Changing Winds of Time 

JANUARY 21, 2024

Michael Chertock, piano

Randolph Bowman, flute

Dwight Parry, oboe

Christopher Pell, clarinet

Christopher Sales, bassoon

Elizabeth Freimuth, French horn

This vibrant program features the principal winds and pianist of the Cincinnati Symphony Orchestra performing works of the Baroque and Romantic eras as well as music of today. Linton presents the exciting world premiere of Grammy-nominated composer and CCM alumnus Shawn Okpebholo’s work for woodwind quintet.

Join us for a Composer’s Conversation

Sunday, January 21 at 3:15pm*

Suzanne Bona (of Sunday Baroque) hosts a pre-concert conversation with composer Shawn Okpebholo.

*Complimentary with admission

Program Notes

Johann Sebastian Bach (1685 – 1750)
Sonata in C Minor for Flute & Piano, BWV 1033

The Sonata for Flute & Continuo, BWV 1033 is certainly the work of Bach, but the specifics of which Bach created the work is a matter of scholarly debate. The earliest copy is preserved in a manuscript from 1730 penned by Johann Sebastian’s eldest son, CPE Bach. While CPE attributes the work to his father, it is unclear if JS Bach actually completed the work or if he simply composed the earliest movements for solo flute while his son completed the work and either added the continuo himself or deferred that task to a pupil.

Musically, the sonata does little to clarify the matter. There are certainly moments that sound unmistakably Bach – particularly the Adagio third movement – but it is not consistently sophisticated on the level one would expect from the Baroque master at this point in his career.

Ultimately, regardless of its origin, the sonata remains a charming addition to the repertoire. Its blend of musicality and virtuosity makes it a joy to perform and hear.

Miguel del Aguila (1957 –)
Quinteto Sinfónico Op. 122 for woodwind quintet

Written 2019 it was premiered the same year by Pentaèdre at the Conservatoire de musique de Montréal, Canada. As the title suggests, the work resembles a mimi symphony in three movements that follow an overall thematic structure and form. The quintet is often made to sound orchestral by emphasizing music discourse and harmonic texture over individual colors.

I. Giocoso – The work begins quietly with a slow, humorous Latin dance which increases tempo and intensity. The performers share themes and continue each other’s phrases as if they were improvising while “dancing” with each other through fast tempos and shifting irregular rhythms. The movement ends with an upbeat new theme which anticipates the second and third movements. ”My inspiration for this movement was a technique often used by Andean folk ensembles where wind instruments share and continue each other’s melodies making them sound as if played by only one performer. Often for these ensembles cooperation and the sound of all together is more important than showcasing the talent of each individual. This turns the music into a spontaneous dialogue as each performer must react to what the others played and be ready to play any voice at any given moment.”

II. The landscape turns now into that of a warm summer night where an oboe sets the mood with a slow, peaceful, somewhat exotic tune. Soon other musicians join the oboe and a mysterious dialogue ensues, often interrupted by solos and darker passages. Finally the oboe and flute bring back the melody of the beginning, this time with a relaxed Latin beat. The melody becomes more fragmented and dissolves in a long chord.

III. A bright Luminous Fanfare where clarinet, bassoon and horn imitate trumpets playing the melodic line while flute and oboe provide the excitement of a busy background scene. After a series of dissonant climaxes and hectic chases, the piece ends Quinteto Sinfónico joyfully with a reiteration of all previously heard themes.
— © Miguel del Aguila

Shawn Okpepholo (1981 – )
Rise (for wind quintet)

“Rise,” a composition for a wind quintet, serves as a musical narrative that highlights the enduring issue of racial injustice. Comprising three distinct movements, this piece engages the listener in an intentional exploration of social consciousness. It underscores the importance of sowing seeds of justice and hope, a yearning for deep rooted and lasting harmony, and a call to let our inner light pursue justice.

Movement I: “Seeds”
In this dynamic opening movement, the wind quintet engages in an earnest dialogue, symbolizing the urgency and desire to sow the seeds of change in hopes that the harvest would consist of transformed hearts. The musical interplay at times takes on an aggressive tone, representing our determination and agency in addressing injustice.

Movement II: “Deep Harmony”
This movement explores rich harmonies, creating a soundscape that envisions a world where unity among people of all backgrounds is not only commonplace but fervently embraced. Amid these harmonies, a sweet melody, a poignant song without words, weaves through, encapsulates the longing for grace and peace, celebrating the profound beauty found in embracing our differences and living in harmony.

Movement III: “Spark!”
The idea that a single spark can cause a lasting flame serves as the inspiration for this movement. This spirited movement serves as a call to action. The early 20th-century African American song “This Little Light of Mine” is abstractly referenced in this movement, musically igniting the notion that our actions, no matter how small, can affect meaningful change.
— © Shwan Okpepholo

Ludwig van Beethoven (1770 – 1827)
Quintet for Piano & Winds, Op. 16

Given his larger than life legacy as a composer, it is easy to forget that Beethoven was relatively late to composing in his most prevalent genres. By 1797, the 27-year-old Beethoven was better known as a brilliant pianist than a composer, and the bulk of his published compositions served primarily to provide additional repertoire to showcase his talent. It is perhaps unsurprising, then that not only was the Op. 16 quintet composed as a sort of chamber concerto for piano and winds, but Beethoven also simultaneously published a version of the work for piano quartet, effectively doubling his own performance opportunities.

Musically, the quintet is heavily inspired by Mozart’s K452 woodwind quintet composed thirteen years earlier. Beethoven composed for the same instrumentation, in the same key, following the same three-movement structure, and echoing the approximate forms of each movement. The end product provides a glimpse into Beethoven’s development as a composer as the quintet presents his exploration of the earlier master while hinting at his own distinctive style.

The quintet opens with a dramatic grave that presents a full three minutes of opening material before arriving on the main theme. As the piano introduces the lighter and livelier theme the movement takes on a tone reminiscent of a Baroque French Overture tinged with Beethoven’s dramatic flair. The middle movement features a piano line that could be pulled directly from a Mozart concerto, but surrounds it with a truly balanced chamber ensemble. Each instrument gets its opportunity to sing both as a solo voice and as part of the masterfully-blended ensemble. The final rondo presents a bouncy hunting theme that presents ample opportunity for virtuosity. An E flat minor episode interrupts the otherwise exuberant movement with a hint of the composer Beethoven would become before ending on a coda that teasingly plays with the main theme in a nod to another influence, Beethoven’s former teacher Haydn.