PROGRAM NOTES
Andrea Casarrubios (b. 1988) Overture and Chorale
Spanish-born cellist and composer, Andrea Casarrubios’ Overture and Chorale is a delicately sublime work bearing the dedication, “…to my mother, and her obsession with J.S. Bach.” Clear, and heartfelt, the work roots itself in the past, not unlike Bach. Because of his modern status as one of the most revered and beloved composers of all, it can be hard to remember that during his lifetime he was old fashioned, continually mining deeper and deeper into the old forms to unearth jewels while most of his contemporaries were hurtling forward toward the Galant on their way to the classical (only six years separate the death of Bach and the birth of Mozart). Now, Bach is timeless, living on in his own works as well as others written through his influence. Casarrubios remarks in her own program note:
“Originally for cello quartet, the work is also available for two violas and two cellos. The first movement, Overture, was written for CCCMF in 2020 and it highlights the interplay between the four instruments. French rhythms from the baroque style are mixed with harmonies from the 21st century, accentuating the time and space that there is in between. The Chorale adds equilibrium and an emotional depth that lift us from a darker place. The Chorale was written taking J.S. Bach’s Chorale BWV 390 in C major as inspiration.”
Shelley Washington (b. 1991) :: Say for String Orchestra, arr. Washington
In Say, Shelley Washington explores one of the most complex aspects of being: identity. Who are you? Who do others say you are? Who gets to decide? Speaking from her own experience as a person of mixed race in 21st century America, Washington shines a bright light on the myriad of complicated emotions through a poem that prefaces the score. It is preceded by a dedication to “all lives lost through hands of misconception, and to all the lives safe at home who face challenges without question, dedicated to our history, and our future which is brighter, dedicated to those who taught me to always be a fighter.”
Emphasizing that our experiences are embodied, that what we look like, the sounds of our voices, and the regional or cultural accents we are perceived as having, influence or change the way others interact with us, Washington writes extensive passages highlighting the body through making it a dominant percussive element throughout the music. Utilizing the power of text, the performers rhythmically speak in short, direct, phrases, that ask us to reflect on ways we encounter others in the world, pause to consider the reality of others, and exhorts us to speak up. Musically, the work is dotted with sections strongly reminiscent of the sing-song play tunes of children’s playground games—an arena where our earliest memories and confusions about identity are often formed—juxtaposed with reflective, lyrical passages, and dense contrapuntal passages
Antonín Dvořák (1841-1904) Slavonic Dance No. 2 in E minor, Op. 72 arranged by Alistair Eng
Francesco Geminiani (1687-1762) arranged by Michi Wiancko (b. 1976), “La Follia” Variations for String Orchestra (2011)
Few musical themes have sparked as much creative fervor as La Follia, a hauntingly evocative harmonic progression that captivated composers for centuries. Its origins trace back to 15th-century Portugal, but by the Baroque era, it had become a kind of musical playground—an invitation to display both technical virtuosity and emotional depth. In 1729, Francesco Geminiani, an Italian violinist and composer, created his own set of variations on La Follia, expanding upon a version by his teacher Arcangelo Corelli. His take brims with drama, elegance, and the kind of flourish one might expect from a performer known for improvisational brilliance and theatrical flair.
Fast forward nearly three centuries: violinist and composer Michi Wiancko breathes new life into Geminiani’s work with this bold and vibrant reimagining for string orchestra. Wiancko’s arrangement doesn’t just translate the work from solo and continuo to full string ensemble—it reinvents it. Her adaptation honors the dramatic contrasts and intricate ornamentation of the Baroque original, while seamlessly infusing the music with a contemporary sensibility. She expands the expressive palette, with sweeping textures, playful rhythmic displacements, and moments of lush introspection.
What makes this arrangement compelling is the sense of dialogue across time. Geminiani’s virtuosic flourishes are now carried by entire sections; Wiancko’s dynamic reworking enhances the architecture while illuminating new emotional contours. The listener is swept through moments of courtly grace, fiery urgency, and meditative calm. It’s music that acknowledges its past while joyfully engaging with the present.
In the end, La Follia lives up to its name—“the madness”—in the best way: through its endless reinvention and the passion it continues to inspire.
Kathryn J. Allwine Bacasmot is a pianist/harpsichordist, musicologist, music and cultural critic, and freelance writer. A graduate of New England Conservatory, she writes program annotations for ensembles nationwide.
