Concert Program

OneMusic International Ensemble

Love Letters

March 20, 2026


Yibin Li - violin

Philippe Muller - cello

Chung-Hsi Hsieh - piano

Hyunju Song - Soprano

Samuel Adams - reading

Three Romances for Violin and Piano

Clara Schumann (1819-1896)

I.  Andante molto

II. Allegretto

III. Leidenschaftlich schnell

Three French Songs (Hugo Victor) for Soprano and Piano

Franz Liszt (1811-1886)

I.  S'il est un charmant gazon

II. Comment, disaient - ils

III. Oh! Quand je dors

Intermission

7 Variations on 'Bei Mannern, welche Liebe fuhlen', from Mozart's Magic Flute for Cello and Piano

Ludwig.V. Beethoven (1770-1827)

Piano Trio Phantasiestücke, Op.88

Robert Schumann (1810-1856)

I.  Romanze

II. Humoreske. Lebhaft

III. Duett. Langsam und mit Ausdruck

IV. Finale. Im Marsch-Tempo

The Artists

Yibin Li

yibinli.com

Yibin Li was born in Jiuquan, China, a small city near the Gobi Desert. When she was just 4 1/2, she began playing the violin under the guidance of her father. Just 7 years later, she left home to study at Xi’an Conservatory, where she remained until moving on to Shanghai Conservatory. Upon her graduation, she was appointed to the violin faculty, and taught in Shanghai for six years as a young member of the tenured faculty. At 25, she felt the need to continue her studies in the US and moved to New York, where she went on to earn two additional graduate degrees at The Juilliard School and Mannes School of Music. Her teachers have included Lewis Kaplan, Seymour Lipkin, Earl Carlyss, Peiwen Yuan and Xiaolong Liu.

Ms. Li has performed as a soloist with major symphonies in China and the US, including the Beijing National Symphony Orchestra, Shanghai Symphony Orchestra, Taipei Symphony Orchestra, Gaoxiong Symphony Orchestra, San Diego Symphony, Hunter Symphony and Syracuse Symphony Orchestra. She was the first violinist and founder of the Iris String Quartet, and the founder of French-American Ensemble, and has directed and played chamber music concerts in many New York City venues including Carnegie Hall, Alice Tully Hall, Merkin Hall and Scandinavia House. In China, she traveled to over 20 cities performing both solo and chamber concerts in major performing arts centers.

Ms. Li performs and teaches regularly at summer music festivals including the Bowdoin International Music Festival and Bach Virtuoso Festival in Maine., MusicAlp International Academe, LaSalle Music Festival in France, Sesto Rocchi Chamber Music Festival in Italy and the Lake Lugano Chamber Music Festival in Switzerland.

Yibin Li is currently on the faculties of Mannes School of Music and The Juilliard School Pre-College Division, and is a visiting professor in China at the Xi’an Conservatory of Music and Beijing Central University for Normal Studies.

Philippe Muller

Born in Alsace, Philippe Muller was raised in both the French and German musical traditions that characterize that province. His early experiences opened his mind to varying cultures and lead him to a multi-faceted career. He performs and has recorded a wide range of repertoire, from the Bach Suites, through the music of living composers.

In 1970, Mr. Muller founded a Piano Trio with pianist Jacques Rouvier and Jean- Jacques Kantorow, violin, which was widely known to be one of Europe’s most venerated chamber music ensembles. He worked closely with Pierre Boulez’ Ensemble Intercontemporain, for seven years, giving him an understanding of and an affinity for the music of our time. He continues to be active in commissioning new cello works and premiers of new music and performs frequently as soloist and in various chamber music ensembles at festivals in Europe, the United States, Canada, Latin America, Japan, Korea, Australia and New Zealand.

