Brahms composed this work in 1861-64. The final version heard here was first performed in Paris on March 24, 1864. Duration 38:00.

Brahms was intensely self-critical, and unwilling to publish anything that he did not consider his best work. Works that failed to meet his standards and preliminary versions were almost invariably destroyed. For example, by the time he published his first two string quartets in 1873, he had destroyed about 20 fully- or partially-completed quartets! (It was his usual practice to burn them, but Brahms reportedly also used some of these scores to paper the walls and ceiling of his apartment in Vienna!) The complicated evolution of his piano quintet is an example of Brahms’s quest for perfection. He initially composed it as a string quintet in 1861-62, and sent the finished score to his friend, violinist Joseph Joachim. Joachim suggested several revisions to fix the “harshness” of the work, but his overall assessment was honest and rather harsh as well: “I do not wish to dogmatize on the details of a work which in every line shows some proof of overpowering strength. But what is lacking is, in a word, charm. After a time, on hearing the work quietly, I think you will feel the same as I do about it.” Brahms revised the quintet, and arranged for a private performance in 1863, but he was still dissatisfied, and eventually burned the score. In early 1864, he recast it as an enormous sonata for two pianos, which he performed with pianist Carl Tausig in Vienna on April 17, 1864. Though Brahms did publish this version, another old friend, Clara Schumann, encouraged him to try again, saying “It is work so full of ideas that it calls for a full orchestra. I beg of you: revise it again.” It was apparently another friend, Hermann Levi, who suggested the potent combination of piano and string quartet. Brahms set to work one more time during the summer of 1864. The result, his Piano Quintet, is one of his finest chamber works.

The quintet opens with a broad movement in sonata form (Allegro non troppo). The main theme is stated quietly by violin, cello, and piano, and then after a piano outburst, by unison strings. Brahms then lays out a rich array of ideas: a melancholy transitional melody from the violin, a tense second theme, and a broad-ranging closing theme from the strings. All of these ideas are explored in a lengthy development section that begins in a subdued mood and works its way to a forceful recapitulation of the main theme. Harmonic instability continues until Brahms settles into a long closing passage in F Major. The very ending, however, returns forcefully to the minor-key opening idea.

After the stormy opening, the second movement (Andante, un poco adagio) is much more relaxed. The piano plays a subtly uneasy main idea with string accompaniment. Contrast comes in the middle episode, beginning with a passionate triplet-filled second theme, introduced by the strings. There is a reprise of the opening music, and near the end of the movement there is a switch in roles, the piano providing an accompaniment to a sumptuous version of the main theme from the play by the strings. In the Scherzo (Allegro), Brahms introduces three marchlike main themes in quick succession, ideas that he freely mixes in the section that follows, frequently shifting between meters (2/4 and 6/8). The major-key trio section presents a more relaxed and dignified theme, before the movement ends with a reprise of the opening music.

The finale begins with a mysterious introduction (Poco sostenuto) that leads into the main body of the movement (Allegro non troppo). The cello introduces the main theme, a quick minor-key folk dance. The primary contrasting ideas are an unsettled idea played by the strings, and a Hungarian-flavored dance tune. After a brief development and an abbreviated recapitulation, the tempo quickens suddenly and Brahms introduces a fierce new 6/8 dance theme that drives this work to the end.

Born in South Korea into a musical family, James D’León began the piano at the age of 4 and performed his first recital at the age of 5. After receiving early piano training from his mother, he was awarded a full scholarship to the San Francisco Conservatory of Music as a pre-college student. As the winner of both the San Francisco Symphony and the Palo Alto Chamber Orchestra competitions, he performed the Grieg Piano Concerto and Mozart’s Piano Concerto No. 23 at the age of 12. He then relocated to Pennsylva- nia where he honed his technique and performance skills. By the age of 14, he had won every regional competition culminating in his debut performance of the Rachmaninoff Piano Concerto No. 2 with the Philadelphia Orchestra. He continued his piano studies with the late George Sementovsky in Philadelphia, which resulted in top honors as a summa cum laude graduate from Temple University in Philadelphia. This study greatly influenced his style, refined his technique, and formulated his philosophy of piano performance, especially in regard to physical movement. He was subsequently award- ed a fellowship to the Eastman School of Music in New York where he received the Doctor of Musical Arts degree in Piano Performance and Literature.

From there, he won praise in many international piano competitions such as the Bachauer, Kapell, Leeds, and the Van Cliburn Competition. He was also a top-five final- ist in the Naumburg International Competition where he was selected out of 250 ex- traordinary pianists. In 2009, he was selected as an official Steinway Artist on both the prestigious New York and Hamburg, Germany rosters. Since then, he has performed in England, Ireland, Italy, Germany, Canada, and 40 states throughout the continental United States.

