“Sway” by Grace Jisong Choi (b. 1993)
Lauren Jett, Flute
Sarah Minneman, Oboe
Erin Fung, Clarinet
Caroline Sackleh, Bassoon
Rebekah Lorenz, Horn
Composer Notes:
Sway explores the delicate balance between order and chaos, inspired by the subtle yet intricate motion of swaying grass in the wind. The piece begins with a steady rhythmic pulse, evoking the gentle rustling of leaves. Gradually, the rhythm starts to shift—subtle misalignments emerge, creating an unstable yet organic flow.
As the piece progresses, the once-coherent patterns unravel into unpredictability, much like a gust of wind that scatters the blades of grass in different directions. The interplay of movement and stillness creates a fleeting sense of weightlessness, where time feels momentarily suspended.
Yet, just as nature finds its equilibrium, the chaos slowly dissolves. The rhythmic fragments realign, and a sense of calm returns—though never in exactly the same way as before. The final moments leave a lingering sense of movement, suggesting that the sway never truly stops.
By translating natural motion into sound, Sway invites the listener to experience the beauty of imperfection, fluidity, and transformation.
Sway는 바람에 흔들리는 풀잎의 미묘하면서도 복잡한 움직임에서 영감을 받아, 질서와 혼돈 사이의 섬세한 균형을 탐구하는 작품이다. 곡은 규칙적인 리듬으로 시작하며, 잔잔한 바람에 일렁이는 풀잎의 모습을 떠올리게 한다. 그러나 시간이 지남에 따라 리듬이 조금씩 어긋나기 시작하고, 점차 불안정하고 유기적인 흐름을 만들어낸다. 흔들리는 풀잎들이 각기 다른 방향으로 움직이다가, 순간적으로 멈춘 듯한 착각을 불러일으키는 순간이 찾아온다. 마치 바람이 일렁이다가 잠시 잦아드는 것처럼, 움직임과 정지가 교차하며 시간의 흐름이 유동적으로 변한다. 그러나 자연은 결국 균형을 되찾고, 혼돈은 서서히 가라앉는다. 다시 정돈된 움직임이 나타나지만, 처음과는 미묘하게 다른 모습으로 남는다. 마지막 순간까지도 흔들림은 완전히 멈추지 않는다. 자연의 움직임을 소리로 변환한 Sway는 불완전함과 유동성, 그리고 변화 속에서 발견할 수 있는 아름다움을 청중에게 전달하고자 한다.
“Heir/loom” by Kyle Lamb (b. 1992)
I. … at the spinning wheel
II. Text(ile)
III. Machine
IV. Warp & Weft
V. Blanket
Alexis Shambley, Violin
Hannah Hoffman, Cello
Hollie Greenwood, Double Bass
Composer Notes:
What mark will we leave on the Earth?
Sondheim says the only things worth leaving are children and art.
Maybe we can take care of ourselves and those we love,
and leave a more caring world for the future.
In this piece, that care takes the form of a blanket.
One that we weave and use and wrap ourselves in as we get older, and
ultimately pass down to future generations.
Thank you to New Downbeat for commissioning this work; Alexis Shambley,
Hannah Hoffman, and Naomi Bennet for their help conceptualizing it; and
Alexis Shambley, Hannah Hoffman, and Hollie Greenwood for bringing it to
life.
“Two Dialogues” by Catherine Fields (b. 2000)
I. Reminiscence
II. Renewal
Catelyn Hawkins, Alto Saxophone
Catherine Fields, Piano
Composer Notes:
The first movement of Two Dialogues, entitled “Reminiscence,” is based on an abandoned sketch from about five years ago, which was originally for solo piano. As an anxious Freshman and novice composer, I felt unable to fashion this idea into a full piece. I wrote in a melodramatic fashion on the sketch, “The process of writing this is like a dense mist over the mind... like I’m trying to make out what’s in front of me through fog, with bad eyes.” When I received this commission from New Downbeat, I thought it a good chance to revisit this sketch and give my younger self the gift of finishing it. As I played through it, I found it saturated with some of my early and formative influences– primarily the piano works of Debussy and Ravel. I tried to retain a similar character, staying true to the intentions of my younger self. That is the first movement.
The second movement, “Renewal,” takes up some of the materials of the first movement, fragmented and manipulated, and puts it into the context of my voice in the present day: centered on rhythmic play, open and jazz-inspired harmonies, spontaneity and freedom. This piece is a dialogue with myself, its purpose being an integration of past and present in a personal context; a reminder that as we pass through our different iterations, the essence of who we are is unchanging.
“Slip Slip Knit” by Lila Meretzky (b. 1998)
Molly Rains, Violin
Muning Wang, Viola
Composer Notes:
In January a crafty friend of mine took me to a knitting store and outfitted me with yarn, needles, and a pattern. Around that time, I had started to work on this violin/viola duo for Molly and Muning. In learning to knit I experienced slow growth through repetition, watched slight variations in patterns produce surprising results, and felt a lot of mental relief from looking at screens less. There are a few musical "stitches" in this piece that interlock and build, as well as some abstract flights of fancy. Thanks to Molly and Muning for their insights!
“From Fog Take Form” by Julien Monick (b. 1994)
Valentina Arango Sánchez, Flute
Catelyn Hawkins, Alto Saxophone
Caroline Sackleh, Bassoon
Chava Appiah, Cello
Anna Dunlap, Harp
Catherine Fields, Piano
Composer Notes:
“From Fog Take Form” takes a path through three sections, becoming more active and joyous as it progresses. The first part of the path is soft, slow, and somewhat eerie with points of aggression building to the next path. The core of the second section is a lyrical melody I have been humming to myself for years now. I sing this melody at points of bliss and use it as a tool to focus and recenter myself. “From Fog Take Form” started with this melody finally taking a fixed form on paper, and I view this center section as the backbone of the work. The third and final section takes figurations from the first movement of a solo piano piece of mine (Star Path, Flow) that by this time has not been completed. These figuration patterns have been swimming in my head for years now too, and I always enjoy finding more opportunities to take them out to play with newer ideas.
Composing this piece took a similar journey, its final shape never being clear to me until near the end of its completion. From the fog of lingering ideas, I’m always content when a new piece takes form.