Philippe Muller’s teaching career is legendary. He succeeded his mentor André Navarra as cello teacher at the Conservatoire de Paris in 1979, continues his teaching legacy today here in New York, at the Manhattan School of Music. Many cellists from his studio have gone on to major careers as soloists including Xavier Phillips and Gautier Capuçon. He travels often giving master-classes in the top conservatories across the globe and has spent twenty years teaching at the Academy of French Music in Kyoto, Japan.

Philippe Muller frequently serves on the juries of the major international cello competitions such as the Tchaikovsky in Moscow, Paulo in Helsinki and Rostropovitch in Paris.

Chung-Hsi Hsieh

Pianist Chung-Hsi Hsieh is from Taiwan. He won top prizes in the Nena Wideman International Piano Competition, Taipei International Chopin Competition, Taiwan Concerto Competition, Corpus Christi Young Artists Competition, and Fischoff National Chamber Music Competition. He has appeared in renowned recital halls such as Carnegie Weill Recital Hall, Merkin Hall, Klavierhaus, and Steinway Hall, in New York City, as well as the National Recital Hall in Taiwan. As a chamber musician he often collaborates with the principles of Boston Symphony Orchestra, Berlin Deutsches Symphonie Orchester, San Diego Symphony Orchestra, and A Far Cry Chamber Orchestra. Mr. Hsieh has performed recitals in Boston, Los Angeles, Beijing, Shanghai and Shenyang.  He was a young artist at the Irving Gilmore International Keyboard Festival in Kalamazoo, MI, as well as Kneisel Hall Chamber Music Festival.

After winning the top prize from Taiwan National Music Competition in 1991, he was awarded the opportunity to continue his musical studies in USA where he obtained his high school diploma from Interlochen Arts Academy, BM and MM from The Juilliard School, and DMA from Rutgers, The State University of New Jersey. His principle teachers were Victoria Mushkatkol, Seymour Lipkin, and Susan Starr.  During this time he also worked with Lynn Harrell, Lewis Kaplan, Arnold Steinhardt, Jane Coop, and Douglas Lundeen.

Mr. Hsieh started his musical training on the piano at age 4. He also learned violin, and Erhu, a traditional Chinese instrument when he entered the music training class at age 9. At a young age he already showed his musical talent, as he frequently won competitions on piano and violin, and he started performing as soloist and conductor, leading the school symphony orchestra, Chinese instrument orchestra and school choir to public performances.

Currently he is a piano and music faculty at the Diller-Quaile School of Music.  Besides honing his craft and working with aspiring talents, Chung-Hsi also enjoys exploring culinary arts and fine wine around the world.

 Pierre-Henri Xuereb

Soprano Hyunju Song is widely praised for her vocal artistry and refined musicianship, and was described by Opera News as possessing “an exceptionally lovely voice, exquisitely touching.” She is the winner of the German Lieder Society Competition and First Prize recipient of the William Garrison Competition, and she also received the Best Liszt Interpretation Award from the American Liszt Society. From 2003 to 2005, she was a recipient of the New Triad for Collaborative Arts Fellowship, which included numerous concert engagements throughout the New York City area.

Ms. Song made her Korean operatic debut in the title role of Hänsel und Gretel at the National Theater of Korea. In 2009, she made her New Jersey State Opera debut as Serpina in Pergolesi’s La Serva Padrona. Her operatic repertoire includes Rosina in Il Barbiere di Siviglia, Adina in L’Elisir d’Amore, Pamina and Königin der Nacht in Die Zauberflöte, Gilda in Rigoletto, First Witch in Dido and Aeneas, and The Widow in The Boor by Dominick Argento.

As a concert artist, Ms. Song has appeared as a soloist with numerous orchestras in works such as Schubert’s Mass in C Major, Bach’s Magnificat, Mozart’s Mass in C Minor, Vesperae solennes de Domenica, Fauré’s Requiem, Mozart’s Requiem, Beethoven’s Choral Fantasy, and Dvořák’s Mass in D Major. She has been invited to perform at distinguished venues and series including the Washington Square Music Festival, the Midday Concerts at the United Nations, and the Alta Schrock Memorial Concerts.