As a chamber musician, he has performed with the world’s finest chamber groups including the Muir String Quartet, and the Shanghai String Quartet, with whom he per- formed the Brahms Piano Quintet to a capacity audience that resulted in a 10-minute stand- ing ovation. He is also in great demand as a master-class presenter and adjudicator. To date, he has given master classes at more than 75 universities around the world and has served as a judge in international piano competitions of all ages. As a recording artist, the American Record Guide stated “D’León’s performance is a revelation and a real treasure!” In addition, E-Music Magazine called his performance of the Schubert and Liszt “amenable and remarkable!” He has also been a guest conductor of the Prescott Pops and the Associate Conductor of the Prescott Chamber Orchestra.

Today, D’León is known as a rare and completely versatile pianist who is just as comfortable performing a concerto as he would be playing a solo recital or collaborating with a chamber music group. He continues to dazzle audiences and keep them on the edge of their seats with his commanding technique, expressive body movement, and searching interpretations.

A native of Japan, Grace Nakano is the Assistant Concertmaster of the Tucson Symphony Orchestra. She received her Master of Music degree in classical performance from the Manhattan School of Music with Lucie Robert and Bachelor of Music degree from Boston University with Bayla Keyes. She was a recipient of the Fine Arts Award at the Interlochen Arts Academy with Hal Grossman. She was also the First Prize Winner of the Duxbury Music Festival Chamber Competition in 2012.

Prior to joining the Tucson Symphony, Grace was the Assistant Concertmaster of the National Repertory Orchestra, where she soloed with the orchestra in 2015. Grace has served as concertmaster at the Spoleto Music Festival USA for the past two summers.

Grace has participated and served principal positions at festivals, including the National Orchestral Institute, Round Top Music Festival, Texas Music Festival, and AIMS Festival.

Violinist Laura Cásarez recently graduated with her Master’s degree in violin performance from the University of Arizona, where she studied with Professor Timothy Kantor. During this degree, Laura was a Graduate Teaching Assistant at the Fred Fox School of Music and a member of the FFSOM Graduate String Quartet. As part of this quartet, Laura and her colleagues traveled together through the US, Canada, and China participating in tours, music festivals, and chamber music competitions. They were the silver prizewinners in the MTNA National Chamber Music Competition in 2018, and participated as semi-finalists and finalists in the 2019 Plowman Chamber Music Competition and 2019 Coltman Chamber Music Competition, respectively. Prior to completing this degree, Laura studied at Rice University’s Shepherd School of Music, where she graduated with her Bachelor’s degree in violin performance.

Laura is currently active in the Tucson music community working as a private violin instructor, serving on the board of directors for Arizona Friends of Chamber Music, and performing as a member of the Tucson Symphony Orchestra.

Kimberly Sullivan (viola/violin) is a graduate of Northwestern University and NAU string faculty member who performs with Flagstaff Symphony Orchestra and is the principal Violist with the Arizona Philharmonic. She has held faculty positions at Indiana State University, Carthage College, and the Music Institute of Chicago and performed with Chicago Sinfonietta, Chicago Symphony Orchestra, and Ravinia Festival Orchestra. As a recording studio artist and freelance musician in Chicago, Sullivan contributed to TV and movie soundtracks and performed with Luciano Pavarotti, Rod Stewart, Dennis DeYoung, and David Gates. She secured a reputation in string chamber music as violist for the Lyra Quartet, a quartet-in-residence at Carthage College.

Kimberly is a founding member of Arizona Philharmonic.

Ruthie Wilde, an Arizona native, believes that music has the power to transform the world, and is amazed by its ability to heal people and reveal higher truths. She is Principal Cellist of the West Valley Symphony, a founding member of the Evox Ensemble, and Music Associate for Children and Youth at Pinnacle Presbyterian Church. She also serves on the board of the Arizona chapter of the American String Teachers Association and maintains a private cello teaching studio.

Ruthie is passionate about music as both a performance art and an educational art. She has been a cello instructor for nearly two decades, and before her recent move to Flagstaff was the teacher of both general music and orchestra in an elementary school setting. Prior to that she was on faculty within the Maricopa County Community College District, where she taught private lessons and led a cello ensemble, and was the founding Orchestra Director at Glendale Community College.

Ruthie is grateful to Mrs. VanWee, Jamie Kellogg, and Tom Landschoot, for investing their time and hearts into developing her as a musician through private cello instruction. She earned both her Bachelor's and Master's degrees in Cello Performance from Arizona State University.