Program Notes 2024

Dr. David Buck’s Program Notes

Brahms’ Academic Festival Overture

Johannes Brahms’ “Academic Festival Overture” (Op. 80) is a lively orchestral piece that Brahms composed in 1880 as a thank-you gift to the University of Breslau, which had awarded him an honorary doctorate. The overture is based on a number of student drinking songs that Brahms incorporated into the work with both humor and skill. Here are the main songs along with their titles and texts:

“Wir hatten gebauet ein stattliches Haus”: This song is a celebration of building a fraternity house and the camaraderie among the students.

We have built a stately house
And trusted in God within it.
The German students are happily heading home,
With their dear sweethearts.

“Der Landesvater”: This traditional student song is a tribute to the ruler of the land and is often performed with a ceremonial flourish.

What comes there from the heights,
What comes there from the heights,
With fluting and trumpeting?
Do you not see the father of the land?

“Fuchslied”: Known as “The Fox Song,” it is a humorous and light-hearted song that involves new members (often called “foxes”) of a student fraternity.

Foxes, come out! Foxes, come out! Foxes, come out!
Greet your majesty!

“Gaudeamus igitur”: This is the most famous of the songs used by Brahms and is an academic hymn that dates back to the 13th century. It is often sung at university graduations and other academic ceremonies, celebrating the joys and fleeting nature of student life.

Therefore let us rejoice,
While we are young;
After a pleasant youth,
After a troubling old age,
The earth will have us.

Bortiewicz’s Piano Concerto No. 1

Sergei Bortkiewicz (1877-1952) was a Ukrainian-born composer and pianist whose works are characterized by their rich harmonic language and emotive melodies, deeply rooted in the Romantic tradition. His Piano Concerto No. 3 in C minor, Op. 32, also known as the “Per aspera ad astra” concerto, is a lush and dramatic work that showcases his late-Romantic style, influenced by the Russian school of Rachmaninoff and Tchaikovsky.  It is a testament to his mastery of the Romantic concerto form and showcases his ability to blend virtuosic demands with lyrical beauty.   Tonight, the First Movement will be performed.

First Movement Analysis:  Allegro maestoso :

The concerto opens with a bold and stately orchestral introduction, setting a dramatic tone followed by the solo piano entrance with a series of powerful chords, establishing a dialogue with the orchestra.  The thematic material is both expansive and expressive, featuring sweeping arpeggios and intricate passagework.  The development section explores various keys and moods, highlighting the soloist’s technical prowess and the orchestra’s dynamic range.  The movement concludes with a recapitulation that reaffirms the principal themes, culminating in a vigorous coda.

Bortkiewicz’s Piano Concerto No. 3 is a masterful blend of Romantic expressiveness and virtuosity.

Respighi’s Pini di Roma (Pines of Rome)

Ottorino Respighi’s “Pines of Rome” (Pini di Roma) is a tone poem in four movements, each depicting a different scene involving pine trees in Rome. The final movement, “Pines of the Appian Way” (I pini della Via Appia), is especially notable for its dramatic and evocative portrayal of the ancient Roman road. There are four parts to this movement.

    1.  Introduction :
        * The movement begins with a quiet, mysterious atmosphere, characterized by a deep, almost subterranean rumble in the low strings and a distant, ominous drumbeat as legions make their inexorable march into Rome.
        * Respighi uses a sparse texture, with low brass and percussion creating a sense of anticipation. One can hear the moaning of the crucified mounted along the pathway of the Roman legion returning victoriously along the Way.

    2.  Build-Up :
        * As the movement progresses, the music gradually becomes more intense and louder, mimicking the approach of a Roman army. Brass and Woodwinds are meant to envision the calling of the cohorts.
        * The strings and woodwinds join in, adding to the growing tension.
    3.  Climax :
        * The piece reaches a powerful climax with a full orchestral sound. The trumpets and trombones play a prominent fanfare-like theme, symbolizing the might and glory of the Roman legions.
        * The use of organ and additional brass instruments contributes to the grandeur and majesty of the scene. At last the conquering general makes his appearance to the clamoring citizens lining the Way.
    4.  Conclusion :
        * The movement concludes with a triumphant and exhilarating finish, as the music evokes the image of the Roman army triumphantly marching into Rome, bathed in the morning light

Respighi was inspired by the grandeur of the Roman Empire and the historic significance of the Appian Way. The movement’s gradual build-up and ultimate climax are meant to evoke the power and unstoppable force of the Roman legions. The composer masterfully combines traditional orchestral techniques with innovative effects to bring this vision to life. “Pines of the Appian Way” is often praised for its vivid orchestration and dramatic intensity. It effectively transports listeners to ancient Rome, creating a powerful auditory experience that captures the essence of the historic landscape and the might of the Roman army.

