Program Notes 2023 Summer Concert

Smetana Moldau

Composer: Bedrich Smetana (1824-1884, Czechia)

Orchestration:

• piccolo
• 2 flutes
• 2 oboes
• 2 clarinets
• 2 bassoons
• 3 horns
• 2 trumpets
• 3 trombones
• tuba
• timpani
• percussion (bass drum, cymbals, suspended cymbal, triangle)
• harp
• strings (violin 1-2, viola, cello 1-2, double bass)

Notes:

• A harp is replaced with 2 guitars (transcription by Dr. Hyun Hwang)
• Abridged by Dr. Gene Chung
• Band, SATB symphony chorus, & organ added by Dr. Gene Chung & Dr. Hyun Hwang

About the work:

• Piece title: From My Fatherland (Symphonic Poems): The Moldau (Vltava)
• Composed: 1874
• Length: c. 12 minutes (abridged to 9 minutes)

The Bohemian composer, Bedrich Smetana, played a crucial role in establishing Bohemian national music within and beyond Czech borders. Despite being trained in Austrian-run schools and primarily speaking German in his youth, Smetana became radicalized during the revolutionary movements that swept across Europe in the late 1840s. What set Smetana apart was his innovative approach to Czech music, where he incorporated folk styles as an integral part of an independent musical language, rather than using them as mere decorative elements in compositions that could have been created by someone unfamiliar with the culture.

Noteworthy examples of Smetana’s technique can be found in various works, including the comic opera “The Bartered Bride,” his lively and energetic polkas for solo piano, the string quartet “From My Life,” and the collection of six symphonic poems titled “Má vlast” (My Homeland).

The composition of “Má vlast” spanned five years, with “Vysehrad” and “Vltava” (known as “Moldau” in German) completed in 1874, followed by “Sarka” and “From Bohemia’s Woods and Fields” in 1875, and “Tábor” and “Blaník” in the winter of 1878/79. During the premiere performance of “Vysehrad” and “Vltava” at a concert in Prague in 1875, Smetana had already begun to suffer from the effects of venereal disease, which eventually led to his deafness. Over the following years, he also experienced blindness, hallucinations, and self-destructive behavior that ultimately resulted in his institutionalization. Smetana passed away in May 1884 in a Prague asylum for the mentally ill.

Initially, Smetana had not intended to create a series of symphonic poems; rather, he planned a single composition that would trace the journey of the Vltava River from its origins in the Bohemian forest to its majestic passage through Prague. However, the idea evolved into a comprehensive musical depiction of the Bohemian landscape and significant historical episodes.

Of the six symphonic poems, “The Moldau” has achieved the greatest individual recognition. It takes the form of a rondo (with a coda) and introduces a haunting main theme in G major, played by the upper strings and woodwinds. The lower strings provide a sense of the river’s undulating waves. Poet-composer Václav Zeleny, who developed the programmatic narratives for all six tone poems, described “The Moldau” as follows: “This composition portrays the course of the Moldau. It sings of the river’s two initial springs, one warm and the other cold, emerging from the Bohemian forest. It observes the streams as they merge and follows the river’s flow through fields and woods… passing by a meadow where peasants celebrate a wedding. In the shimmering moonlight, river nymphs frolic, while castles, palaces, and ancient ruins appear against the wild cliffs. The Moldau then surges and roars in the Rapids of St. John before widening and flowing majestically towards Prague. Vysehrad Castle emerges on its banks, incorporating the four-note theme from the first of the six symphonic poems. The river continues its majestic journey, disappearing from view, until it ultimately merges with the Elbe.”

Rachmaninoff Rhapsody on a Theme of Paganini

Composer: Sergei Rachmaninoff (1873-1943, Russian & USA)

Orchestration:

• piccolo
• 2 flutes
• 2 oboes
• English horn
• 2 clarinets
• 2 bassoons
• 4 horns
• 2 trumpets
• 3 trombones
• tuba
• timpani
• percussion (bass drum, cymbals, orchestra bells, snare drum, triangle)
• harp
• strings (violin 1-2, viola, cello, double bass)

Notes:

• Abridged by Dr. Gene Chung
• A harp is replaced with 2 classical guitars (transcription by Dr. Hyun Hwang)

About the work:

• Piece title: Rhapsody on a Theme of Paganini
• Composed: 1934
• Length: c. 22 minutes (abridged to 9 minutes)

Rachmaninoff, shortly before his death, reflected on his life as a composer and expressed that his compositions were not consciously aimed at being original, Romantic, or Nationalistic. Instead, he simply transcribed the music he heard within himself onto paper in the most natural way possible. As a Russian composer, his temperament and perspective were influenced by his homeland, making his music inherently Russian. While he acknowledged the influence of Tchaikovsky and Rimsky-Korsakov, he never intentionally imitated anyone. His goal in writing his music was to convey the emotions and sentiments in his heart during the creative process. Whether it be love, bitterness, sadness, or religious fervor, these moods became part of his music, resulting in its beauty, bitterness, sadness, or religious nature.

