- Catherine Ransom Karoly, flute
- Marion Arthur Kuszyk, Oboe, Associate Principal
- Joanne Pearce Martin, piano
- Camille Avellano, violin
- Dana Lawson, viola
- Jason Lippmann, cello
- Carolyn Hove, English horn
- Lyndon Johnston Taylor, violin
- Minyoung Chang, violin
- Jenni Seo, viola
- Robert deMaine, cello
- Nicholas Arredondo, bass
- Whitney Crockett, bassoon
- David Cooper, horn
About this Performance
Schubert idolized Beethoven. His Octet was modeled after the instrumentation and layout of Beethoven’s Septet (plus an extra violin), stamping a near-identical fingerprint of exuberant ambition. The Octet ranges in drama from the heart-rending winds and agitated strings to the full ensemble’s jubilance sprinkled throughout the hour-long work.
Françaix’s shorter and sweeter Quartet strays from the atonal music of his 20th-century composer peers, running free with similar amusing and unproblematic harmonies on a ragtime escapade. Madeline Dring, a musician-actor-mime-cartoonist all-star, also had a certain rhythmic humor and melodic sensibility about her work. Equally mischievous and brilliant, Op. 74 exhibits a happy-go-lucky conversation between oboe, flute, and piano.
Programs, artists, dates, prices, and availability subject to change.