The movement is a testament to Respighi’s skill in blending musical imagery with historical and cultural themes, making “Pines of the Appian Way” a standout piece in the orchestral repertoire.

Bruch’s Violin Concerto

Max Bruch’s Violin Concerto No. 1 in G minor, Op. 26, is one of the most beloved concertos in the violin repertoire. Composed between 1866 and 1868, it has become a staple for violinists and audiences alike due to its lyrical beauty, technical demands, and emotional depth.

Background
Bruch, a German composer, initially struggled with the concerto’s form and structure, revising it multiple times with input from renowned violinist Joseph Joachim. The final version premiered in Bremen on January 7, 1868, with Joachim as the soloist.

Tonight’s performance will be of the third movement
Finale: Allegro energico

The final movement bursts forth with lively rhythms and a folk-dance character. The soloist engages in spirited exchanges with the orchestra, navigating through passages of dazzling technique and energetic themes. The movement’s joyful, exuberant nature provides a satisfying and triumphant conclusion to the concerto.

Musical Style
Bruch’s concerto is characterized by its romantic sensibility, blending lyricism with dramatic contrasts. The solo violin is treated as a singing voice, weaving intricate melodies and virtuosic flourishes. The orchestration is rich and supportive, enhancing the soloist’s role without overpowering it.

Legacy
Max Bruch’s Violin Concerto No. 1 remains one of the most frequently performed and recorded works in the violin repertoire. Its enduring popularity is a testament to its perfect balance of technical brilliance and emotional resonance, making it a timeless masterpiece that continues to captivate audiences around the world.

Beethoven’s Choral Fantasy

Beethoven’s Choral Fantasy, Op. 80, holds a special place in the composer’s oeuvre for its unique blend of piano, vocal soloists, chorus, and orchestra. Here is a brief history of this intriguing piece:

Background and Composition
Commission and Purpose: The Choral Fantasy was composed in 1808, intended as a grand finale for a benefit concert held on December 22 of that year in the Theater an der Wien. This concert was notable because it featured the premieres of several of Beethoven’s major works, including the Fifth and Sixth Symphonies, the Fourth Piano Concerto, and sections of the Mass in C Major.

Concept and Structure: Beethoven conceived the Choral Fantasy as a synthesis of various musical elements. It begins with a solo piano fantasia, transitions into a series of orchestral variations, and culminates in a choral finale. This structure was innovative, blending instrumental and vocal forces in a manner that foreshadowed his later Ninth Symphony.

Text: The text for the choral section was written by Christoph Kuffner, a poet and friend of Beethoven. The lyrics celebrate the uplifting power of music and art, themes that Beethoven cherished throughout his life.
Premiere and Reception

Premiere Performance: The premiere was conducted by Beethoven himself, who also performed the demanding piano solo part. The concert was famously chaotic, with limited rehearsal time leading to numerous mistakes during the performances. Despite these difficulties, the Choral Fantasy was well-received for its bold and imaginative approach.

Legacy: While the Choral Fantasy is not as universally renowned as some of Beethoven’s other works, it remains an important piece in the repertoire. It is often celebrated for its experimental fusion of piano and choral elements and is seen as a precursor to the more famous “Ode to Joy” from his Ninth Symphony

Dr. Amy Culligan’s Program Notes

Doppler Double Flute Concerto

Franz Doppler’s Double Flute Concerto stands as a pinnacle of Romantic virtuosity and lyrical beauty in the flute repertoire. Composed during a flourishing period for the flute, Doppler, himself a virtuoso flautist, crafted this work to showcase both technical prowess and expressive depth. The concerto typically unfolds in three movements: an Allegro maestoso opening that displays the soloists’ agility with bold themes, followed by an Andante of intimate dialogue and expressive melodies between the two flutes, and concluding with a Rondo or Allegro vivace that highlights their lively interplay and the orchestra’s supportive role. Throughout, Doppler challenges the soloists with rapid scales, arpeggios, and intricate exchanges, while the orchestra provides a rich backdrop of harmonies and rhythmic support. This concerto not only demonstrates Doppler’s understanding of the flute’s capabilities but also its enduring appeal among flutists and audiences for its technical demands and musical richness.

