Avant Symphony Launch
With
North Shore Chamber Music Festival
Featuring
Hina & Fiona
Program
Waltz,
Michael Druzinsky
Concerto for Two Violins in D Minor,
J.S. Bach
Viriditas,
Thomas Nickell
Concerto for Two Violins in A Minor,
Anton Vivaldi
~Intermission~
Brandenburg Concerto No. 3 in G Major,
J.S. Bach
About this Program
Waltz by Michael Druzinsky
This is the third movement of a Suite for Strings which maestro Zikri and the
Oistrakh Symphony of Chicago played here, in this hall, a couple of years ago, on
April 25, 2024, to be exact. It might seem odd, or at least unusual, to write a waltz
in our time. In fact, I found the structure liberating. A form with which we are so
familiar has the virtue of directing our ears to listen for novelty. The tension
between the two, the familiar and the unfamiliar, is what we thrive on.
Memory plays an often under-appreciated role in writing music. A composer must
keep in mind the vast sea of music that his or her audience has heard, including its
clichés and conventions, in order to strike a new path. Too much familiarity, and
the work sounds unoriginal; too little, and it is unapproachable. In this work, I have
tried to find a happy balance. Perhaps its slightly melancholy mood reflects our
time.
Concerto for Two Violins in D Minor,
J.S. Bach
Johann Sebastian Bach’s Concerto for Two Violins in D minor, BWV 1043 (often called the "Bach Double"), is a masterpiece of the late Baroque period. Written between 1717 and 1730, the piece is celebrated for the intimate, thrilling interplay between the two soloists and the orchestra.
I. Vivace: The concerto opens with a driving, energetic ritornello. The two soloists engage in a spirited, canonic "follow-the-leader" dialogue, frequently passing musical motifs back and forth while backed by a powerful orchestral foundation.
II. Largo, ma non tanto: Serving as a contemplative, deeply expressive interlude, this movement functions like a soaring love duet. The second violin introduces a gentle, serpentine melody, closely shadowed and imitated by the first violin in an elegant display of imitative counterpoint.
III. Allegro: The final movement explodes with ferocious, unrestrained energy. The solo violins chase each other's tails in a playful game of musical tag, testing reaction times and showcasing Bach’s supreme contrapuntal mastery.
Virditas by Thomas Nickell
Viriditas comes out of a longtime fascination I’ve had with the work and life of the 11th century composer/mystic/nun/polymath Hildegard von Bingen. Besides her many significant contributions to music, Hildegard was a very active thinker and poet, often drawing inspiration and guidance from her visionary experiences.
Hildegard lived her life surrounded by nature, and as a result she saw the life all around her as representing a deeper, interconnected power which she termed Viriditas. This word can mean many things related to life and growth, but the most beautiful translation I’ve heard is “the greening effect”. Hildegard used Viriditas to describe the natural power of human beings to heal and grow.
My musical application of Viriditas takes shape in a slow moving work for strings, where the main melody is taken up by several players throughout the piece, and in the middle section a quotation of a song by Hildegard, titled “O Viridissima Virga”, is played almost as a whisper.
Throughout the piece, I attempted to create the sense of an inner force or voice trying to push through, which is most often illustrated through the use of col legno playing, where the strings are played with the wood of the bow thus created a very thin sound.
Concerto for Two Violins in A Minor,
Anton Vivaldi
Published in Amsterdam in 1711, Antonio Vivaldi's L'estro armonico, Op. 3 quickly became one of the most influential collections of the early 18th century. Its popularity spread across Europe, inspiring composers including Johann Sebastian Bach, who transcribed six of its concertos for keyboard. This Concerto in A minor for two violins is among the collection's most celebrated works.
The opening Allegro bursts with the rhythmic energy and memorable melodies that define Vivaldi's style. Brilliant exchanges between the two solo violins balance virtuosic brilliance with graceful lyricism, creating music of both excitement and elegance.
The central Larghetto offers a striking contrast. Framed by brief orchestral statements, the movement features a repeating bass line over which the two soloists weave expressive, vocal-like melodies in a series of imaginative variations.
