December 11, 2022

at University of Washington Meany Hall

Additional Notes on the Program

Prelude String
Debut
Junior
Symphonette
Youth

Prelude String Orchestra

Allegro Molto, from Symphony No. 1, K. 16 – Arranged by Anthony Granata

Wolfgang Amadeus Mozart (1756-1791) was a composer whose bold, theatrical music earned him widespread fame during his life. Mozart managed to compose a massive number of symphonies over the course of his career, many of which remain staples in the repertoire.

Mozart’s 1st Symphony was a perfect capturing of Mozart’s prodigal compositional talents. Completed when Mozart was just 8 years old, the Symphony does not necessarily push musical boundaries—the kid was 8, after all—but it does show his ability to weave musical ideas together in a sophisticated way by building on the practices of composers before him, like Bach.

Listen for the confident opening theme, the outline of an arpeggio. The orchestra takes on this idea in turns, with driving consistent eighth notes underpinning and accenting the major chord outlined in the work’s opening. This pulsating eighth note energy would be used often throughout Mozart’s career—little bits of the compositional tour-de-force that was adult Mozart were already in sight right out of the gate.

Dance of the Tumblers, from The Snow Maiden – Arranged by Sandra Dackow

Dr. Sandra Dackow is a composer and educator with a large footprint in American public-school music education. A lifelong educator and musicians, Dr. Dackow’s compositions aim to teach and inspire young musicians. In addition to composing, Dr. Dackow serves as clinician and adjudicator for countless regional compositions annually.

“Dance of the Tumblers” is from Nicolai Rimsky-Korsakov’s four-act opera “The Snow Maiden.” The excerpt today, arranged by Dr. Dackow, showcases a biting melodic theme in the lower strings. The music ebbs and flows, with big dynamic shifts and exciting trills in the upper strings. Everyone in the orchestra gets their chance to share the original opening theme, and the work ends with all voices in unison, landing on final, proud chords.

Here’s what one Prelude musician thought about the music:

“One of the hard parts was doing trill because you have to pick your fingers off the string and then put it back down quickly.” -Yushin Matthew Na, violin 1

Viking by Soon Hee Newbold

Soon Hee Newbold (1974 – ) is a South Korean-born American composer of full orchestra, concert band, and film works. Newbold started piano studies at age 5, and later violin at age 7—this early preparation led her to a fruitful solo career, with appearances at major venues such as Carnegie Hall and The Kennedy Center. She now composes music in a wide range of settings, many pedagogical in nature for our next generation of musicians.

Viking, like many of Newbold’s works, is a cinematic and exciting piece. Listen for the proud opening theme in the lower strings, while a confident, marching melody in the higher strings layers and soars over the top of it. The orchestra then passes around the development of the main theme, pushing forward to the work’s exciting finish.

“It reminds me of my Birthday.” -Anders Liu, violin 1

Debut Symphony Orchestra

Jupiter Symphony, Arranged by Merle J. Isaac

In a period of time spanning nine weeks, Mozart composed his 39th, 40th, and 41st Symphonies. This is an exceptional feat—all three Symphonies follow standard Classical-era form, with 4 movements each. This would mean that Mozart would have had to, on average, work on each movement for about 5 days. There is not another composer in the Western symphonic tradition who could create music so impactful, so critically adored and enduring, on such a short timeline.

The 41st Symphony—titled “Jupiter” likely by contemporaries as a marketing scheme, not because Mozart wished it to be—is less anxious than the iconic 40th Symphony preceding it. It takes on many other characteristics: proud, sly, lyrical, declamatory.

In the final movement, excerpted for today’s performance, Mozart’s compositional talents merge. It begins with a four-note motif which serves as a ground for the rest of the movement. The music continues with introductions of little ideas, separate characters and feelings which are given just enough time to make themselves known, then disappear.

And in the coda, the work’s finale, they all return. Mozart layers all these concepts over each other in a brilliant melodic counterpoint, displaying all the talent deep within Mozart’s compositional voice: all the character, brassy-ness, and drama.

Here’s what some Debut Symphony Orchestra musicians had to say about the music:

“In several places in the piece (including the opening) I hear two or more contrasting voices or characters maybe having conversation, I like to imagine their personalities, what they look like and what they talk about.“ Brannon Warn-Johnston, violin 2

“There were many challenging parts about this piece, and one includes the sudden dynamic changes. Additionally, the eighth notes were challenging because they are relatively simple, but that makes us want to rush.” -Yuexi Lu, cello

Spanish Dance No. 3, Orchestrated by Belisario Errante

Enrique Granados (1867-1916) was a Spanish pianist and composer who is remembered for his push toward a Spanish nationalist sound in the 19th century. Granados debuted as a solo pianist at age 16, and cemented much of his career around the study of the piano. His piano works are well known, and many of Granados’s piano students went on to become distinguished performers.

