Performed by Solstice Reed Quintet

Becca Chadwick, Oboe; Freddy Mora Quirós, Clarinet; Matthew James, Saxophone; Hannah Faircloth, Bass Clarinet; Cailin McGarry, Bassoon

Program notes by the composer: “Nataraja was commissioned by and dedicated to the Solstice Reed Quintet. I am deeply grateful for their request and for championing my music. Nataraja is a representation of Shiva, a principal Hindu deity, as the Lord of the Dance or King of the Dance. "Nataraja" comes from the Sanskrit words Nata, meaning "act, drama, dance", and Raja, meaning "king" or "lord." In traditional iconography, Nataraja/Shiva is depicted in a cosmic dance that sets the rhythm of life and death. This dance occurs within a circular or cyclically closed arch of flames which symbolically represent the cosmic fire that in Hindu cosmology both creates and consumes everything. The fire also represents the evils, dangers, heat, warmth, light and joys of daily existence. My composition is cast in a single movement as a slow introduction, theme, five variations, and a coda. The music is simultaneously vigorous and sensual, drawing inspiration from Bartok's string quartets and neo soul.” 

I. So-Not-A

II. Capriccio

III. Hyper-Chorale

Performers
Tim Gocklin, Lucy Croasdale, Hannah Wolkowitz, Meng Yuan, Aidan Ramirez, Xujing Yao, Ethan Hicks, Sara LeBlanc

for woodwind quintet

I. Dance of Ritual

II. Dance of Expression

III. Dance of Joy

Performers
Ryan Reynolds, Regan Pilgrim, Kellen Ko, David Hilt, Mark Doerr

Program Note from the Composer:

“I’ve always believed dance is our first language, long before words. Dance isn’t just steps or patterns; it’s how our bodies whisper, shout, or tremble with meaning. Even the simplest gesture, when charged with rhythm or memory, can become a story.

“Dance of Ritual”, lives in the heartbeat of community—stomps, swaying unison, hands clasped in traditon. It’s about losing yourself in something bigger: firelight, drums, the weight of centuries in every turn. Then comes “Dance of Expression”, a solo in the dark. Here, gestures leap with shadows and reflections. It’s fragile, private—a breath held long, finally released. The last, “Dance of Joy”, is pure light. No overthinking, just sweat and laughter. Feet skitter, hips swing, and suddenly everyone’s caught in the same grin.

I wanted these dances to feel alive, imperfect—like skin against soil, or a pulse quickening. They’re my reminder that to move is to be human, whether we’re bound by ritual, solitude, or the sheer, stubborn need to leap.

“Three Dances” was originally a string quartet composition, the idea was brought to this woodwind quintet with re-freshed new inspirations.”

–Yanchen Ye

Performers
Andy Hudson, Caleb DeLong, Tyler Romesburg

1. Disjoint Set Union
2. XOR
3. Pigeonhole Principle

Program Notes:

1. Disjoint Set Union

Definition: A set operation in which two sets without common elements (“disjoint sets”) are merged into a single set (“union”).

Dancing between a snaking motif and a smooth melody, moving between chromaticism and leaps, this movement is a merging of disjointed contrasts.

2. XOR

Definition: “Exclusive OR” - a logic gate between two conditions that returns true if and only if one condition is true and the other is false. Its inverse is the combination of the intersection (both true) and the negative (neither true).

This movement uses multiphonics as part of its sound; containing an outward expansion of pitches away from an origin, it is a duality of truth and falsehood - an “exclusive OR.”

3. Pigeonhole Principle

Definition: A counting argument that states that if there are more items (pigeons) than containers (holes), at least one container must have more than one item.

Inspired by a theory that seems so simple, this movement tells a story of what happens when too many notes are squeezed into a beat - and the pigeons run amok.

Performers
Andrew Koeppe, Lucy Croasdale, David Hilt, Cooper Taylor, Mark Doerr

Program Notes

Ned McGowan is a American-Dutch composer, flutist, researcher and teacher living in Amsterdam, the Netherlands. Known for rhythmical vitality and technical virtuosity, his music has been performed at Carnegie Hall, Concertgebouw and Purcell Room and other halls and festivals around the world. As a flutist he plays classical, contemporary and improvisation concerts internationally and he has a special love for the contrabass flute. Ned teaches composition and is Head of Artistic Research at the Utrecht Conservatory.

I.

II.

Performers:

Hannah Wolkowitz, saxophone; Benjamin Graham, viola; Ethan Pinckert, percussion

World Premiere of the Reed Ensemble Version!

Performers
Andy Hudson, Lyndon Ji, Kaitlyn Beasley-Zeitler, James Aldous

Program notes from the composer: Composed for my dear friends Tasha Warren and Dave Eggar, “Snapshots” is a collection of musical impressions. I started composing “Snapshots'' while in residence at the historic home of Aaron Copland. While there, I thought about Copland's generosity towards other artists in his community (particularly Leonard Bernstein), about my place in my own musical community, and about those who had been kind to me as a young musician—specifically Geri Allen, Chick Corea, Kenny Barron, and Marin Alsop. As “Snapshots” developed, it revealed itself to be a jumble of impressions of these individuals (short phrases or textures that reminded me of them) accompanied by mental images of Dave and Tasha rocking out. To paraphrase Copland, the compositional process that followed involved assembling materials consisting of these impressions.

Generous acts, like those of Copland, pass from person to person reaching from past to present and forming the foundations of musical communities along the way. The reach of this network is profound: My presence at Copland's piano, composing “Snapshots,'' was a direct result of these acts of kindness. The same can be said of Dave Eggar, who took piano lessons with Copland (as a kid) in that very same house on that very same piano. Our music and artistic identities are a product of these generous acts. “Snapshots” is a celebration of those individuals whose acts of kindness brought us together.

–Pascal Le Boeuf, 2021

This work was begun while in residence at Copland House, Cortlandt Manor, New York, as a recipient of the Copland House Residency Award. Commissioned through Michigan State University’s HARP Grant for Tasha Warren and Dave Eggar. This version for clarinet, bass clarinet, bassoon, & piano was arranged for the 2026 Akropolis Chamber Music Institute.