Saturday, May 18, 2024
7pm
Military Mix-UP (2016)
Keith Dudek & Edward Freytag (1954 -
Jalen Cai and Elonzo Motus, Snare
Miniatures Op. 75 (1887)
Antonin Dvořák (1841-1904)
I. Cavatina
II. Capriccio
Mia Niu, Violin
Melanie Mar, Violin
Jaelynn Au, Viola
Andante et Scherzo (1938)
Eugene Bozza (1905-1991)
Eddie Kim, Soprano Saxophone
Aydin Miller, Alto Saxophone
Albus Shih, Tenor Saxophone
Nathan Kwan, Baritone Saxophone
Crescent City Postcards (2013)
Alan Theisen (1981-
I. Lake Pontchartrain Waltzes
Lucas O’Brien, Trombone
Jerry Xu, Trombone
Kenneth Gong, Trombone
Camren Molina, Trombone
Ryan Kim, Bass Trombone
Trio for Flute, Oboe and Piano, Op. 74 (1898)
Karl Eduard Goepfart (1859-1942)
III. Allegro con brio
Felix Yin, Flute
Sherlock Xu, Oboe
Daniel Shi, Piano
Kozertstück á la Feidman (2015)
István Kohán (1990-
I.Freilach
III. Presto
Ian Kim, Clarinet
Rick Chi, Clarinet
Joseph Yoo, Piano
from Amélie (2017)
Composer, Lyricist: Daniel Messé (1975-
Lyricist: Nathan Tysen (1979-
Times Are Hard for Dreamers
Eden Wright, Voice
Angela Chen, Violin
Angelina Wu, Cello
Sylvia Wang, Piano
Intermission
Peter and the Wolf, Op. 67 (1936)
Sergei Prokofiev (1891-1953)
PAA Chamber Orchestra
Lucas O’Brien - Narrator
Joseph Yoo - Flute
Jesse Hu - Oboe
Ian Kim - Clarinet
Jay Xu - Bassoon
Cameron Rhees - French Horn
Karlin Rhees - French Horn
Hideo Rhees - French Horn
Cheri Chen - Trumpet
Kenneth Gong - Trombone
Jalen Cai - Percussion
Talon Lu - Percussion
Joshua Kim - Concertmaster
Angela Chen - Violin I
Nicole Lin - Violin I
Nyansu Chen - Violin II
Joel Kim - Violin II
Jonathan Lan - Violin II
Vito Samaniego - Viola
Emily Liu - Viola
Eireen Lu - Viola
Sean Yeh - Viola
Angelina Wu - Cello
Eric Wang - Cello
Brian Slack* - Double Bass
* Guest Artist Alumni
Program Notes
Edward Freytag and Keith Dudek have put together an outstanding collection of concert and contest compositions for aspiring young percussionists. Military Mix-up Duet is a prime example from this publication, featuring concert snare drum solos and duets carefully designed to contain elements from both orchestral and rudimental drumming, specifically scored for young and intermediate performers. The pieces, including "Military Mix-up Duet," are designed to give players opportunities to use a variety of implement types and playing surfaces. These elements serve as perfect performance and learning tools for beginning and growing percussionists.
As a leading composer of the Romantic period, Antonin Dvořák is well known for his symphonic works and string quartets. One of his lesser known pieces, Miniatures, presents simple and enjoyable melodies while employing a unique instrumentation consisting of two violins and a viola. This piece was written to be an intimate piece for Dvorak to play alongside two of his friends. While originally composed as another string trio titled Terzetto, this composition proved to be too technically advanced for one of the string players. As a result, Dvorak modified and simplified the trio to transform Terzetto into what is now known as the Miniatures.
The first movement, Catavina, is made up of charming and lyrical melodies played by the first violin while being accompanied by sweet, flowing bass lines in the second violin and viola. Moving away from the serenity emulated in the first movement, the second movement, labeled as Capriccio, takes on an aggressive and agitated tone. Inspired by his Bohemic roots, Dvorak weaves elements of Bohemia folk music into three distinct themes.