Many performances of Granados’s works today are transcriptions of his compositions for piano. These works are often arranged for smaller instrumentations, guitar ensembles or one instrument with piano, with a few consistently-performed arrangements for orchestra. Today’s Spanish Dance No. 3, is an example of one of these works. The Dance is a “Fandango,” a lively partner dance typically in 3, which was often accompanied by clapping and singing.

Listen for the initial, proud rhythmic statement of the opening. This main idea serves as a type of stake throughout the work—between these stakes, lyrical and layered treatments develop the opening idea to fill out the piece. The effect is music both bursting with energy and passionately emotive, evocative of dancers performing at a lively party.

“My overall impression on The Spanish Dance No. 3 is that it is exciting and very easy to recognize. The adjectives I would use to describe this piece would be fast, exciting, and unpredictable.“ – Winston Yu, cello

Excerpts from Prince Igor, Arranged by Bruno Reibold

Alexander Borodin (1833-1887) was a Russian composer born of an illegitimate relationship between a Russian prince and his mistress. Though Borodin was officially registered as the child of a serf, his father saw to it that he received an excellent education. In addition to music, the young Borodin was drawn to the study of medicine, and received his degree as a Doctor of Medicine from the Saint Petersburg Academy of Medicine and Surgery.

“Prince Igor” plagued Borodin for a long portion of his career. Borodin started the work in 1869, abandoned it soon after to work on his Second Symphony, returned to it in 1874, and worked on it in small bursts for the remainder of his life. Portions of the work were performed during Borodin’s life, but the final work, orchestrated by Nicolai Rimsky-Korsakov and Alexander Glazunov, premiered three years after Borodin’s death.

Like other members of the famous Russian Romantics “The Five”—Mussorgsky, Cui, Rimsky-Korsakov, and Balakirev—Borodin employs folk songs and stories to cement the nationalist sound in his music.

Prince Igor tells the story of a 12-century Russian Prince’s (Igor’s) military campaign against the Polovtsians, nomadic Turkish people in South Russia. The attack is a disaster, and the Prince is taken prisoner. The opera ends with a stand off between leaders of the two opposing factions, and the dances and cries of the Polovtsian people paint the music.

Debut Symphony Orchestra musicians on the music:

“This piece is overall very interesting… An adjective I would use to describe it is color-changing. When I hear this piece, I imaging that picture in the Louvre where this kid was glaring at his mom while that other kid is giving her flowers.” -Ling-Xi Ma, violin 1

“I love playing this piece, as it is dramatic, intense, and never stagnant or boring.” -Suchitra Oka, cello

Junior Symphony Orchestra

Symphony No. 8 in G Major, I. Allegro; III. Scherzo

Antonín Dvořák (1841-1904) was a Bohemian composer of wide influence and recognition. Most well known are Dvořák’s symphonies, chamber music, and concertos—his New World Symphony and his Cello Concerto are staples in the symphonic canon.

In his early life, Dvořák was a passionate young musician who lacked the resources to study among the greats. Dvořák studied music by the skin of his teeth—as a child studying in organ lessons his family negotiated with the local schoolmaster, and later making money playing viola in a small-scale dance orchestra. Perhaps it could be said that Dvořák’s music is that of a deep personal love, one passionate and full of both love and suffering.

Dvořák’s 8th Symphony is decidedly more upbeat than the 7th Symphony preceding it. Historians recognize the Symphony as painting the “bucolic wonderment” — the ecstasy and woe that comes from the lacing together of Nature and human life, the tension of our individuality against the massiveness of the world. This clash is captured dramatically across the 8th Symphony.

Despite its G-Major titling, there is a surprising amount of minor-key melodic material across the 8th Symphony. Dvořák opens the Symphony with a reflective and choral-like idea from the low strings. This texture is broken by a lively flute flute solo from the other side of the orchestra. The third movement, probably a waltz, feels somber and yearning from its minor-key employment. There is always a lingering sense of worry and awe in even moments of joyousness

Here’s what one Junior Symphony Orchestra musician had to say about these excerpts from Dvořák’s 8th Symphony:

“The piece is like an emotional roller coaster. In some places, it can be very calm and lighthearted, but then it suddenly becomes harsh and aggressive.” -Alexander Fan, double bass

Huapango by José Pablo Moncayo

José Pablo Moncayo (1912 – 1958) was a Mexican pianist, percussionionist, music teacher, composer and conductor. As an artist, Moncayo is considered one of the leading contributors to the Mexican nationalist style which fomented in the 20th century.