Franz Doppler’s Double Flute Concerto is a testament to both the composer’s virtuosic command and the Romantic era’s fascination with expressive depth. Written for two solo flutes and orchestra, the concerto unfolds in a traditional three-movement structure, beginning with an assertive Allegro maestoso, followed by an introspective Andante, and concluding with a spirited Rondo Doppler’s composition showcases the soloists’ technical mastery through rapid passages and intricate dialogues, while the orchestra enriches the texture with lush harmonies and rhythmic drive. The concerto’s enduring popularity underscores its significance in the flute repertoire, serving as a cornerstone for performers and composers alike, resonating with its blend of virtuosity and lyrical charm.

Mendelssohn E Major Double Piano Concerto

Felix Mendelssohn’s Double Piano Concerto in E major, composed at the remarkable age of 14, exudes youthful energy and virtuosity. Despite being less frequently performed than his other works, it remains a testament to Mendelssohn’s early genius and his profound affection for the piano. The concerto unfolds in three movements: an Allegro vivace opening showcasing spirited melodies and technical brilliance, followed by an Adagio non troppo offering lyrical intimacy and expressive dialogue between the two pianos, and concluding with an Allegro molto marked by lively tempo and playful interactions between soloists and orchestra. Throughout, Mendelssohn’s composition emphasizes the dynamic interplay between the pianos, with the orchestra providing a vibrant backdrop of colors and rhythmic support.

Mendelssohn’s Double Piano Concerto in E major stands as a charming example of his youthful creativity and mastery of form. Its sparkling melodies, virtuosic demands, and the nuanced interplay between soloists reflect Mendelssohn’s ability to blend technical brilliance with lyrical sensitivity. While perhaps overshadowed by his later works, this concerto remains a captivating gem in the repertoire, offering audiences a delightful exploration of Mendelssohn’s early compositional brilliance and his enduring love for the piano.

Sousa – “The Thunderer” March

John Philip Sousa’s “The Thunderer” March, composed in 1889 during his tenure as the conductor of the United States Marine Band, exemplifies his mastery of the march genre and enduring impact on American music. Structured in the classic march form, the composition begins with a bold introduction leading into assertive brass melodies that define its energetic character. The march progresses through contrasting strains, featuring lyrical interludes and dynamic shifts in orchestration, culminating in a grandioso finale that reiterates the main themes with heightened intensity. Sousa’s ability to blend rhythmic drive with memorable melodies is showcased in “The Thunderer,” making it a perennial favorite for military bands, parades, and patriotic celebrations.

“The Thunderer” not only reflects Sousa’s skill in crafting music that captures the patriotic spirit of late 19th-century America but also underscores his influence as a cultural icon. Its enduring popularity stems from its ability to inspire and uplift audiences with its triumphant and celebratory mood. As a hallmark of Sousa’s extensive repertoire of marches, “The Thunderer” continues to resonate across generations, symbolizing his legacy as “The March King” and his lasting contribution to American musical tradition.

Brahms Symphony No. 1, Movement IV

Johannes Brahms’s Symphony No. 1 in C minor culminates with a majestic fourth movement that epitomizes his mastery of symphonic form and emotional depth. Marked Allegro con fuoco, the movement opens with a solemn introduction recalling themes from earlier movements, setting a reflective atmosphere. This gives way to the main Allegro section, characterized by its vigorous tempo and dynamic contrasts. Brahms weaves a tapestry of orchestral colors, from bold brass fanfares to lush string melodies and delicate woodwind passages, creating a dramatic narrative that builds to a climactic peak. The movement alternates between moments of turbulence and serene lyricism, showcasing Brahms’s ability to balance grandeur with introspection and thematic development with intricate counterpoint.