The spirited Presto finale reunites soloists and orchestra in an exhilarating dialogue built around a recurring ritornello theme. Its driving momentum, sparkling interplay, and dazzling virtuosity bring the concerto to a thrilling conclusion—one that leaves audiences wishing it would continue just a little longer.
Brandenburg Concerto No. 3 in G Major,
J.S. Bach
On March 24, 1721, Johann Sebastian Bach dedicated six "concertos with several instruments" to Christian Ludwig, Margrave of Brandenburg-Schwedt. The dedication offers a revealing glimpse into the social position of even Europe's greatest composers during the early eighteenth century. Having apparently impressed the Margrave during an earlier meeting, Bach responded to his request for music with extraordinary humility:
"I have... taken the liberty of rendering my most humble duty to Your Royal Highness with the present concertos... begging Your Highness most humbly not to judge their imperfection with the rigor of the fine and delicate taste that the whole world knows Your Highness has for musical pieces..."
The elaborate deference reflects the realities of a time when composers depended on the favor of aristocratic patrons. (One can understand why such rigid social hierarchies would eventually provoke revolution.)
Today, these six works are known collectively as the Brandenburg Concertos, among the finest achievements of the Baroque concerto. They display astonishing imagination, brilliant orchestration, and remarkable technical demands, each concerto exploring a different combination of instruments with unmatched creativity.
The Third Brandenburg Concerto, scored for nine solo strings—three violins, three violas, and three cellos—with continuo, is one of the most distinctive of the set. The opening movement unfolds with the three instrumental groups exchanging energetic musical ideas, while individual players occasionally emerge from the richly woven texture. Rather than featuring a single soloist, Bach creates a conversation among nine equal voices.
Between the two lively outer movements lies one of the shortest "slow movements" in all of classical music: a simple two-chord Adagio cadence. Bach almost certainly expected performers to improvise a brief connecting passage before launching directly into the exhilarating final Allegro, which returns to the spirited interplay of the opening movement and brings the concerto to a dazzling conclusion.
About the ASO
Founded by conductor Mina Zikri and evolving from the Oistrakh Symphony of Chicago, the
Avant Symphony Orchestra builds upon more than two decades of artistic growth and
community engagement. Under Zikri’s leadership, the orchestra has developed a reputation for
imaginative programming, artistic excellence, and meaningful collaborations with distinguished
soloists, composers, and cultural organizations.
Dedicated to connecting people through music, Avant Symphony Orchestra presents a broad
repertoire spanning classical masterworks, contemporary compositions, and cross-cultural
projects that celebrate diverse artistic traditions. Through concerts, educational initiatives, and
international partnerships, the orchestra seeks to inspire audiences while fostering dialogue,
creativity, and cultural understanding.
Meet the Performers
Our Maestro Mina Zikri
Mina Zikri is Founder and Music Director of the Avant Symphony Orchestra and Music Director
of the Northbrook Symphony. He also serves as Resident Conductor of the Lira Ensemble and
directs three orchestras at DePaul University’s Community Music Division. The Avant
Symphony Orchestra, which evolved from the Oistrakh Symphony of Chicago, builds upon
more than two decades of artistic development under Zikri’s leadership.
His artistic development was shaped through work with some of the most influential conductors of the modern era, including Daniel Barenboim, Zubin Mehta, and Pierre Boulez.
Through his association with the West–Eastern Divan Orchestra, he gained valuable experience assisting and performing under Barenboim on international tours, helping to shape an artistic
An active conductor on the international stage, Zikri appears regularly with the Egypt National
Symphony Orchestra and has led performances throughout Europe, Asia, South America, and
the United States. In 2018, he made his Carnegie Hall conducting debut with the Oistrakh
Symphony of Chicago and returned for a second performance the following season. He also
collaborates with the North Shore Chamber Music Festival under the artistic direction of Vadim
Gluzman and Angela Yoffe.
