Programme

Breath of Early Summer

A Recital by Students of Jin Ying & Mi Haotian

Date: Date: Sunday, May 24, 2026 · 19:15
Venue: Venue: Steinway Hall · Shanghai

Programme

Program

No.PerformerPieceComposer
Programme notes
From Disney's Frozen (2013) — the Oscar-winning Let It Go. The flute arrangement tests upper-register control and breath support.
Programme notes
Adapted from the Korean opera The Flower Girl. Long, plaintive lines — a classic for early-stage flutists developing legato and breath shaping.
Programme notes
From Tchaikovsky's String Quartet No. 1, second movement. Built on a Russian folk tune — Tolstoy is said to have wept on hearing it.
Programme notes
From Haydn's String Quartet Op. 3 No. 5, second movement. A staple of classical-era flute arrangements — graceful, transparent.
Programme notes
A playful short piece by contemporary British composer Stephen Dodgson. Mimics a circus pony's lively gait — great for early articulation and steady pulse.
Programme notes
Bach's Minuet in G major (BWV Anh. 114). A benchmark three-beat dance — phrasing, slurs vs staccato in pure form.
Programme notes
The 1857 Christmas classic Jingle Bells (Pierpont) paired with the TV theme Fairy Tale Town — bright and accessible.
Programme notes
Gossec's signature 18th-century vignette imitating a tambourine-flute dialogue. Crisp articulation is everything.
Programme notes
Same work as No. 4 — different interpretations of phrasing and dynamics offer a quiet point of contrast across the evening.
Programme notes
From Boccherini's String Quintet in E, Op. 11 No. 5 — probably his most widely played piece in any arrangement.
Programme notes
Mendelssohn's Songs Without Words, Op. 62 No. 6 (1842). Sun-warm and gentle — a spring-time classic in both piano and flute arrangements.
Programme notes
From Schubert's Schwanengesang D. 957 No. 4 (1828) — composed in the months before his death. A peak of Romantic lyricism.
Programme notes
Franz Doppler's evergreen for two flutes and piano, Op. 25. A 19th-century duet staple — performed tonight by the teachers as a tribute to that tradition.
── Intermission ──
Programme notes
By the master pedagogue Ernesto Köhler — a gentle, quiet song often used for tone work and breath control.
Programme notes
An ancient Chinese melody, arranged by Li Guoquan in 1938 from "Returning Home". Spacious, contemplative — the flute echoing Chinese pentatonic song.
Programme notes
By François Devienne — the 18th-century French flute master called "the French Mozart". This sonata is a landmark of serious technical training.
Programme notes
Paul Génin's 1872 virtuosic variations on the popular tune "O Mamma Mia". A showpiece every serious flutist eventually meets.
Programme notes
One of Doppler's signature works, Op. 26. Hungarian folk and gypsy idioms — soulful in the slow section, dazzling in the fast. Equal demands on technique and character.
Programme notes
Mozart's Flute Concerto in G, K. 313 (1778) — one of his two flute concertos. The summit of classical-era flute repertoire.
Programme notes
Jules Mouquet, 1904 (Op. 15). Built on the Greek myth of Pan — across three movements, the flute becomes the god's reed in different scenes.
Programme notes
François Borne's virtuosic fantasy on Bizet's Carmen. The traditional finale of any flutist's showcase recital.

Programme notes
From Disney's Frozen (2013) — the Oscar-winning Let It Go. The flute arrangement tests upper-register control and breath support.
Programme notes
Adapted from the Korean opera The Flower Girl. Long, plaintive lines — a classic for early-stage flutists developing legato and breath shaping.
Programme notes
From Tchaikovsky's String Quartet No. 1, second movement. Built on a Russian folk tune — Tolstoy is said to have wept on hearing it.
Programme notes
From Haydn's String Quartet Op. 3 No. 5, second movement. A staple of classical-era flute arrangements — graceful, transparent.
Programme notes
A playful short piece by contemporary British composer Stephen Dodgson. Mimics a circus pony's lively gait — great for early articulation and steady pulse.
Programme notes
Bach's Minuet in G major (BWV Anh. 114). A benchmark three-beat dance — phrasing, slurs vs staccato in pure form.
Programme notes
The 1857 Christmas classic Jingle Bells (Pierpont) paired with the TV theme Fairy Tale Town — bright and accessible.
Programme notes
Gossec's signature 18th-century vignette imitating a tambourine-flute dialogue. Crisp articulation is everything.
Programme notes
Same work as No. 4 — different interpretations of phrasing and dynamics offer a quiet point of contrast across the evening.
Programme notes
From Boccherini's String Quintet in E, Op. 11 No. 5 — probably his most widely played piece in any arrangement.
Programme notes
Mendelssohn's Songs Without Words, Op. 62 No. 6 (1842). Sun-warm and gentle — a spring-time classic in both piano and flute arrangements.
Programme notes
From Schubert's Schwanengesang D. 957 No. 4 (1828) — composed in the months before his death. A peak of Romantic lyricism.
Programme notes
Franz Doppler's evergreen for two flutes and piano, Op. 25. A 19th-century duet staple — performed tonight by the teachers as a tribute to that tradition.
Intermission
Programme notes
By the master pedagogue Ernesto Köhler — a gentle, quiet song often used for tone work and breath control.
Programme notes
An ancient Chinese melody, arranged by Li Guoquan in 1938 from "Returning Home". Spacious, contemplative — the flute echoing Chinese pentatonic song.
Programme notes
By François Devienne — the 18th-century French flute master called "the French Mozart". This sonata is a landmark of serious technical training.
Programme notes
Paul Génin's 1872 virtuosic variations on the popular tune "O Mamma Mia". A showpiece every serious flutist eventually meets.
Programme notes
One of Doppler's signature works, Op. 26. Hungarian folk and gypsy idioms — soulful in the slow section, dazzling in the fast. Equal demands on technique and character.
Programme notes
Mozart's Flute Concerto in G, K. 313 (1778) — one of his two flute concertos. The summit of classical-era flute repertoire.
Programme notes
Jules Mouquet, 1904 (Op. 15). Built on the Greek myth of Pan — across three movements, the flute becomes the god's reed in different scenes.
Programme notes
François Borne's virtuosic fantasy on Bizet's Carmen. The traditional finale of any flutist's showcase recital.

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