Brahms’s Symphony No. 1, particularly its fourth movement, represents a pinnacle of 19th-century symphonic achievement, blending Classical forms with Romantic expressiveness. Its profound emotional impact and structural integrity have solidified its place as a cornerstone of the orchestral repertoire. Brahms’s symphonic aspirations and artistic maturity are fully realized in this movement, which continues to captivate audiences with its depth of feeling and orchestral brilliance, ensuring its enduring significance in the canon of Western classical music.

The melody from the forth movement of this work has been used to set the text of Psalm 46. While the original version of this symphony does not include choir, LAYPO’s custom arrangement of this piece includes the addition of choir singing this text setting that opens with the words “The Lord is our fortress.” 

John Williams – Raiders Theme (Raiders March)

John Williams’s “Raiders Theme,” composed for the 1981 film “Raiders of the Lost Ark” directed by Steven Spielberg, is an iconic musical motif synonymous with adventure and heroism. Designed to embody the daring spirit of the film’s protagonist, Indiana Jones, the theme opens with a bold fanfare and develops with rhythmic intensity driven by brass instruments. Williams’s orchestration, featuring robust percussion and sweeping strings, enhances the theme’s cinematic impact, effectively heightening suspense and reinforcing the heroic narrative of the film. Beyond its initial context, the “Raiders Theme” has become a cultural touchstone, recognized for its dynamic melody and evocative qualities, making it a cornerstone of John Williams’s illustrious career in film composition.

The enduring popularity of the “Raiders Theme” extends beyond the Indiana Jones franchise, permeating popular culture and inspiring admiration for its cinematic power and memorable musicality. Williams’s ability to craft a theme that resonates with audiences across generations underscores his mastery in enhancing storytelling through music. Whether heard in action sequences or cultural tributes, the “Raiders Theme” continues to captivate listeners with its adventurous spirit and remains a definitive example of how film music can enrich the cinematic experience and leave an indelible mark on the collective imagination.

Bizet – Habanera from Carmen

Georges Bizet’s “Habanera” from the opera “Carmen,” composed in 1875, stands as a pinnacle of operatic allure and passion. Set in the vibrant backdrop of Seville, Spain, “Carmen” tells the story of the seductive and independent Carmen, whose iconic aria “Habanera” epitomizes her free-spirited nature and disdain for conventional love. Opening with the famous line “L’amour est un oiseau rebelle” (“Love is a rebellious bird”), Carmen’s aria unfolds over a hypnotic habanera rhythm, characterized by lush orchestration that blends sensual strings, exotic woodwind melodies, and percussive accents. Bizet masterfully captures Carmen’s defiance and magnetism, as she muses on the unpredictable nature of love with languorous phrases and fiery outbursts, creating a dramatic tension that resonates throughout the opera and beyond.

The “Habanera” from “Carmen” has transcended its operatic origins to become a cultural icon, admired for its seductive melody and Carmen’s compelling portrayal of passion and independence. Its influence extends beyond classical music, permeating popular culture through adaptations in music, film, and advertising. Bizet’s portrayal of Carmen as a symbol of feminine allure and rebellion against societal norms continues to captivate audiences worldwide, making the “Habanera” a timeless expression of human desire and emotional complexity that remains as relevant today as it was during its debut over a century ago.

Mozart – Clarinet Concerto in A Major, Movement I

Wolfgang Amadeus Mozart’s Clarinet Concerto in A Major, K. 622, showcases the composer’s mastery in blending elegance and virtuosity within the Classical era. Composed in 1791 for his friend Anton Stadler, a pioneering clarinetist of the time, the concerto’s first movement, marked Allegro, opens with a serene orchestral introduction that sets the stage for the clarinet soloist. Mozart’s use of classical sonata-allegro form allows for a dialogue between soloist and orchestra, characterized by graceful melodies and intricate exchanges. The movement unfolds with a balance of lyrical depth and technical agility, highlighting the clarinet’s expressive capabilities supported by Mozart’s delicate orchestration of strings and woodwinds.

