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Concert 3:
Joseph Haydn – Symphony No. 1 in D Major, Movements I–III
Haydn’s Symphony No. 1, composed in the early 1750s, marks the beginning of his long and prolific symphonic output. These first three movements display the early Classical style, full of energetic themes, clear phrasing, and spirited contrasts. Listeners will hear Haydn’s signature wit and rhythmic drive as he experiments with structure and orchestral color.
Paul Hindemith – Viola Concerto “Der Schwanendreher,” Movement I
This imaginative concerto reinterprets medieval German folk songs for solo viola and orchestra. The first movement introduces the theme “Zwischen Berg und tiefem Tal,” blending lyrical introspection with lively folkloric rhythms. Hindemith’s writing gives the viola a distinct voice, both soulful and witty, against a colorful orchestral backdrop.
Ludwig van Beethoven – Violin Concerto in D Major, Op. 61, Movement III
The joyful and exuberant Rondo finale of Beethoven’s only violin concerto sparkles with charm and virtuosic brilliance. Combining rhythmic vitality with lyrical warmth, this movement brings the concerto to a triumphant close, showcasing the soloist’s technical command and expressive phrasing.
Wolfgang Amadeus Mozart – Overture to The Magic Flute
This overture opens one of Mozart’s most beloved operas, blending Masonic symbolism with dramatic flair. With a stately opening that transitions into a lively and energetic Allegro, the overture captures the opera’s blend of solemnity, humor, and fantasy.
Pablo de Sarasate – Carmen Fantasy for Violin and Orchestra
Based on themes from Bizet’s opera Carmen, Sarasate’s fantasy transforms the familiar melodies into a dazzling violin showcase. Brilliant passagework, lyrical interludes, and fiery Spanish rhythms make this a thrilling piece for both soloist and audience.
Carl Stamitz – Flute Concerto in G Major, Movement I
A representative of the Mannheim School, Stamitz’s concerto exemplifies the Classical era’s elegance and clarity. The first movement features a graceful and refined solo flute line, supported by a light and transparent orchestral accompaniment.
W. A. Mozart – Piano Concerto No. 23 in A Major, K. 488, Movement III
Mozart’s final movement is a lively, rondo-style dance full of charm and sparkle. The piano interacts playfully with the orchestra, delivering joy and elegance with every phrase.
Felix Mendelssohn – Piano Concerto No. 1 in G Minor, Op. 25, Movement I
Opening with a bold orchestral flourish, this movement bursts with energy and Romantic flair. The piano enters almost immediately, launching into a passionate and virtuosic dialogue with the orchestra that remains dramatic and captivating throughout.
W. A. Mozart – Piano Concerto No. 20 in D Minor, K. 466, Movement I
One of Mozart’s few minor-key concertos, the first movement is brooding and dramatic, with stormy orchestral writing and expressive piano lines. This concerto was admired by Beethoven and remains one of Mozart’s most emotionally intense works.
J. S. Bach – Harpsichord Concerto in D Minor, BWV 1052, Movement I
Bach’s harpsichord concertos are early examples of keyboard concertos. The first movement of BWV 1052 is filled with driving rhythms, bold thematic material, and intricate counterpoint, offering a glimpse into Baroque virtuosity and architecture.
Antonín Dvořák – Symphony No. 5 in F Major (arr. Vernon Leidig)
Dvořák’s Fifth Symphony is rich with the warmth and lyricism of Czech folk music. In this arrangement by Vernon Leidig, the symphony is made accessible for young orchestras while retaining the charm and spirit of Dvořák’s original. The music is pastoral, melodic, and deeply rooted in the Bohemian landscape.
Concert 2:
Symphony Orchestra
HMS Pinafore Overture – Arthur Sullivan
A light-hearted and witty curtain-raiser, this overture from Gilbert and Sullivan’s comic opera captures the charm and satire of British operetta. With sprightly rhythms and memorable melodies, it sets a lively tone for the evening.
Piano Concerto No. 2 in C Minor, Mvt. I – Sergei Rachmaninoff
Rachmaninoff’s sweeping melodies and lush harmonies have made this concerto one of the most beloved in the piano repertoire. The first movement opens with a solemn piano solo, gradually building to a powerful orchestral climax—a stunning showcase of emotion and virtuosity.
Double Piano Concerto on a Theme of Tchaikovsky – Adam Liptak
This imaginative modern work by composer Adam Liptak reimagines a Tchaikovsky theme through the dynamic interplay of two pianos and orchestra. With lyrical moments and bold textures, it offers a fresh perspective on a Romantic-era voice.
Candid Overture – Leonard Bernstein, arr. Ethan Haman
A vibrant and playful overture from Bernstein’s comic operetta Candide, arranged here for organ by Ethan Haman. Full of rhythmic brilliance and sparkling character, it’s a musical celebration of wit and theatrical flair.
Anvil Chorus from Il Trovatore – Giuseppe Verdi
This rousing chorus, known for its percussive “anvil” effects and robust choral writing, is a thrilling depiction of gypsy life and labor. Its driving rhythm and powerful vocal lines make it a perennial concert favorite.
Cello Concerto in B Minor – Antonín Dvořák
Dvořák’s masterful concerto is both lyrical and dramatic, filled with Bohemian spirit and emotional depth. The cello’s rich tone soars in dialogue with the orchestra, revealing the instrument’s full expressive range.
Summer (Movements II–III) from The Four Seasons – Antonio Vivaldi
These later movements of Vivaldi’s Summer burst with imagery—from peaceful languor to sudden storms. Vivaldi’s writing brings nature vividly to life through dazzling violin solos and dramatic contrasts.
