Recital: Claire Stephenson '24, Composition

Wind Quartet No. 1

I.
II.
III.
IV.

Isabel Evernham, flute
Alexander Lenser, oboe
Sarah Cho, clarinet
Adam Chen, bassoon

Program note

This is a wind quartet inspired by the quartets of the classical era. It is the first piece I completed within my bachelor’s degree. I have chosen this to open the concert in order to highlight where my journey began.

String Quartet No. 1

I.
II.
III.
IV.

Caroline Smoak, Tara Hagle, violin
Philip Rawlinson, viola
Miruna Eynon, cello

Program note

This string quartet explores the form and ideas of a traditional classical string quartet. The first movement is a sonata movement with a slow introduction that explores modality and counterpoint within this framework. The second movement is a theme and variation that explores both modality and tonality. The third movement subverts the traditional minuet and trio; instead being an Argentine style tango. The final movement explores folk styles within a traditional rondo form, harkening back to the first subject of the opening movement

Wind Quintet No. 1

Isabel Evernham, flute
Alexander Lenser, oboe
Sarah Cho, clarinet
Connor Strauss, French horn
Adam Chen, bassoon

Program note

This wind quintet was built around the opening counterpoint, which I found produced a reflective feeling. The piece moves between sections of reflection and gentle sadness and more energetic sections. It paints a picture of the feeling of missing what once was.

Three Scottish Dances

Strathspey
Reel
Jig

Isabel Evernham, flute
Alexander Lenser, oboe
Sarah Cho, clarinet
Connor Strauss, French horn
Adam Chen, bassoon

Program note

This is a set of three short Scottish dances for wind quintet. The first movement is a Strathspey, which is a 4-time dance that traditionally mimics the rhythms of Scottish Gaelic songs. The second movement is a Reel, which traditionally follows from Strathspey as a faster duple follow up. The final movement is a traditional jig. 

INTERMISSION

Highland Mary

Program note

This is a setting of Robert Burns' poem "Highland Mary": the third of his poems to be dedicated to Mary Campbell. The verses capture both the affection Burns has for her and the melancholy brought about by her death. This piece highlights these feelings as well as bringing a Scottish quality to showcase Burns as the best-known poet of Scotland.

The Song of Wandering Aengus

Sianna Monti, mezzo-soprano
Isabel Evernham, flute 1
Anna Ridenour, flute 2
Sarah Cho, clarinet
Shaylen Joos, harp

Program note

This is a setting of William Butler Yeats' poem "The Song of the Wandering Aengus". In this setting I wanted to create a peaceful mood that reflects the tranquillity and pastoral elements of the poem.

The Harp of Dagda

Golltraighe (the Grief Strain)
Genntraighe (the Joyful Strain)
Suantraighe (the Strain of Sleep)

Program note

Dagda is a figure within Irish mythology who was a sun god and father deity. His harp, Uaithne, also known as "the Four Angled Music", was a richly ornamented magic harp made of oak, which, when the Dagda played it, put the seasons in their correct order. This piece depicts the three strains that Dagda played after his harp was stolen by the Fomorians after the Tuatha de Danann (the gods and goddesses of Irish mythology) defeated them in battle. Upon retrieving his harp, Dagda first played the Golltraighe, or grief strain, which caused the women in the hall to weep uncontrollably. Then he played the Genntraighe, or joyful strain, which caused many among them to be incapacitated with merriment. Finally, he played the Suantraighe, or the strain of sleep, which caused the men to fall deeply asleep, allowing Dagda to escape with his harp.

To Sappho

Program note

Historians will call them best friends.