Ms. Song has served on the faculty of the Bard College Conservatory of Music Preparatory Division and is currently on the voice faculty of the Manhattan School of Music Precollege Division. She holds a Doctor of Musical Arts degree from Stony Brook University, as well as a Master of Music degree and a Professional Studies Certificate from the Manhattan School of Music.

Samuel Adams

Samuel Adams is an NYC-based actor, director, and educator. Although a third-generation native of New York City, Sam was raised in a small farm-town upstate. He received his undergraduate education from the London Dramatic Academy and Adelphi University and his graduate degree from the George Washington University in collaboration with the Shakespeare Theater Company. He has worked as a director and an actor in films, television, and theaters across the nation, recently playing Mozart in Peter Schaffer’s celebrated play Amadeus at Folger Shakespeare Theatre and the titular character in Shakespeare's Henry V in at the Chesapeake Shakespeare Company. In addition to these pursuits, he has worked extensively as a teacher, arts-administrator, and gardener. Visit him on Youtube and Instagram at @TheUnweededGarden.

Program Notes

Clara Josephine Wieck Schumann (1819–1896),Three Romances for Violin and Piano, Op. 22

In the last few years of Robert Schumann's life, as the Düsseldorf situation and his health -  physical and mental, deteriorated together. Robert attempted suicide in 1854 and spent the last two and a half years of his life in a sanatorium in Endenich, a suburb of Bonn. Clara was only allowed, on his doctors’ orders, to see him during his final days, when it became clear that he was dying.

1853, however, had been a relatively good year for both, musically productive and culminating in an inspiring month-long visit from the 20-year-old Brahms. Clara herself began to compose that summer, the Three Romances, Op. 22, were among the last pieces that Clara ever wrote. After Robert’s death, she composed almost nothing more herself, instead keeping Robert’s music alive through her touring and editing.

The romance was one of Clara’s favorite character genres, tender, passionate, and deeply personal.

The Andante molto has hints of gypsy pathos amid lyrically supple sentiments, and the spirits of the Allegretto have a darker center. Almost as long as the other two together, Clara’s final romance, marked Leidenschaftlich schnell (passionately quick), features a long-limbed melody over rippling pianism, developed with assurance.



Franz Liszt (1811–1886) Three French Songs (texts by Victor Hugo) for Soprano and Piano

Franz Liszt set three poems by the great French writer Victor Hugo, and the result is music of extraordinary sensuality and longing. Hugo's poetry already burned with romantic intensity; Liszt's settings take that flame and give it wings. In S'il est un charmant gazon, Comment, disaient-ils, and Oh! Quand je dors, we hear Liszt at his most tender - not the thundering virtuoso of the concert hall, but a composer completely in the service of love.

S’il est un charmant gazon
Victor Hugo

S’il est un charmant gazon

Que le ciel arrose,

Où brille en toute saison

Quelque fleur éclose,

Où l’on cueille à pleine main

Lys, chèvrefeuille et jasmin,

J’en veux faire le chemin

Où ton pied se pose!

S’il est un rêve d’amour,

Parfumé de rose,

Où l’on trouve chaque jour

Quelque douce chose,

Un rêve que Dieu bénit,

Où l’âme à l’âme s’unit,

Oh! j’en veux faire le nid

Où ton cœur se pose!

If there be a lovely lawn

If there be a lovely lawn

Watered by the sky,

Where each new season

Blossoming flowers spring up,

Where lily, woodbine, and jasmine

Can be gathered liberally,

I would strew the way with them

For your feet to tread!

If there be a dream of love

With the scent of roses

Where each day may be found

Some sweet new delight,

A dream blessed by the Lord

Where soul unites with soul,

Oh! I shall make of it the nest

Where your heart will rest!

English translation © Richard Stokes

Comment disaient-ils

Victor Hugo

Comment, disaient-ils,

Avec nos nacelles,

Fuir les alguazils?