Chamber Singers
Come Again, Sweet Love – John Dowland
A Renaissance gem of yearning and tenderness, Dowland’s lute song captures the bittersweet emotions of unrequited love. The ensemble brings delicate phrasing and historical nuance to this timeless melody.
Arirang – Hyo-Won Woo
A modern choral arrangement of Korea’s most beloved folk song, Arirang weaves lush harmonies and expressive phrasing to honor its themes of longing and resilience. Composer Hyo-Won Woo adds depth with rich textures and subtle dissonance.
Philharmonic Orchestra | Band
Symphony No. 4 – David Maslanka
An epic and transformative work, Maslanka’s Symphony No. 4 is deeply spiritual, drawing on Bach chorales and Christian hymn tunes. With meditative passages and explosive energy, it is a profound musical journey of struggle and redemption.
The Stars and Stripes Forever – John Philip Sousa
America’s official National March, Sousa’s masterpiece is a rousing finale to any celebration. Its dazzling piccolo solos, stirring brass, and triumphant spirit bring audiences to their feet every time.
Grand Finale: Philharmonic Orchestra | Band | Choir
Triumphal March from Aida – Giuseppe Verdi
Verdi’s iconic march from Aida brings the concert to a majestic close. With its regal brass fanfares, lush orchestration, and powerful choral support, it evokes the splendor of ancient Egypt and the triumph of unity.
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Concert 1:
SSAA Chorus
Children Will Listen
Stephen Sondheim / arr. Jacob Narverud
From the acclaimed musical Into the Woods, “Children Will Listen” is a poignant reflection on the power of words and actions in shaping young lives. This elegant SSAA arrangement captures the emotional depth and lyrical beauty of Sondheim’s original, inviting listeners to consider the lasting impact of love, caution, and storytelling.
Alleluia, Alleluia
Amy F. Bernon
A vibrant and uplifting work, Amy Bernon’s “Alleluia, Alleluia” celebrates the joy of singing through shimmering harmonies and a rhythmic drive. This piece showcases the clarity and expressiveness of treble voices, building to a radiant climax that leaves the audience with a sense of exultation.
Arirang
Hyowon Woo
A stunning choral setting of Korea’s beloved folk song, Hyowon Woo’s “Arirang” blends traditional melody with rich harmonic textures. Expressive and emotionally resonant, this arrangement honors the spirit of longing and resilience that characterizes this national treasure.
SATB Chamber Singers / Honor Choir
Tshela Moya
Michael Barrett
Sung in Zulu and performed a cappella, “Tshela Moya” is an energetic and spiritual South African traditional song. Its title means “Come Holy Spirit,” and the work features rhythmic drive, syncopation, and call-and-response patterns that create a joyful and communal choral experience.
Cornerstone
Shawn Kirchner
Blending Southern gospel with contemporary choral writing, “Cornerstone” offers a powerful message of hope and faith. With a soulful piano accompaniment and richly layered harmonies, Kirchner’s setting builds from introspective simplicity to a resounding affirmation of spiritual strength.
Hands Are Knockin
Kayle Pederson
“Hands Are Knockin” is a dynamic and emotionally charged choral piece that explores the themes of welcome, justice, and community. With driving piano rhythms and soaring melodies, this work calls listeners to respond to those seeking refuge and belonging.
Orchestra
Carnival Overture, Op. 92
Antonín Dvořák
A brilliant orchestral showcase, Dvořák’s “Carnival Overture” brims with exuberance and festive energy. Part of a trilogy of concert overtures, this movement captures the liveliness of a bustling carnival scene, juxtaposed with a tender lyrical theme that reveals the composer’s gift for melody.
Piano Concerto No. 2 in G Minor, mvt III
Camille Saint-Saëns
The dramatic final movement of Saint-Saëns’ beloved concerto races forward with virtuosic flair and rhythmic intensity. A whirlwind of sparkling arpeggios and rousing orchestral flourishes, this movement highlights the pianist’s technical prowess and the composer’s unmistakable elegance.
Nella Fantasia
Ennio Morricone / arr. based on “Gabriel’s Oboe”
Based on the iconic theme from The Mission, “Nella Fantasia” is a hauntingly beautiful song that dreams of a world of peace, justice, and humanity. Morricone’s lush orchestration and the soaring vocal line make this piece an emotional centerpiece of the concert.
Polovtsian Dances Nos. 1–2 & 3
Alexander Borodin / arr. Carl Simpson
These thrilling selections from Borodin’s opera Prince Igor combine the grandeur of the orchestra with the power of chorus and organ. Filled with exotic melodies and rhythmic vitality, the “Polovtsian Dances” evoke a vivid tapestry of Eastern pageantry and drama, culminating in a rousing choral-orchestral celebration.
Band & Orchestra
The Magnificent Seven
Elmer Bernstein / arr. Roy Phillippe
This classic Western film score is instantly recognizable for its galloping rhythms and heroic themes. Bernstein’s stirring music captures the spirit of courage and adventure, and Phillippe’s arrangement brings the cinematic excitement to life for ensemble performance.
The Imperial March
John Williams
One of the most iconic themes in film history, “The Imperial March” from Star Wars is a commanding musical portrait of Darth Vader. With its relentless rhythm, dark harmonies, and powerful orchestration, it brings dramatic tension and epic scale to the concert stage.
The Flying Theme from E.T.
John Williams
A masterwork of cinematic lyricism, the “Flying Theme” from E.T. the Extra-Terrestrial captures the wonder of childhood and the magic of flight. With soaring melodies and sweeping orchestration, this piece uplifts the audience in a moment of pure musical imagination.
Youth Philharmonic Orchestra | Band | Choir 