Today’s Roy Cockrum Chamber Series program brings together three works that thrive on clarity, energy, and conversation among musicians. In the more intimate setting of the Bijou Theatre, that sense of dialogue becomes especially vivid; every line is audible, every exchange direct.

Johann Sebastian Bach’s Orchestral Suite No. 2 opens the program with music that feels both refined and grounded. Although the flute often takes the spotlight, this is not a concerto in the modern sense. The flute is woven into the texture, trading phrases with the strings and continuo rather than standing apart from them. Bach’s writing asks for precision, balance, and flexibility, and it rewards close listening onstage as much as in the audience. KSO Principal Flute Devan Jaquez brings a thoughtful approach to this music, shaping lines that feel conversational, with ornamentation used as a form of expression rather than decoration.

Edward Elgar’s Introduction and Allegro forms the emotional center of the program. Built around the idea of a Baroque concerto grosso, the work pits a solo string quartet against the full ensemble, creating a sense of momentum that rarely lets up. I’ve known this piece for a long time, largely through teaching. Over the years, I’ve coached it with high school ensembles many times; young musicians bravely taking on one of the most demanding works Elgar ever wrote for strings. While I know the score intimately, this concert marks my first opportunity to conduct it in performance, and experiencing that energy in real time has been especially rewarding.

Joseph Haydn’s Symphony No. 92, known as the “Oxford,” closes the program with music that is both elegant and quietly adventurous. Haydn’s wit and structural clarity are on full display here, particularly in a chamber-sized performance where details can shine. The symphony’s balance of formal poise and playful surprise feels perfectly suited to this setting.

Just two weeks ago, I was on the podium conducting Star Wars: Return of the Jedi, performing John Williams’ score live to film. At one point, I genuinely wondered whether I could move my arms fast enough to keep up with the Ewoks. That experience was exhilarating, but it also underscores the contrast of today’s concert. Chamber music demands a different kind of focus, one rooted in listening, responsiveness, and shared responsibility.

We’re grateful to share this afternoon of music with you and to explore these works together in a space where connection, between musicians and audience, feels immediate and alive.