Committed to both artistic excellence and education, Zikri directs the DePaul Concerto Festival for Young Performers and is widely recognized for his work mentoring emerging musicians. His career distinctions include being selected as one of twelve finalists in the 2007 Gustav Mahler International Conducting Competition from a field of 223 candidates representing 40 countries. He also attended the American Academy of Conducting at the Aspen Music Festival and School as a fellowship recipient. Through his conducting, he seeks to build lasting artistic
communities while bringing clarity, energy, and expressive depth to the concert stage.
approach grounded in collaboration, discipline, and musical integrity.
Hina & Fiona
As a violin duo, these gifted New York-born sisters bring their shared artistry to the stage, their playing revealing a profound connection shaped by lifelong collaboration, honest artistic dialogue, and complementary interpretations.
Named “VC Artists” by The Violin Channel, Hina & Fiona have been praised for performing “as though sharing one breath-two violins in a vibrant dialogue of color, clarity, and heart.” Their critically acclaimed debut album, Dear to Us, released on Pentatone, has further established them as a compelling and unified artistic voice. BBC Music Magazine noted that “their playing in unison could almost fool you into thinking that you were listening to a single player.”
They have also achieved significant milestones individually: Hina won first prize at the 2023 Elmar Oliveira International Violin Competition, while Fiona debuted with the New York Philharmonic at age 16, and both continue to embark on illustrious solo careers.
Hina has performed worldwide as a soloist and collaborator with leading ensembles and recently made her acclaimed Kennedy Center debut. Last season, she debuted with the Binghamton Philharmonic, Atlantic Classical Orchestra, and Boston’s Bach, Beethoven & Brahms Society, while continuing collaborations with the Jupiter Symphony Chamber Players. She performs on the 1722 Stradivari “Lord Wandsworth” violin, on loan from the Ryuji Ueno Foundation, and
studies at Columbia University and the Juilliard School with Midori Goto and Itzhak Perlman.
Fiona is a recipient of the 2022 Arkady Fomin Scholarship Fund and a career grant from Salon De Virtuosi. She made her debut with the New York Philharmonic at age 16 in David Geffen Hall, performing the Mendelssohn Concerto under the baton of Maestro Thomas Wilkins. Fiona studies with Professor Ilya Kaler at the Cleveland Institute of Music and was previously a student of Itzhak Perlman in the Juilliard Pre-College Division. She has worked with renowned artists
including Menahem Pressler, Ivry Gitlis, Shlomo Mintz, Maxim Vengerov, and Vadim Gluzman.
Our Orchestra
Violin I
Vladimir Gebe
Jose Viera
Carlos Chacon
Maya Shiraishi
Maria Paula
Marley Haller
Luis Vivas
Nelson Mendoza
Maria Sofia
Lina Yamin
Violin ll
Irina Fatykhova
Sam Sharp
Mona Mierxiati
Daniel Torres
Paula Johannesen
Julimar Gonzalez
Alison Tatum
Eva Nicholson
Nahye Lee
Viola
Christopher Kang
Michael Langford
Megan Yeung
Gina Stonikas
Baron Belfour
Yulong Han
Cello
Dan Klingler
Martin Nocedal
Naza Bektur
Patrycja Likos
Calvin Armstrong
Bass
Stephen Reichlt
Karl Siegfried
Hanna Wilson
Patrick Dugan
Harpsichord
Rohan De Silva
DePaul Community Orchestra Players
Analucia Gonzalez, Violin ll
Rachel Rossen, violin ll
Winny Wang, Violin lll
Carolyn Sanders, Viola l
North Shore Chamber Music Festival
The NSCMF was founded in 2010 by concert violinist Vadim Gluzman and pianist Angela Yoffe in a quest to provide Chicago’s North Shore with musical experiences of the same caliber and quality as those found in Metropolitan Chicago and the great halls of the world, but within a very intimate and welcoming environment.
Through a carefully curated series of annual concerts and robust educational programs we provide a substantial and deeply meaningful community-based arts experience that is at once entertaining, life affirming, inspirational, and approachable.
NSCMF-The Music Makers was created with the purpose of fostering a greater vision of how the cultural health of an entire society can be profoundly impacted when art becomes an essential part of everyone’s life.
Learn more at https://nscmf.org/