Jaelynn Au, Viola, Class of 2026
Eugene Bozza was best known for his chamber music for winds and was the conductor of the Paris Opéra-Comique from 1939 to 1948. In his 1938 work for saxophone quartet, Andante et Scherzo, Bozza communicates emotions of tranquility and joy through two contrasting movements. Per the fact that French Impressionist composers took inspiration from pentatonic scales and harmonies, the tenor saxophone solo at the beginning of the Andante movement is often described as sounding “asian”. In contrast, the Scherzo adds speed and bounce to the rhythm, using fast-moving dynamics to emulate speeding up or slowing down. It brings in more note-heavy and technical parts, where many melodies are passed around the different voices. Additionally, Bozza frequently uses chromaticism to add playfulness and complexity to the harmonies. Overall, Andante et Scherzo expresses the impressionistic style of the French at the turn of the 20th century.
Albus Shih, Tenor Sax, Class of 2027
Crescent City Postcards for trombone quintet was commissioned by and dedicated to Tromboteam! and I am honored to have collaborated with that ensemble. Each of the three short movements of Crescent City Postcards is a meditation on some aspect of the city of New Orleans, an area I lived near for seven years. The first movement is a quasi-synthesis of Ravel's Valses Nobles et Sentimentales with the music of Bill Evans or Vince Guaraldi. It is at heart a love song, a combination of jazz waltz and slow ballad meant to evoke the serene and melancholic vista of Lake Pontchartrain during a summer sunset.
Program notes by composer
Karl Goepfart, a concert pianist and conductor, brings together both lyrical melodies and dazzling runs in his Trio for Flute, Oboe, and Piano in E flat Major, Op. 74, while portraying distinct contrasts between each movement. The first movement is separated into two sections that alternate with each other. This creates contrast between the first long, flowing melody and the second brighter and syncopated theme. The opening piano solo leads into a continuous line of melodies exchanged between the oboe and flute, creating a lush atmosphere throughout the movement. The second movement features a beautiful, flowing melody that depicts a solemn song without words as the oboe and flute lines are accompanied by harmonious piano chords. It maintains a fairly sorrowful tone throughout while still bringing out the passing melodies between the players. A sharp contrast is seen with the third movement, a brisk finale that is marked with bright running lines accompanied by a charming theme between the oboe and flute. It features an exchange between long, lyrical melodies and racing runs, emphasizing the complexity of the piece throughout the movement. Goepfart’s Trio in E flat Major, Op. 74 takes you through various atmospheres of both melancholy and bright emotions.
Chloe Harsojo, Piano, Class of 2019
Hungarian born composer István Kohán began his musical journey at a young age when he first picked up the clarinet and quickly developed a passion for klezmer music. Influenced by his father who was also a clarinetist, he began taking lessons with him. Kohan’s compositions present a combination of traditional klezmer music with a modern twist.
Kozertstück á la Feidman was written as a homage to the renowned clarinetist, Giora Feidman. Similar to Kohan, Feidman was also a skilled klezmer musician. Tonight, you will be hearing the first and third movements. Throughout the piece, you may hear many klezmer techniques such as glissandos and note bending. The first movement, Freilach, begins with the solo cadenzas from each clarinetist. Then it is followed by a spirited dance that is accompanied by the syncopated melody from the pianist. Presto, the final movement, is fast paced and full of energy. Building on themes from earlier, this movement displays a whirlwind of virtuosity and rhythmic vitality through its technical runs that continue for the rest of the piece.
Rick Chi, Clarinet, Class of 2026
The 2001 French film, "Amélie," became an international sensation, receiving widespread acclaim for its charming visuals, delightful storytelling, and enchanting soundtrack. It has since achieved cult status and continues to be celebrated for its unique blend of romance, comedy, and whimsy. Its success led to various adaptations, including a musical, which further cemented its place in popular culture.
