Mini-Chamber 1
with Andrew Cooperstock - Piano

Saturday, September 20, 2025
7:30 – 9:00 PM
Boulder Adventist Church

Andrew Cooperstock - Piano
Artist-in-Residence

in collaboration with

Hilary Castle - Violin
Kellan Toohey - Clarinet
Joseph Howe - Cello

Program

Claude Debussy (1862–1918)
”Clair de Lune” from Suite Bergamasque, L. 75 (1890, rev. 1905)

Francis Poulenc (1899–1963)
Sonata for Clarinet and Piano, FP 184 (1962)
I. Allegro tristamente
II. Romanza
III. Allegro con fuoco

Darius Milhaud (1892–1974)
Suite for Clarinet, Violin, and Piano, Op. 157b (1936)
I. Ouverture
II. Divertissement
III. Jeu
IV. Introduction et Final

Maurice Ravel (1875–1937)
Trio for Violin, Cello, and Piano (1914)
I. Modéré
II. Pantoum (Assez vif)
III. Passacaille (Très large)
IV. Final (Animé)

ABOUT THE ARTISTS

Andrew Cooperstock
Artist-in-Residence

Pianist Andrew Cooperstock performs widely as soloist and chamber musician and has appeared throughout six continents and in most of the fifty states, including performances at New York's Carnegie Hall, Lincoln Center, and the United Nations; at the Chautauqua, Brevard, and Round Top music festivals, the Australian Festival of Chamber Music, and Hong Kong’s Hell Hot! New Music Festival, and on National Public Radio, Radio France, and the British Broadcasting Corporation. With violinist William Terwilliger, as Opus Two, he has recorded a series of critically acclaimed single-composer discs of […]

Continue Reading →

Kellan Toohey
Clarinet

Clarinetist Kellan Toohey is an avid performer whose varied career includes recitals and solo appearances, chamber music, teaching, and orchestral playing. He holds a DMA from the University of Colorado and his teachers include Daniel Silver, Bil Jackson, and Jon Manasse. An active orchestral player, Mr. Toohey currently holds the positions of Principal clarinetist in the Boulder Chamber Orchestra and Associate Principal Clarinetist in the Fort Collins Symphony, Wyoming Symphony and Cheyenne Symphony Orchestra. He has performed across the US, Europe, and […]

Continue Reading →

Hilary Castle
Violin

Violinist Hilary Castle maintains an active schedule as a soloist, ensemble musician and teacher. “The electric energy behind Hilary’s playing is indescribable … She breathes life into the music and personifies it in a way that would shame those who thought this music could ever be boring." Hilary has performed with a wide range of ensembles and artists, including the New Haven Symphony Orchestra, String Orchestra of New York City, The American Pops Orchestra, Mark O'Connor, award-winning jazz vocalist Allan Harris, Ed Sheeran, Thalia, Danish singer/songwriter Oh Land and […]

Continue Reading →

Joseph Howe
Cello

Joseph Howe is a cellist with a wide ranging and multi-faceted career. An avid chamber musician, he regularly performs with Trinity Alps Chamber Music Festival in Northern California and Front Range Chamber Players, and recently appeared on Denver Friends of Chamber Music’s Music in the Galleries series. He is a member of Sphere Ensemble, a 13-piece chamber ensemble that performs music of all genres. Joseph is also deeply interested in historically inspired performance. Joseph is also deeply interested in historically inspired performance. He performs regularly with American Bach Soloists in the Bay Area […]

Continue Reading →

PROGRAM NOTES

Claude Debussy (1862–1918)
”Clair de Lune” from Suite Bergamasque, L. 75 (1890, rev. 1905)

Few pieces in the piano repertoire are as instantly recognisable or as widely cherished as Debussy’s Clair de Lune. The title, meaning “moonlight” in French, was borrowed from a poem by Paul Verlaine that describes a dreamlike landscape where masked figures dance under the glow of the moon. In Debussy’s hands, the music becomes a delicate meditation—soft, shimmering, and deeply poetic.

Composed when Debussy was still a young man and later revised for publication, Clair de Lune forms part of his four-movement Suite Bergamasque, but it quickly took on a life of its own. Its gentle, flowing melodies and soft harmonies evoke a sense of quiet wonder, as if the music itself were floating in moonlight. It is a piece that invites reflection and emotional stillness—an intimate journey into a world of beauty and calm.

Francis Poulenc (1899–1963)
Sonata for Clarinet and Piano, FP 184 (1962)

Francis Poulenc was known for his wit, his love of melody, and his ability to balance lightness with depth. His Sonata for Clarinet and Piano, written near the end of his life, is a beautiful example of all these qualities. Though composed with a sense of playfulness, the piece also carries moments of sincere emotion and introspection.

The first movement opens with a burst of energy but is quickly followed by a quieter, more thoughtful passage—almost as if the music is smiling through a sigh. The second movement is a slow, lyrical song without words, filled with a gentle melancholy. The third and final movement brings a return to humour and brilliance, with fast rhythms and sudden shifts in character.

This sonata was one of Poulenc’s last completed works and was dedicated to the memory of his friend, the composer Arthur Honegger. It was premiered after his death by two musical giants: clarinetist Benny Goodman and pianist Leonard Bernstein. It is, in many ways, a final gift from a composer who believed deeply in music’s ability to both entertain and move the soul.

Darius Milhaud (1892–1974)
Suite for Clarinet, Violin, and Piano, Op. 157b (1936)

Darius Milhaud was a prolific French composer whose travels and experiences across the globe deeply shaped his musical language. He spent time in Brazil in the 1910s, and his love for the country’s lively rhythms and vivid soundscapes remained with him throughout his life. His Suite for Clarinet, Violin, and Piano, written in 1936, captures some of that energy and colour.

The piece is written in four short movements, each one playful and expressive in its own way. The opening begins with a bold and bright introduction. The second movement is lighthearted and rhythmic, like a musical conversation among friends. The third has a whimsical, almost mischievous quality. The final movement ties everything together with a joyful and exuberant finale.

Milhaud’s music doesn’t ask the listener to analyse or decode it—it invites us to enjoy it. The piece is full of contrasts: bold and subtle, serious and silly, all within a compact and lively structure. It is chamber music at its most engaging and fun.

Maurice Ravel (1875–1937)
Trio for Violin, Cello, and Piano (1914)

Maurice Ravel’s Piano Trio is a work of extraordinary imagination and emotional depth. Composed just before he enlisted to serve in World War I, the trio reflects a mixture of nostalgia, vitality, and urgency. Though written for only three instruments, it creates a rich and colourful sound world that feels much larger—almost orchestral at times.

The first movement begins with a calm, flowing theme inspired by the rhythms of the Basque language spoken in Ravel’s native southwestern France. It has a graceful, almost pastoral quality. The second movement, titled Pantoum, is fast and unpredictable, full of sparkling rhythms and sudden changes—named after a form of Malaysian poetry that overlaps phrases in an unusual way. The third movement, a Passacaille or passacaglia, is slow and solemn. Built on a repeating pattern, it grows gradually in intensity, creating a sense of mounting emotion. The final movement bursts forth with energy and drive, as if the music is lifting off into flight.

This trio is one of Ravel’s most masterfully crafted works. It combines elegance with power, complexity with clarity. In just under half an hour, it manages to tell a story that feels both personal and universal—about memory, movement, and the resilience of beauty in the face of a changing world.

Program Notes by Reginald Winters