Among Rachmaninoff’s compositions, the Rhapsody on a Theme of Paganini stands out as one of his least sentimental pieces. However, the 18th variation is an exception, showcasing his mastery of variation style. In this variation, the minor-key Paganini theme is transformed into a major-key Russian theme, displaying his skill and creativity.

The score of the Rhapsody was written in 1934 when Rachmaninoff had already enjoyed three decades of fame as a virtuoso pianist. He was renowned not only for his own compositions but also for his interpretations of solo piano works by Beethoven and Chopin. He frequently collaborated with esteemed violinists like Fritz Kreisler in memorable recitals.

By the early 1930s, Rachmaninoff’s own music had undergone a transformation, adopting a leaner and more restrained style compared to his earlier, expansive pre-World War I compositions, which had defined his reputation as a composer. In his later works, starting with the Fourth Piano Concerto and including pieces like the Three Russian Songs, Op. 41, the Corelli Variations for solo piano, Op. 42, and ultimately the Rhapsody itself, he incorporated increased dissonance and angular rhythms.

Contrary to its name, the Rhapsody does not possess a rhapsodic character. It consists of an introduction followed by 24 variations on Niccolò Paganini’s 24th caprice for solo violin, which is already a set of variations. The theme had been a popular choice among 19th-century composers for creating large-scale variation works, including Schumann, Liszt, and Brahms. However, Rachmaninoff brought his own highly original ideas to the composition, notably by intertwining Paganini’s theme with the haunting medieval liturgical melody Dies irae, which can be heard in the 7th, 10th, and 24th variations.

Adam Liptak Double Piano Concerto (U.S. Premiere)

About the composer: Adam Liptak (b.1993)

Ádám Lipták (b.1993) is a Hungarian composer, pianist, and orchestrator. He received his Master degree in Media Composition from the University of Music and Performing Arts Vienna in 2020. From 2012 to 2015, he studied at the Franz Liszt Music Academy in Budapest, where he obtained his Bachelor’s degree in Applied Composition. Prior to that, he completed his piano studies at a conservatory in Szeged, Hungary.

His notable achievements include winning the 1^st and 2^nd place at the Wiener Filmmusik Preis in 2017 and 2016 respectively, being one of the five finalists at the Marvin Hamlisch International Music Awards in 2021, and being a semi-finalist at the Vienna Composer Contest in 2023.

In 2021-2022, Ádám composed his first Double Piano Concerto and Choral Symphony as commissioned works for the Los Angeles Youth Philharmonic Orchestra. Since 2021, he has been a commissioned composer for the orchestra, creating original compositions as well as orchestrations for them.

Orchestration:

• 2 flutes
• 2 oboes
• 2 clarinets
• 2 bassoons
• 4 horns
• 2 trumpets
• 3 trombones
• timpani
• solo piano 1
• solo piano 2
• strings (violin 1-2, viola, cello, double bass)

Notes:

• This concerto is commissioned by LAYP
• The sketch was taken by Dr. Gene Chung

About the work:

• Piece title: Concerto No. 1 for Two Pianos and Orchestra: Variations on the Theme of Samuel Wesley’s Hymn Tune – The Church’s One Foundation
• Composed: 2021
• Length: c. 10 minutes

LAYP Program Director Dr. Gene Chung’s commissioned composer projects include transcriptions of Bach or Handel’s vocal pieces for orchestra, symphony, or concerto based on Charles Wesley’s hymn tunes, as well as the addition of a chorus to symphonic works such as Mendelssohn’s Reformation Symphony, Weber’s Jubilee Overture, Brahms’ Academic Festival Overture, and more.