Moncayo composed a modest output in his short life—but not because he wasn’t making music. Moncayo premiered his first composition at age 19, and soon after joined several symphony orchestras as both percussionist and pianist. Where Moncayo found greatest success was on the podium, though his decorated career as a conductor was cut short by his untimely passing.

Huapango is Moncayo’s most immediately successful and longest-lasting works. It is a popular addition to American concert orchestras, as Latinx communities grow in size and influence in the American symphonic landscape. As it progresses, the work grows consistently with new layers and ideas, blossoming into an energetic statement with something to be heard from everyone in the orchestra.

Huapango calls upon Mexican tradition through direct reference. Moncayo’s orchestrates three traditional Veracruz huapangos: “Siqui-Siri,” “Balajú,” and “El Gavilán.” The huapango is a complicated, rhythmic dance, with accentuated percussion which mimics the sound of heels and shoes dancing on wood. Moncayo decorates these dances with colorful statements from the orchestra, and emphasizes instruments typical of the Veracruz style—trumpet, harp, and violins.

Listen to the distinctive rhythmic motives across the work, and how this rhythm changes in texture when passed around to different voices across the ensemble.

Huapango is a delightful romp, and here’s what some students had to say about it:

“This piece reminds me of my high school cafeteria when something really big is happening. The exciting news is being heard at every table, bouncing around the whole place. There are lots of different versions, retellings, and opinions on this news, but it all shares the same hearth.” -Olivia Brown, violin 1

“[Huapango] reminds me of family reunions at my grandfather’s house where although everyone may be doing a unique activity, we’re all sharing the joy of just being together.” -Donald West III, oboe

“The very beginning of the piece, as Moncayo adds instrumentation in layers for the opening, creates a climax of excitement that I personally love.” – Hannah Girges, viola

Symphonette Orchestra

American Landscape

“American Landscape” is Newbold’s representation of a journey across the United State’s rich natural landscape through an important historical American symbol: the train. A lush, lyrical melody soars over a pulsating rhythmic harmony across the orchestra, giving the driving effect of a train traveling along the countryside, passengers looking out and admiring the sights. Like the promise of the American dream, Newbold’s work is inspiring, upbeat, and hopeful.

Here’s what the musicians have to say about it:

This piece makes me feel happy and gives me hope. – Hannah Ha, Violin 2

Mrs. Stevenson has stated that we should memorize more of our parts and look up at her, so that we can play together. This has helped me follow the tempo of the entire orchestra and play the piece more accurately. -Ethan Lee, flute

I’m having fun playing it as a part of the orchestra. Not only does the orchestra sound great, but it also makes me happy and feel fortunate that I am able to play in the orchestra of SYSO. -Maximus Kim, Violin 2

Millennium

Richard Meyer (1957-) is an American composer, arranger, and public school music educator who has taught middle school instrumental music for more than two decades. Meyer currently conducts the Pasadena Youth Symphony, frequently performing works he has arranged for string orchestra, wind ensemble, and full symphony.

Millennium is Richard Meyer’s epic, cinematic statement for orchestra. Listen for the feeling you had the first time you watched Star Wars: both from hearing brilliant composer John William’s sonic pen, and the feeling of awe and massiveness from a film whose setting is space itself. In the theme of occupying massive space, Meyer’s “Millennium” starts sparse and cold, but quickly grows into a proud, heroic declamation the entire orchestra gets to voice. The musicians feel the epic-ness, too, and here’s what they said about “Millennium”:

This piece makes me feel triumphant and strong, as well as very heartfelt in the slower section. -Vina Vu Valdes, cello

This song makes me feel like I am riding monstrous, ash-gray elephants across the last leg of the long, grueling trip through an immense desert and we have, at long last, reached the town on the other side. -Jayden Walker, cello

lowkey slaps / got some bars / better than last year’s syso pieces / (by far) -Yue Geng, viola

“Finale” from Johannes Brahms’ Symphony No. 1 in C minor. Arranged by Richard Meyer

Johannes Brahms (1833-1897) was a massively influential composer in the German Romantic tradition. His symphonies, concertos, piano works, and German song (lieder) are programming staples to this day, and have cemented him as one of history’s strongest compositional voices.

Brahms’s 1st Symphony plagued him. Living in the shadow of great German Romantic composers—ehem, Beethoven —Brahms was nervous no symphony he could pen would be as impactful as those created before him. Even though he had the support of compositional greats like Robert Schumann, it took Brahms 20 years to produce his 1st official symphony.