Mozart’s Clarinet Concerto remains a cornerstone of the clarinet repertoire, revered for its historical significance and musical beauty. This concerto not only showcases Mozart’s ability to elevate the clarinet as a solo instrument but also exemplifies his skill in crafting melodies that resonate with elegance and sophistication. The first movement’s seamless interaction between soloist and orchestra, combined with its adherence to classical form and thematic development, underscores Mozart’s enduring legacy as a composer and his contribution to the rich tapestry of classical music.

Prokofiev – Troika from “Lieutenant Kije”

Sergei Prokofiev’s “Troika” from the suite “Lieutenant Kije,” composed in 1933 for the Soviet film “The Adventures of Lieutenant Kije,” captures the essence of a spirited Russian sleigh ride with its lively tempo and festive melodies. This movement, renowned for its dynamic orchestration and rhythmic vitality, reflects Prokofiev’s genius in blending folk-inspired themes with modernist compositional techniques. The music vividly portrays the exhilarating rush and joyous atmosphere of a troika ride through snowy landscapes, employing a colorful palette of strings, woodwinds, brass, and percussion to evoke the imagery of galloping horses and jingling bells.

Prokofiev’s “Troika” has transcended its cinematic origins to become a beloved orchestral favorite, celebrated for its infectious energy and evocative portrayal of Russian winter traditions. Its popularity in concert halls worldwide underscores Prokofiev’s ability to create music that not only entertains but also resonates with audiences through its vibrant storytelling and orchestral brilliance. With its festive charm and cinematic flair, the “Troika” from “Lieutenant Kije” remains a timeless example of Prokofiev’s mastery in capturing cultural motifs and transforming them into enduring musical experiences.

Rimsky-Korsakov – “Procession of the Nobles” from “Mlada”

Nikolai Rimsky-Korsakov’s “Procession of the Nobles” from the opera-ballet “Mlada” transports listeners to the mystical realms of ancient Russia with its majestic orchestral tapestry. Composed in 1892, “Mlada” intertwines themes of love, sorcery, and folklore, with the “Procession of the Nobles” serving as a vibrant highlight in Act II. This orchestral piece captures the grand ceremonial march of nobles and warriors, evoking regal pomp through bold brass fanfares, rhythmic percussion, and lush orchestration that blends Russian folk melodies with oriental motifs. Rimsky-Korsakov’s mastery shines through in the piece’s rhythmic vigor and dramatic flair, culminating in a triumphant climax that echoes the splendor of ancient rituals and celebrations.

“Procession of the Nobles” has transcended its operatic origins to become a beloved concert staple, admired for its evocative storytelling and orchestral brilliance. Rimsky-Korsakov’s ability to weave narrative depth into vibrant musical imagery is evident in this piece, which continues to captivate audiences with its dynamic rhythms and exotic melodies. As a testament to Rimsky-Korsakov’s enduring influence on Russian orchestral music, “Procession of the Nobles” remains a vivid portrayal of ancient customs and a cherished example of orchestral grandeur that resonates across generations.

Stephen Hill, Chorales, Fanfares, and Variations (on a Hymn Tune)

Dr. Gene Chung, Orchestra Director of the Los Angeles Youth Philharmonic commissioned ‘Chorales, Fanfares, and Variations (on a Hymn Tune).’

• Chorale 1 (Reflecting on my 18th-century harmony class with Philip Westin)
• Chorale 2 (Reflecting on the American School, Hanson, Schuman, Harris, Copland, McBeth)
• Fanfare 1
• Variation 1 (Bright, Playful, youthful energy)
• Fanfare 2
• Variation 2 (Soulful, introspective)
• Variation 3 (Bombastic, exuberant)
• Fanfare 3

This setting is based on the hymn ‘Love Divine, All Loves Excelling by Charles Wesley and John Zundel.’

This piece was originally commissioned for full orchestra in 2019, but due to the pandemic, the performance was canceled. The LAYPO gave an online/video rendering of the piece, which is the only known performance to date. 

The composer decided to create a wind ensemble version of the work, which has never been performed. Tonight’s performance will be the world premiere. 