Under his direction, LAYP has published the following commissioned works:

• Stephen Hill (2019): Chorales, Fanfares, and Variations
• Kwangsun Hwang (2020): The Hymn Symphony
• Adam Liptak (2021): Concerto No. 1 for Two Pianos and Orchestra
• Adam Liptak (2022): Choral Symphony No. 1 Based on Charles Wesley’s Hymn
• Stephen Hill (2022): Fanfare and Flourishes on “Adeste Fideles”

This double piano concerto is his third project, based on the hymn tune of Samuel Sebastian Wesley, who was the grandson of Charles Wesley, co-founder of the Methodist Church.

Samuel Sebastian Wesley (1810-1876) was an English composer and organist who played a significant role in the development of sacred music during the Victorian era. Born into a musical family, Wesley showed exceptional talent from an early age. He received training from his father, Samuel Wesley, a renowned composer and organist.

Wesley’s career encompassed several notable positions as an organist, including appointments at Hereford Cathedral, Leeds Parish Church, and Winchester Cathedral. At each institution, he sought to elevate the standard of music by introducing reforms and raising the quality of choral performances.

As a composer, Wesley’s works were highly regarded for their technical brilliance, intricate harmonies, and contrapuntal textures. He wrote a substantial body of music, including anthems, motets, hymn tunes, and organ solos. His compositions combined elements of the Anglican choral tradition with his own distinct style.

Despite facing personal challenges, such as the loss of his wife in 1849, Wesley continued to produce notable compositions, often reflecting his emotional state. His musical achievements were recognized during his lifetime, and he left a lasting legacy as a composer and performer.

Samuel Sebastian Wesley’s contributions to sacred music, his prowess as an organist, and his innovative compositions solidify his place as a significant figure in the musical landscape of the Victorian era.

Wagner Die Meistersinger

“Die Meistersinger” was composed by Richard Wagner, one of the most influential musical figures during the Romantic period in Germany. The piece is well known for its grandeur as well as its exploration into an intricate storyline.

The piece is set in the mid-16th century Nuremberg, Germany, revolving around a guild of “meistersingers”, or master singers, who compete for Eva Pogner, a noblewoman, in her hand of marriage. The story follows a competitor, Walter von Stolzing, a young knight, who joins the competition in opposition to his guild. 

The music showcases Wagener’s unique style of leitmotifs — short musical themes — which plays a significant role in the creation of the powerful orchestration featuring grand melodies. Wagner’s use of harmony and texture evokes strong emotions of excitement throughout the progression.

Die Meistersinger climaxes at the median with a grand union of both string and wind instruments. The same energy is expressed until the end, where all parts of the orchestra come together in an exuberant conclusion.

With its deep and intricate storytelling, coupled with a powerful melody, Die Meistersinger captivates audiences with its exploration of different themes. The piece showcases Wagner’s ingenious and his contributions to the world of music.

Farandole: March of the Three Kings

“Farandole: March of the Three Kings” is a famous composition by Georges Bizet as part of his incidental music for the play “L’Arlésienne” roughly translating into The Girl from Arles. The piece is played in the latter acts, which aim to celebrate the coming of the Three Kings during Christmas.

The piece begins with a melody carried by the strings, capturing a festive atmosphere typical of a farandole, a lively Provençal dance. The music builds in intensity as other instruments are added to the orchestration.

In the median, Bizet composes a climax, where the main theme is presented in a light yet regal manner, representing the important arrival of the Three Kings. The music surges forward and ends with a highly energetic ending filling the stage with exhilaration and merriment.

“Farandole: March of the Three Kings” plays a testament to Bizet’s talent for crafting memorable melodies. The piece’s infectious rhythm and grand character make it a famous piece and popular amongst audiences. 

Haydn Trumpet Concerto

Within the first movement of Haydn’s Trumpet Concet in E-flat major, Haydn orchestrates and showcases the trumpet’s virtuosity. Prior to the soloist’s entrance, the orchestra sets the stage with a peaceful yet energetic melody. 

After handing the melody to the trumpet, the soloist presents a memorable and lively theme. Haydn weaves together different moments of both brilliance and tender reflection, highlighting the trumpet’s virtuosity as a source of musical beauty. 

Throughout the piece’s progression, the soloist and the orchestra navigate through continuous dialogue. While the orchestra provides a supportive backdrop, the soloist weaves through lyrical themes. The first movement is characterized by its technicality, through passages of many different runs and leaps. The trumpet’s musical ability is on display, which captivates the audience through its precise execution.