 Ramez, disaient-elles.


Comment, disaient-ils,

Oublier querelles,

Misère et périls?

Dormez, disaient-elles.

Comment, disaient-ils,

Enchanter les belles

Sans filtres subtils?

Aimez, disaient-elles.


How Then, Asked The Men

How, said the men,

in our small craft

can we flee the alguazils?

– Row, said the women.

How, said the men,

can we forget feuds,

poverty and peril?

Sleep, said the women.

How, said the men,

can we bewitch the fair

without rare potions

Love, said the women.



Oh! Quand je dors
Victor Hugo

Oh! quand je dors, viens auprès de ma couche,

Comme à Pétrarque apparaissait Laura,

Et qu’en passant ton haleine me touche …

Soudain ma bouche

S’entr’ouvrira!


Sur mon front morne où peut-être s’achève

Un songe noir qui trop longtemps dura,

Que ton regard comme un astre se lève …

Et soudain mon rêve

Rayonnera!

Puis sur ma lèvre où voltige une flamme,

Éclair d’amour que Dieu même épura,

Pose un baiser, et d’ange deviens femme …

Soudain mon âme

S’éveillera!


Ah, while I sleep 

Ah, while I sleep, come close to where I lie,

As Laura once appeared to Petrarch,

And let your breath in passing touch me …

At once my lips

Will part!

On my sombre brow, where a dismal dream

That lasted too long now perhaps is ending,

Let your countenance rise like a star …

At once my dream

Will shine!


Then on my lips, where a flame flickers -

A flash of love which God himself has purified -

Place a kiss and be transformed from angel into woman

At once my soul

Will wake!

English translation © Richard Stokes


Ludwig van Beethoven (1770–1827) 7 Variations on 'Bei Männern, welche Liebe fühlen,' WoO 46 from Mozart's The Magic Flute, for Cello and Piano

Beethoven chose this duet from Mozart's The Magic Flute for good reason. "Bei Männern, welche Liebe fühlen" — In men who feel the warmth of love — is a song about how love ennobles us, how it is the highest purpose of mankind. Beethoven takes this simple, radiant melody and puts it through seven variations, each one a different facet of that idea — playful, tender, searching, triumphant. Written for cello and piano, the piece unfolds as a true dialogue between two equal voices, as if two people are exploring the many faces of love together. It is Beethoven at his most generous and human.

Robert Schumann (1810–1856) Phantasiestücke, Op. 88 for Violin, Cello, and Piano


This is perhaps the most personal love letter of the evening. Robert Schumann married Clara Wieck in 1840 — against her father's fierce opposition, after years of longing and struggle. Yet even in marriage, Robert found himself in the shadow of his wife's extraordinary fame as a pianist. When Clara embarked on her celebrated European tours, Robert accompanied her — a brilliant composer and musician, and yet somehow invisible beside her radiance. Feeling that melancholy, that sense of sitting in the wings while the one you love commands the stage, Robert turned inward and composed the Phantasiestücke. It is music of rare emotional complexity: romantic and humorous, tender and march-like, a full portrait of a human heart. As if to say — if I can write something this beautiful, perhaps I too have something to offer the world.

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OneMusic Project acknowledges the generous support of the following individuals for their time, gifts, and financial support. With their help, we are able to realize our mission of bringing great artists from Europe and the USA together to perform in our community.

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OneMusic Project is grateful for support from

James & Susan Aisenberg

Veronique Brossier

Chu Family Foundation

Dan Kainen & Karen Dorst

Robert & Nina Kaufelt

Loube-Li Family

Philippe Muller

Alexander Ommaya

The Morris and Alma Schapiro Fund

Robert Spitzer

Richard Holley

Susanne & Frank Hugus

Wei Family

Joseph Towbin

Individual Contributors

Brian Loube

Ellen Oppenheim

Betsy Mulberry

Zoe Lo

Liza Loube

Ben Young

 Eric Sandell

Jeff Vock