Dui Xie (an expression of gratitude or "thanks") is the second movement of Chen Yi's Tibetan Tunes, composed in 2001 for violin, cello, and piano. Inspired by the music of the Tibetan people, this movement features a dynamic exchange between the three instruments. The violin, cello, and piano engage in a musical conversation, often overlapping and contrasting in rhythmic and melodic gestures.

The movement combines the distinctive sounds of Tibetan music—such as pentatonic scales and drone-like effects—with Western chamber music techniques. It alternates between fast, intense passages and slower, more lyrical moments, creating tension and release. The dialogue between instruments evokes the spirit of Tibetan ritual, while showcasing Chen Yi’s ability to fuse Eastern and Western musical traditions into a vibrant, expressive whole.

In "Dui Xie," the instruments continuously respond to each other, building a complex texture that reflects both the austerity and warmth of Tibetan culture.

Matthew Kent Everett - The Space Between

“No man is an island, entire of itself. Every man is a piece of the continent.” - John Donne

The Space Between is about my own struggle with close relationships. I've always been, both, a perfectionist and people-pleaser, often setting impossible standards for myself where anything less than perfect feels like a letdown. This, combined with a chronic worry about disappointing others and a desire for their approval, has made me apprehensive about getting close to people - and even more scared to stay close.

But this piece faces a hard truth: we can't do life alone. No matter how much I might want to. I've learned that real, deep relationships are what actually bring joy and purpose to life. So, I strive to let go of my perfectionism, negative thinking, and my need to make everyone happy.

Like the saying goes, "no one is an island." We all need each other, whether we want to admit it or not. It's about accepting that being connected to others—messy and imperfect as it may be—is actually what makes life worth living.

This piece is scored for violin, viola, cello, and piano. The three stringed instruments act as interdependent voices, which is also portrayed by the three dancers.

Safe From Sleep

Bliss La Prima Vez ("The First Time") is a traditional Sephardic song originating from the Ladino-speaking Jewish communities of the Iberian Peninsula. Passed down orally through generations, the song reflects themes of love, longing, and heartbreak. Its poignant lyrics recount the sorrow of lost love, making it a deeply emotional piece within the rich Sephardic musical tradition.

Characterized by its modal melodies and ornamented vocal style, "La Prima Vez" captures the unique fusion of Jewish, Spanish, and Middle Eastern musical influences. This timeless ballad serves as both a cultural artifact and a moving expression of the Sephardic diaspora's enduring legacy.

Loss What Power Art Thou, also known as "The Cold Song," comes from Henry Purcell’s semi-opera King Arthur (1691), with a libretto by John Dryden. This aria is sung by the Cold Genius, the spirit of winter, as he is awakened against his will. The piece is renowned for its dramatic depiction of icy stillness and reluctance, achieved through halting, fragmented phrases and haunting chromaticism. Purcell masterfully blends Baroque theatricality with emotional intensity, creating a chilling yet poignant moment that showcases the power of music to evoke atmosphere and character.

Journey Spiegel im Spiegel ("Mirror in the Mirror"), composed in 1978, is a serene and meditative work by Estonian composer Arvo Pärt, written in his distinctive tintinnabuli style. The piece consists of a simple, flowing melody played by a solo instrument—often violin, cello, or piano—set against repetitive arpeggios in the piano accompaniment. The title reflects the music's structure: an infinite interplay of symmetry and reflection, like mirrors facing one another. Its minimalist nature invites introspection, creating a timeless atmosphere of stillness and purity. Spiegel im Spiegel is often associated with themes of eternity, inner peace, and transcendence, making it a favorite in both concert settings and film soundtracks.

Confluence

Confluence explores how music and dance merge into a single powerful experience. The performance celebrates the beauty of authenticity, showing how art emerges from both technical precision and raw emotion. As music shifts between harmony and discord, dancers move from controlled technique to instinctive gesture. Through this intimate dialogue between sound and movement, the work speaks to our human struggle with perfectionism and our deeper need for authentic expression. "Confluence" reminds us that true artistry lies not in flawless execution, but in the vulnerable moments of connection that arise when different elements—and different art forms—come together in honest exploration. The musical work chosen for this pairing is Prokofiev’s Four Pieces, Opus 4 for piano.

Four Pieces, Op. 4, by Sergei Prokofiev, are expressive piano works that reveal key elements of his early compositional voice. While not strictly programmatic, each piece vividly suggests distinct moods and characteristics:

1. Reminiscence (Allegro espressivo) - Nostalgic and lyrical, this movement features lush harmonies and a poignant melodic line, alternating reflective moments with more impassioned passages. It evokes bittersweet emotions and the tension of looking back on cherished memories.

2. Élan (Allegro energico) - Full of energy and vigor, this piece captures youthful vitality through dynamic, rhythmically charged gestures and bold contrasts. It exudes forward motion and enthusiasm, offering a sharp contrast to the introspection of the first piece.

3. Despair (Lento malinconico) - The emotional centerpiece of the set, this movement expresses profound melancholy. Slow tempos, somber harmonies, and plaintive melodies create an introspective mood, evoking a deep sense of loss and emotional turmoil.

4. Diabolical Suggestion (Allegro fantastico) - The fiery finale explores themes of the macabre and grotesque. Frenetic, angular passages and sharp contrasts give it an unsettling, supernatural quality, suggesting devilish humor and demonic playfulness.

Together, Four Pieces, Op. 4 span a wide emotional range, from nostalgia and exuberance to despair and dark fantasy. Prokofiev masterfully blends lyricism, drama, and eccentricity, crafting a set that reflects memory, emotion, and the otherworldly while hinting at his future as a composer.