As the composition comes to a climax, the soloist and orchestra unite together in a conclusion that leaves audiences captivated and energized. The first movement of Haydn’s Trumpet Concert is a showcase of his lyricism and introspection, allowing the trumpet to reveal its lyricism and introspection in a musically engaging piece.

Mendelssohn Wedding March

“Wedding March” composed by Felix Mendelssohn is undoubtedly one of the most famous pieces of classical repertoire. Originally written as an accompaniment for Shakespeare’s play, “A Mid-Summer Night’s Dream”, the Wedding March has since spread and become a staple for wedding ceremonies worldwide.

The composition follows a joyous melody that encapsulates the spirit of a wedding. The piece begins with a famous brass fanfare, constructing an elegant and festive atmosphere. This is followed by a graceful and melodic theme played by the strings, marking a bride’s entrance. 

As the music progresses, Meldelsshon orchestrates contrasting sections to add variety and depth. The median provides a moment of tranquility. This interlude creates intimacy before the return of the exuberant main melody. 

The march concludes with a restatement of the opening theme, but now with the full force of the orchestra. The music swells to jubilation, reflecting the joy and anticipation of the new newlyweds.

Mendelssohn’s march remains a favorite amongst brides and grooms around the world to accompany their walk down the aisle. The timeless melody and theme evoke strong feelings of love and happiness and promise an eternal union.

Everywhere I Look

About the composer and work: Not much is known about Molly Carew or her piece “Everywhere I Look” as she was quite elusive. What I did find was that her name was Mary (Molly) Irene Carew which was later changed to Molly Heaton Smith after being married to Walter Heaton-Smith, a surgeon and general practitioner. She was born in 1886 in Wagga Wagga, New South Wales, Australia and she died in 1953 in Guildford, Surrey England (prepared by Sophie O’Shea).

• Text: Dena Tempest
• Theme: Winter – Spring

Bizet Farandole: March of the Three Kings

Maniano Gloria

About the composer: copied from the composer’s website https://www.ilymatthewmaniano.com/about

Ily Matthew Maniano

Ily is one of the most sought after composers and arrangers in the Philippines and in the international choral scene today. In 2018, he released his album EUPHONOS: The Choral Works of Ily Matthew Maniano together with the Philippine Madrigal Singers. He is a POLYPHONOS Composition Competition Young Composer Awardee (Seattle, USA 2017), and a finalist at the First Jean Sibelius Composition Competition in 2014 (Hämeenlinna, Finland).

His works are being performed and recorded by some of the world’s best choirs like the Philippine Madrigal Singers, and by Grammy award winning groups, the King’s Singers & the Swingles, to name a few. His masterpieces have been premiered and performed in prestigious competitions like the 2017 European Grand Prix for Choral Singing (Tolosa, Spain), the Certamen Internacional de Habaneras y Polifonía (Spain), Concorso Polifonico Internazionale Guido D’Arezzo (Italy), and festivals such as Festival de la Habana Musica Contemporanea, (Cuba), American Choral Directors National Conference (Dallas, USA), America Cantat (Colombia), National Collegiate Choral Organization National Conference (USA), Canadian Rocky Mountain Festival (Canada), La Fabbrica del Canto (Italy), Choralies and Festival des Choeurs Laureats (France), and the World Choral Expo (Macau). Ily has been invited as an instructor at the Cultural Center of the Philippines Choral Workshop, and facilitates numerous choral clinics and workshops in the Philippines, Singapore, Taiwan, Canada, and in Dubai, UAE. In December of 2010, he made his debut as countertenor soloist in Vivaldi’s Gloria at the Abelardo Hall, UP College of Music and has since been invited as a guest soloist in several music productions and festivals such as the 37th and 38th International Bamboo Organ Festival in Las Piñas City, Philippines. His artistry exudes that aside from his musical works, he also enjoys graphic arts and photography where his photos got featured in National Geographic and in El Pais, one of Spain’s highest-circulation daily newspapers.

Born and raised in the Philippines, Ily received his degree in Music Education at the University of the Philippines College of Music and became part of the renowned Philippine Madrigal Singers for 8 years as a countertenor. In pursuit of choral excellence, his works continue to reflect and set an exciting new set of standards that elevate the musical artistry and creativity of today’s dynamic choral industry.

