Piazzolla (1921-1992)

Yo Soy Maria

Alan Roberto Lopez (1991- )

Desvelada
Lengua Al Viento

Ariel Ramirez (1921-2010) Arr. by Tatiana Senderowicz and A.R. Lopez

Alfonsina y el Mar

A. R. Lopez
Preludio

Decadencia

Intermission

Piazzolla Arr. by Tatiana Senderowicz and A.R. Lopez
Chiquilin de Bachin
Fracanapa

Sergio Assad (1952- )

Midnight Tango Pursuit

Piazzolla
Arr. by Tatiana Senderowicz and A.R. Lopez

Soledad
Zita
Libertango

Batya MacAdam-Somer & Missy Lukin, violins
Annabelle Terbetski, viola
Elizabeth Brown, cello

Franz Joseph Haydn (1732 – 1809)

String Quartet Op. 33, No. 3 “The Bird”

Allegro moderato
Scherzo, Allegretto
Adagio ma non troppo
Finale, Presto

Jessie Montgomery (b. 1981)

Strum

INTERMISSION

Danish String Quartet

Last Leaf, The complete Collection

Shore
Polska from Dorotea
Tjønneblomen
Menuet No. 60
Æ Rømeser
Intermezzo
Shine You No More
Drømte Mig En Drøm
Stӕdelil
Naja’s Waltz
Unst Boat Song
Hur Var Du I Aftes Så Sildig
The Dromer

Program Notes

Strum is the culminating result of several versions of a string quintet that I wrote in 2006. It was originally written for the Providence String Quartet and guests of Community MusicWorks Players, then arranged for string quartet in 2008 with several small revisions. In 2012 the piece underwent its final revisions with a rewrite of both the introduction and the ending for the Catalyst Quartet in a performance celebrating the 15^th annual Sphinx Competition.

Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinato that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.

-Jessie Montgomery

Haydn’s 83 string quartets span nearly his entire career, but rather than being written continuously, they appeared in bunches. When the six quartets of his Opus 33 were completed in 1781, they were his first quartets in nine years. Haydn offered handwritten copies of the manuscripts to wealthy patrons, advertising them as having been written “in a quite new, special manner.” Exactly what he meant by this has been the source of some debate, and cynical commentators have felt that Haydn’s enthusiasm for the novelty of these quartets was merely a sales pitch. String Quartet Op. 33 No. 3 “The Bird” takes its nickname from the chirping grace notes that decorate many of its themes. Over steady accompaniment from the middle voices, the first violin announces the main theme of the Allegro moderato. Next, the second movement he marks Scherzando which is different than the sort of scherzo that Beethoven would write a generation later. It is faster than minuet tempo, and surprising accents give the melodic lines unusual weight.  The outer sections remain in the lowest registers of all four instruments (it is said of this movement that C major has never sounded so dark as it does here), and the trio section offers several surprises: including a duo for the two violins only, and bringing back some of the “bird music” of the opening movement.  The Adagio belongs almost entirely to the first violin its simple opening melody grows florid and complex as the movement unfolds. The finale is a rondo reportedly based on a Slavonic folk tune. This movement, aptly marked Presto, zips along with unflagging energy.  Seldom has there been more gloriously apt writing for string quartet, and seldom has there been more cheerful music than this graceful romp, which rushes right to its close and, like smoke, disappears silently and effortlessly.

-Eric Bromberger

Last Leaf, the complete collection is a mix of traditional folk music that has been passed down through an oral tradition and a few newly composed tunes by members of the Danish String Quartet.

Shore is a little folk-fantasy simply inspired by the vast coastline and the many hundreds of islands that form Denmark.

Polska from Dorotea, this tune has a natural sense of gravity and swing, and in almost la follia-like progression. Although the polska dance tends to be a tad slower, we like it when played with “strum und drang”!

Tjønneblomen at first listen may seem very traditional, but it has an unusual five-part structure, revealing that it is a contribution to the modern concert stage, rather than just a traditional dance tune. People still discuss whether the composer wrote it as a tribute to his homestead, or to the girl that he loved but never got…

Menuet no. 60 was part of a collection written down in the 1760’s by Rasmus Storm, one of the earliest collections of Danish folk melodies. Almost half of his melodies were minuets, a sign of how popular this dance was in the latter part of the 18^th century.

Æ Rømeser is one of the traditional sonderhonings from the 18^th century, the title simply means The one from Rømø (the first island south of Fanø, perhaps the origin of this particular dance).

Intermezzo, just as it sounds, is a little musical break that comes and goes faster than a daydream.

Shine You No More was inspired by a tune by renaissance composer John Dowland called Flow My Tears from 1596.

Drømte Mig En Drøm is notated on the last leaf of parchment in the Codex Runicus, a codex from the beginning of the 13^th century, written in runes. It includes the Scanian Law – the oldest know provincial text in Scandinavia – and it chronicles the early Danish monarchs. Most scholars agree that this is a song about justice and fairplay.

Stӕdelil is a traditional Danish ballad telling a story of magic and love. This tune was also arranged for soprano, four-part chorus and piano by Beethoven in the 1810’s.

Naja’s Waltz is an asymmetrical waltz with a little Norwegian touch.

Unst Boat Song is a simple and rather captivating melody. Real Viking music, with the three surviving verses partly in Norse and partly extinguished dialect, suggests that it is very old. It is a song about the strong winds at sea, the difficulties of handling the boat and the prayer for coming home safely.

Hur Var Du I Aftes Så Sildig is a mysterious tune from Storm’s collection with an unusual bar structure of 3+5 making it unsuitable for all known Danish dances in the 18^th century.

The Dromer is technically an English dance. In the final decades of the 18^th century, dances from the British Isles were very much in fashion in Denmark. This tune later morphed into a Scottish tune which was used to stir up the chiefs and their clans.

 About Quartet Nouveau

Quartet Nouveau & Chamber Music Institute formed as a 501 © 3 nonprofit organization in January 2013 with the mission of for making chamber music available to the entire San Diego community. Quartet Nouveau is a string quartet based in San Diego where all four musicians freelance and teach within the community. Known for their fresh approach to classical music, they hope to inspire students to play this very same music one day. The members of Quartet Nouveau all graduated from the nation’s top universities with Masters and Doctoral degrees. These musicians also perform with the San Diego Symphony, The California Chamber Orchestra, Classics 4 Kids Philharmonic, La Jolla Playhouse, and the Old Globe. Quartet Nouveau has performed in school educational outreach concerts students from kindergarten to high school throughout southern California. For more information visit quartetnouveau.org