Dr. Jennifer Garrett’s Program Notes

Indodana, traditional isiXhosa; arranged by Michael Barrett and Ralf Schmitt

Indodana is a traditional isiXhosa song arranged by South African composers Michael Barrett and Ralf Schmitt. The language of isiXhosa or Xhosa is one of the official languages of South Africa spoken by over 19 million people in the country. Religion forms an essential part of African culture, and this arrangement captures the expressions of intense grief at the crucifixion of Jesus, the son of God. Phrases like “Hololo” and “helele” do not have a specific translation but are meant to represent crying. Throughout most of the piece sopranos and altos feature the melody in parallel motion while the tenors and basses provide a wall of sound as accompaniment. The lower voices also represent a drum with text such as “Zjem Zja” that adds to the imploration of the text. Indodana serves as an example of traditional and western compositional and performance techniques. The traditional melody and original language come together with an aleatoric style (canon), cluster chords, dynamic markings, and precise performance techniques to bring together a fusion between Western and Traditional approaches. 

Soon We Will Be Done, African American Spiritual, adapted by Kyle Pederson

Soon We Will Be Done is an African American Spiritual which composer Kyle Pederson adapted and added additional words to invite the listeners to imagine and commit to a world filled with more inclusion, compassion, love, grace, and kindness. The text invites everyone to be done with war, hatred, indifference, and denial of a person’s worth. Spoken words emphasize these ideas throughout the text directly challenges the listener to be part of the change for a better more just world for all. The piece opens a cappella and then adds a rhythmic piano part that adds to the performance and intensity of the piece.

Program Notes from Composer Kyle Pederson:

To me, spirituals are the most powerful type of music.  Spirituals were birthed and rooted in the experience of chattel slavery in the United States—and arose out of, as Arthur C. Jones asserts, “deeply meaningful, archetypically human experiences, relevant not only to the specific circumstances of slavery but also to women and men struggling with issues of justice, freedom, and spiritual wholeness in all times and places.” 

The original text of Soon ah Will Be Done is as follows:

Soon ah will be done ah with the troubles of the world, the troubles of the world, the troubles of the world soon ah will be done ah with the troubles of the world, goin’ home to live with God No more weepin’ and ah wailing, no more weepin’ and ah wailing, no more weepin’ and ah wailing, goin’ home to live with God I want to meet my mother, I want to meet my mother, I want to meet my mother, goin’ home to live with God I want to meet my Jesus, I want to meet my Jesus, I want to meet my Jesus, goin’ home to live with God

When I sang this spiritual growing up, I was struck by both the withering sorrow and expectant hope throughout. The melody and emotion has stuck with me since.  When approaching my own arrangement, I hoped to honor the voice of the original writers and their experience of slavery, and I also sought to extend a voice to people today who are suffering from injustice, racism, and oppression in multiple forms. I hoped an appropriate way to honor the experience of the original writers might be to invite the contemporary listener to envision and commit to a better, more just world today—-a world of inclusion, radical kindness, compassion, love, and grace–a world where we have the courage to champion the inherent dignity and value of all people, a world where we will be done with all the ways we deny a person’s worth.  A world where “heaven has come to earth.”

In this arrangement, spoken word is incorporated throughout, intended to heighten the intensity of the performance, and meant to give a sense of immediacy to the challenge for the choir and audience to work together for justice, equity, and wholeness. Spoken word has often been used as the language of protest—and I include it intentionally as a way of giving voice to the choir members (and listener)—where all can stand in solidarity against oppression and injustice. If desired, choir members are encouraged to write their own spoken word text that speaks to issues of inequity and injustice in their own communities.

Done with hatred and done with war
come, lift the lonely, come lift up the poor

Soon we will be done with the troubles of the world
when heaven comes to earth
No more weepin’ and wailin’
when heaven comes to earth

Done…
with the racism and sexism and all the isms and prisons that bind us, 
that blind us from the hurt of another 

I want to be done…
done with addiction, with any affliction 

that takes a hold and won’t let go
and speaks in lies and fiction.

I want to be done…
done with the things that divide us instead of unite us,
like the walls we build, the hate instilled, 
as we fill with judgement inside us

I want to be done…
done with the violence, and the silence when facing injustice,
but I wonder if you’d trust us if love was our compass.

SOON, when we come together, when 
WE stand up for each other, we 
WILL offer these hands and feet and 
BE love, compassion and grace; come heaven to earth; we will be 
DONE.