Double Concerto for Oboe and Violin by J.S. Bach

Performed by Saya Leznoff (oboe), Grace M. Alexander (violin), Owen Cromwell (violin), Akseli Mende (viola), Matt Udry (cello), Raphael B. Zimmerman (clarinet), and Will Rand (piano)

The Concerto for Oboe and Violin in C minor is a reconstruction of a lost double concerto by Johann Sebastian Bach, originally known in a version for two harpsichords (BWV 1060). Right from the opening of the first movement, you can hear the oboe and violin almost “talking” to each other. Instead of long, separate solos, Bach keeps the two instruments closely intertwined, constantly reacting and responding in real time. Underneath it all, the orchestra keeps things moving with a steady pulse, giving the music a sense of momentum and drive while the soloists weave in and out of the conversation above.

Kol Nidrei by Max Bruch

Performed by Dena Levy (french horn) and Will Rand (piano)

Max Bruch (1838–1920) was a German Romantic composer, violinist, teacher, and conductor, best known for his three violin concertos, particularly the first, which remains a cornerstone of the violin repertoire. Although Bruch was not Jewish, Kol Nidrei is a deeply Jewish piece, inspired by the central prayer recited at the start of Yom Kippur, the holiest day in the Jewish calendar. Kol Nidrei is a declaration of the annulment of unfulfilled vows made to God. While it does not absolve sins, Kol Nidrei symbolizes a fresh start, emphasizing themes of atonement, reflection, and reconciliation. This performance is dedicated to my incredible father and grandfather who both passed this past year. May their memories be for a blessing.

ELEMENTS: Weaving the Earth through Music by Will Rand

Performed by Grace M. Alexander (violin), Raphael B. Zimmerman (clarinet), and Will Rand (piano)

In ELEMENTS, the musical expression of Water, Air, Fire, and Earth will be a guide between the four elements of the earth. This is a performance and an experience that invites us to remember our original relationship with each of the elements--through our beginnings and their beginnings. This performance hopes to create a gathering, a reconnection between us and our environment, to remind us of our shared home and the unshakable interrelationship between all living beings through a musical expression. Elements was composed by Will Rand and premiered in New York in April 2026.

27-72 by Alyssa Morris

Performed by Saya Leznoff (oboe) and Will Rand (piano)

Composed in 2019, 27–72 by Alyssa Morris is a tribute to legendary oboe teacher Doris DeLoach. The title refers to the ages of 27 and 72—the years DeLoach began and ended her 45-year teaching career at Baylor University. Morris, one of DeLoach's former students, wrote the piece as a celebration of the joy, dedication, and lasting friendships that grow through a lifetime of making music, reminding us that a great teacher's influence extends far beyond the classroom.

Romance for Horn and Piano by Alexander Scriabin

Performed by Dena Levy (french horn) and Gabrielle Gagnon-Picard (piano)

Composed in 1890 while he was only 20 years old, Alexander Scriabin’s Romance for horn and piano reveals a gentler side of the composer than the bold, mystical style of his later works. Warm, intimate, and quietly expressive, the Romance is a reminder that sometimes the simplest music can be the most affecting.

Three pieces for Clarinet and Piano by Paquito D’Rivera

Performed by Raphael B. Zimmerman (clarinet) and Gabrielle Gagnon-Picard (piano)

Written by Cuban-American composer and clarinetist Paquito D'Rivera, Three Pieces for Clarinet and Piano blends classical writing with the rhythms and character of Latin American dance music. Each short movement draws on a different style: the lively Contradanza, the smoky, swaying Habanera, and the energetic Venezuelan Waltz.

Trio for Piano, Horn, and Violin by Johannes Brahms

Performed by Dena Levy (french horn), Grace M. Alexander (violin), and Gabrielle Gagnon-Picard (piano)

Composed in 1865, the Horn Trio was written to commemorate the death of Brahms's Mother, Christiane. In the nineteenth century, the use of the horn would have reminded listeners of nature and of hunting calls. It has been suggested that the work explores different stages of grief throughout the four movements. The second and fourth movements are the most lively, indicating joyous memories, recovery and peace, while the other two explore melancholy and grief. Brahms was 32 at the time of composing, and he did not write chamber music again until he was 39.