Premiering in 2015, "Amelie the Musical" underwent several transformations before receiving critical acclaim for the 2019 Broadway production. The musical’s opening number, "Times Are Hard for Dreamers," captures the essence of the film's protagonist, Amélie Poulain, expressing her longing for a world where dreams can flourish despite the challenges and disappointments of reality. Composer Daniel Messe and lyricist Nathan Tysen successfully captured the charm of the original film, which was hailed as "a triumph of adaptation" and "a wonderful, wistful evening." The musical received three nominations at the 2020 Laurence Olivier Awards, including Best New Musical and Best Original Score or New Orchestrations.
Beginning in 1935, Prokofiev and his children had become frequent attendees of the Moscow Children’s Theater among their many trips back to the Soviet Union. Finally establishing his permanent residence in the USSR after living abroad for over a decade, Prokofiev was commissioned by the theater’s director, Natalia Staz, to write a work introducing the various instruments to young audiences. Excited by the proposed project, Prokofiev immediately began work on Peter and the Wolf—a story about a young boy unafraid to challenge authority.
In writing the piece, Prokofiev composed various leitmotifs on each instrument to denote a different character in the story. The intent was that as young audiences listened to the piece, they would become more familiar with the diverse musical sounds of each instrument. As such, the work begins with the strings introducing Peter’s theme, followed by the bird with a theme on the flute, the oboe characterizing the duck, the cat with the clarinet, the grandfather with the bassoon, the wolf with three French horns, and the hunters with percussion. Originally working with a poet to draft the story, Prokofiev was displeased with the poet’s work and ultimately decided to write the complete story and narration himself. In just two weeks, Prokofiev had finished the score, and the piece has since become one of history's most widely performed and recorded works of classical music.
Vito Samaniego, Viola, Class of 2024
As a leading composer of the Romantic period, Antonin Dvořák is well known for his symphonic works and string quartets. One of his lesser known pieces, Miniatures, presents simple and enjoyable melodies while employing a unique instrumentation consisting of two violins and a viola. This piece was written to be an intimate piece for Dvorak to play alongside two of his friends. While originally composed as another string trio titled Terzetto, this composition proved to be too technically advanced for one of the string players. As a result, Dvorak modified and simplified the trio to transform Terzetto into what is now known as the Miniatures.
The first movement, Catavina, is made up of charming and lyrical melodies played by the first violin while being accompanied by sweet, flowing bass lines in the second violin and viola. Moving away from the serenity emulated in the first movement, the second movement, labeled as Capriccio, takes on an aggressive and agitated tone. Inspired by his Bohemic roots, Dvorak weaves elements of Bohemia folk music into three distinct themes.
Jaelynn Au, Viola, Class of 2026
Eugene Bozza was best known for his chamber music for winds and was the conductor of the Paris Opéra-Comique from 1939 to 1948. In his 1938 work for saxophone quartet, Andante et Scherzo, Bozza communicates emotions of tranquility and joy through two contrasting movements. Per the fact that French Impressionist composers took inspiration from pentatonic scales and harmonies, the tenor saxophone solo at the beginning of the Andante movement is often described as sounding “asian”. In contrast, the Scherzo adds speed and bounce to the rhythm, using fast-moving dynamics to emulate speeding up or slowing down. It brings in more note-heavy and technical parts, where many melodies are passed around the different voices. Additionally, Bozza frequently uses chromaticism to add playfulness and complexity to the harmonies. Overall, Andante et Scherzo expresses the impressionistic style of the French at the turn of the 20th century.
Albus Shih, Tenor Sax, Class of 2027
Crescent City Postcards for trombone quintet was commissioned by and dedicated to Tromboteam! and I am honored to have collaborated with that ensemble. Each of the three short movements of Crescent City Postcards is a meditation on some aspect of the city of New Orleans, an area I lived near for seven years. The first movement is a quasi-synthesis of Ravel's Valses Nobles et Sentimentales with the music of Bill Evans or Vince Guaraldi. It is at heart a love song, a combination of jazz waltz and slow ballad meant to evoke the serene and melancholic vista of Lake Pontchartrain during a summer sunset.