Here’s what the students have to say about the finale of this long-awaited symphony, arranged by Richard Meyer:

I would say it’s like extra rich ramen. It’s like a nice crunchy topping and then the sweet broth and like you eat the pork and its like wow. Delicious. -Nora Andrew, violin 1

I feel really at peace and calm when I play this piece. – Ari Rabut, trumpet

It makes me feel more bold, It empowers me in a way. – Bennett Brown, bassoon

It reminds me of that Ophelia painting by Millais because there are parts that are more thoughtful and quiet, but there are also parts that are very tumultuous and dramatic. -Sophia Spiegel, cello

Youth Symphony Orchestra

Tiento del primer tono y batalla imperial

Cristóbal Halffter Jiménez-Encina (1930 – 2021) was a Spanish composer of full orchestra and operatic works. At age 6, Halffter and his family fled Spain for Germany to avoid the Spanish Civil War. The family later returned to Spain, where Halffter completed musical studies at the Royal Conservatory of Madrid, but the effects of his traumatic early-life endeavors never escaped him. The 1960s-70s were a marked period in Halffter’s career when much of his compositions were inspired by issues of civil rights. He composed, for example, a choral work entitled “Yes, speak out, yes.”

Halffter’s early life and career output indicates that his understanding of his Spanish identity was heavily marked by the effects of war and political discourse. Halffter presents this internal struggle through reference and obstruction; Halffter’s compositions often directly quote works by Spanish composers of before-times, while also playing with new 20th-century avant-garde techniques. What results from this technique is music that abstracts the process of looking backwards.

Tiento del primer tono y batalla imperial was premiered in 1986 by the Los Angeles Philharmonic. The work references music by Spanish keyboard greats Antonio de Cabezón (c. 1510-1566) and Juan Bautista José Cabanilles (1644-1712). “Tientos” are solo musical works with tight formal structures, little improvisation, that were usually religious in reference; “batalla” refers to a musical genre, works depicting instances of war. This side-by-side reference of religious nature and war couldn’t be more passively biting.

Across the work, listen for musical references to the past, uncomplicated in nature, and how dissonance attempts to distort these concepts. Halffter pokes and abstracts until the music and orchestration explodes into sparkling textures, and the battalia theme becomes the dominant, final theme—war prevails.

Here’s what one Youth Symphony Orchestra musician thought about this complicated work:

“I have to really fight to keep focus during moments when the harmonic underpinnings are more dissonant. It can be easy to want to back off from the sound because it is jarring, but I stay focused and remember to work with other members of my section.” YSO cellist

Symphonic Dances, Op. 45

Sergei Rachmaninov (1873-1943) was an influential Russian composer whose unique, dramatic works have led modern historians to deem him the last great voice of the Russian Romantic tradition. Though Rachmaninov’s compositional output as a whole received polarized responses from the critical elite during his lifetime, his career highs launched him into the stratosphere of the orchestral greats, where he remains today.

Near the end of his life, Rachmaninov was fortunate to live in a quiet estate secluded in the forest, a secluded piano studio with a Steinway at his disposal. At this piano, he was able to study his solo repertoire and work on new music. In these 9am-11pm days of musical solitude, Rachmaninov wrote what he originally called his “Fantastic Dances.” This orchestral work would become Rachmaninov’s last composition. Of the epic musical statement as a whole, Rachmaninov himself knew there was something eerily final about the work. “I don’t know how it happened,” he remarked; “it must have been my last spark.”

The work features three movements. The first and third movements have marked, slower middle sections, while the second movement is a standalone waltz. There is a peculiar marking of “Non Allegro” at the top of the first movement, and the waltz has a mysterious haziness to it. The final movement features an actual Gregorian chant lifted from the Dius irae melody from the Mass for the Dead. An alto saxophone wails mournfully across an orchestra where it rarely makes an appearance. This quintessential crunchiness runs through the entire Symphonic Dances, a distinguishable Russian sound.

Youth Symphony Orchestra musicians dove deep into the drama to bring us today’s performance. Here’s what they had to say:

It’s wonderful to hear but even more of a thrill to play, thanks to Rachmaninoff’s extensive use of percussion and beat-centric bass lines that propel the piece forward. You get caught up in the running melodies and all the side tangents and culminating moments — it’s almost operatic in storyline in that there’s fanfares, wishy-washy surrealism and everything in between. – Winston Chen, violin 2

I really enjoy this piece as it has many different parts that emphasize the importance of each instrument in the orchestra. – Erin Lin, oboe

It makes me feel very, very energetic. The music just gets so intense and it makes me want to express that intensity and anger through my playing. Playing pieces like this always gets my heart pumping and it’s one of my favorite feelings. – Hilary Yu, violin 1