Haitian Wangol

About the work: Wangol, a folk song from Haiti, has an allegorical undertone about a country in change. Wangol, the king of Angola,” is a voodoo spirit and he is addressed in the song: “Wangol, you are leaving. When will I see you again? The country is changing.”

The song is well known and popular by the people in Haiti as it expresses their hope for a change and a brighter future for the country.

The Avengers

About the work: The superheroes are back, more popular (and powerful) than ever, breaking box office records right and left! The memorable main theme perfectly portrays the drama and grit of the film, and this arrangement brings this energy and excitement to the concert stage (Program Note from the publisher)

KYIV 2022

About the work: Like so many around the world, I believe strongly in the ability of one person to make a difference for those in Ukraine. To that end, after 16 years, I have decided that it is now time for an official “sequel” to one of my most popular pieces ever for young band – Moscow, 1941. This work was composed in the first week of the Russian invasion into Ukraine, during which time the entire world has seen senseless tragedy, humanitarian crises, and incredible heroism and passion from the Ukrainian people. I will be donating 100% of the proceeds of this initial release to relief organizations on the ground in Ukraine. This piece, KYIV, 2022, changes the narrative, where the theme from Moscos, 1941 (which is based on the Russian folk song “Meadowlands”) now becomes the aggressor, and the heroic people of Ukraine are represented by the Ukrainian National Anthem and the powerful song “Prayer for Ukraine.”

Musicians familiar with Moscow, 1941 will undoubtedly hear the intentional parallels between the two pieces, and I can see KYIV, 2022 being performed alongside or in place of Moscow. Certainly, it will spark a lot of conversations about humanity, history, culture, and more. I hope directors are able to use this piece to help students see how music really can help us relate to the world around us, and also to offer a musical way to support the people of Ukraine (Program Note by the composer).

The Imperial March

About the work: Composed over four decades ago, this ominous theme for Darth Vader remains one of the most instantly recognizable musical compositions in the history of cinema. John Williams’ film music is celebrated as one of the most iconic symphonic themes in cinematic history. Among Williams’ other acclaimed scores, this theme is particularly memorable, capturing the essence of one of its most unforgettable characters while delivering an exhilarating and dramatic orchestral march. It’s worth noting that although the Imperial March is one of the most memorable themes from the Star Wars film scores, it was absent in the first Star Wars movie and made its debut in the Empire Strikes Back.

Beethoven Symphony No. 9 “Choral” Finale

Composer: Ludwig van Beethoven (1770-1827)

Arranger: Adam Liptak (b. 1992)

Orchestration:

• 2 flutes
• 2 oboes
• 2 clarinets
• 2 bassoons
• 4 horns
• 2 trumpets
• 3 trombones
• timpani
• percussion (bass drum, cymbals, triangle)
• strings (violin 1-2, viola, cello, double bass)
• chorus

Notes:

• The arranging sketch was taken by Dr. Gene Chung

About the work:

• Piece title: Symphony No. 9 in D Minor, Op. 125
• Composed: 1822-1824
• Length (Fourth movement): c. 23 minutes (the fourth movement abridged to 7 minutes)

During the revolutionary period of the American, French, and Latin American revolutions, Ludwig van Beethoven emerged as a groundbreaking composer who pushed the boundaries of music. His works defied traditional rules and established new paradigms that have had a lasting impact on the arts.

The Ninth Symphony, a remarkably radical composition for its time, epitomizes Beethoven’s image as a defiant loner. However, paradoxically, it also celebrates the unity of humanity with a grand and all-encompassing embrace. This symphony not only holds immense historical significance in the world of music but also serves as a cornerstone piece in symphonic compositions.

The symphony follows a trajectory from chaos and struggle to serenity and jubilation, mirroring its own creation process. Friedrich Schiller’s Ode to Joy, an ecstatic vision, deeply moved Beethoven when it was published in 1785. The young composer may have made attempts to set it to music even before he left his hometown of Bonn in 1792. He made further endeavors in 1817, incorporating it into a symphony in D minor that he had been sketching for three years. Beethoven continued working on this new concept for another six years, completing most of it in 1823. The symphony premiered on May 7, 1824, at a famous concert where the composer, now deaf, had to be turned around to witness the thunderous applause he could no longer hear.

The introduction of voices in the finale stands as Beethoven’s most significant innovation. The composer’s meticulous setting of Schiller’s ode, crafted over several decades and freely rearranged, emerges as a monumental and triumphant set of variations, expressing lofty aspirations with exalted and optimistic music.