Program notes by composer
Karl Goepfart, a concert pianist and conductor, brings together both lyrical melodies and dazzling runs in his Trio for Flute, Oboe, and Piano in E flat Major, Op. 74, while portraying distinct contrasts between each movement. The first movement is separated into two sections that alternate with each other. This creates contrast between the first long, flowing melody and the second brighter and syncopated theme. The opening piano solo leads into a continuous line of melodies exchanged between the oboe and flute, creating a lush atmosphere throughout the movement. The second movement features a beautiful, flowing melody that depicts a solemn song without words as the oboe and flute lines are accompanied by harmonious piano chords. It maintains a fairly sorrowful tone throughout while still bringing out the passing melodies between the players. A sharp contrast is seen with the third movement, a brisk finale that is marked with bright running lines accompanied by a charming theme between the oboe and flute. It features an exchange between long, lyrical melodies and racing runs, emphasizing the complexity of the piece throughout the movement. Goepfart’s Trio in E flat Major, Op. 74 takes you through various atmospheres of both melancholy and bright emotions.
Chloe Harsojo, Piano, Class of 2019
Hungarian born composer István Kohán began his musical journey at a young age when he first picked up the clarinet and quickly developed a passion for klezmer music. Influenced by his father who was also a clarinetist, he began taking lessons with him. Kohan’s compositions present a combination of traditional klezmer music with a modern twist.
Kozertstück á la Feidman was written as a homage to the renowned clarinetist, Giora Feidman. Similar to Kohan, Feidman was also a skilled klezmer musician. Tonight, you will be hearing the first and third movements. Throughout the piece, you may hear many klezmer techniques such as glissandos and note bending. The first movement, Freilach, begins with the solo cadenzas from each clarinetist. Then it is followed by a spirited dance that is accompanied by the syncopated melody from the pianist. Presto, the final movement, is fast paced and full of energy. Building on themes from earlier, this movement displays a whirlwind of virtuosity and rhythmic vitality through its technical runs that continue for the rest of the piece.
Rick Chi, Clarinet, Class of 2026
The 2001 French film, "Amélie," became an international sensation, receiving widespread acclaim for its charming visuals, delightful storytelling, and enchanting soundtrack. It has since achieved cult status and continues to be celebrated for its unique blend of romance, comedy, and whimsy. Its success led to various adaptations, including a musical, which further cemented its place in popular culture.
Premiering in 2015, "Amelie the Musical" underwent several transformations before receiving critical acclaim for the 2019 Broadway production. The musical’s opening number, "Times Are Hard for Dreamers," captures the essence of the film's protagonist, Amélie Poulain, expressing her longing for a world where dreams can flourish despite the challenges and disappointments of reality. Composer Daniel Messe and lyricist Nathan Tysen successfully captured the charm of the original film, which was hailed as "a triumph of adaptation" and "a wonderful, wistful evening." The musical received three nominations at the 2020 Laurence Olivier Awards, including Best New Musical and Best Original Score or New Orchestrations.
Beginning in 1935, Prokofiev and his children had become frequent attendees of the Moscow Children’s Theater among their many trips back to the Soviet Union. Finally establishing his permanent residence in the USSR after living abroad for over a decade, Prokofiev was commissioned by the theater’s director, Natalia Staz, to write a work introducing the various instruments to young audiences. Excited by the proposed project, Prokofiev immediately began work on Peter and the Wolf—a story about a young boy unafraid to challenge authority.
In writing the piece, Prokofiev composed various leitmotifs on each instrument to denote a different character in the story. The intent was that as young audiences listened to the piece, they would become more familiar with the diverse musical sounds of each instrument. As such, the work begins with the strings introducing Peter’s theme, followed by the bird with a theme on the flute, the oboe characterizing the duck, the cat with the clarinet, the grandfather with the bassoon, the wolf with three French horns, and the hunters with percussion. Originally working with a poet to draft the story, Prokofiev was displeased with the poet’s work and ultimately decided to write the complete story and narration himself. In just two weeks, Prokofiev had finished the score, and the piece has since become one of history's most widely performed and recorded works of classical music.
Vito Samaniego, Viola, Class of 2024