AYO Program.December.concert #1

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M I S S I O N S T A T E M E N T

The mission of the Alaska Youth Orchestras is to build musicianship, inspire our youth to love music, offer enriching opportunities for music performance, and create a musical legacy that will sustain arts throughout the lives of our members and our communities.

C O N T A C T I N F O R M A T I O N

Alaska Youth OrchestrasP.O. Box 240541 • Anchorage, Alaska 99524

Email | [email protected] • Website | www.anchorageyouthsymphony.org

S T A F FArtistic Director – Linn Weeda

Executive Director – Darla BrooksAnchorage Youth Philharmonic Conductor – Tevya Robbins

Chamber Music Director – Laura Koenig

B O A R D O F D I R E C T O R S

A C K N O W L E D G M E N T SAnchorage School District

ASD Music TeachersBruce Wood, Music Coordinator

University of Alaska Anchorage, Music DepartmentEast High School

P H O T O S & S U P P O R TPhotos for our program were contributed by Clark James Mishler. AYO thanks you!

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Tanguy Libbrecht, Board President Patrick Rumley, Vice President

Kim Morris, Treasurer

Stanley Brown Daniel Whitfield

Bob Amos, Director Emeritus

Alaska Youth Orchestras is supported, in part, by a grant from the Alaska State Council on the Arts and the National Endowment for the Arts. Additional support from the Municipality of Anchorage, the Rasmuson Foundation, and the Alaska Arts and Culture Foundation.


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We welcome you to our first concert of the Alaska Youth Orchestras season!

The newest change you will see this year are new leaders within the organizations: Tevya Robbins now leads the Youth Philharmonic, providing us with a wealth of experience and training. We look forward to great music making from AYP!

And our new Executive Director is Darla Brooks. She has already infused the administration of our organization with energy and spirit. We all are excited about our growth together!

Also new is the shell that encloses the Discovery Stage. This is part of the $1.7 million privately funded renovation that gave the Atwood Hall a new, acoustically and visually stunning shell, and moved the shell from the Atwood to Discovery. This shell was originally designed for this hall, but has rarely been used in Discovery. The Youth Symphonies participated in testing the shell at the very beginning of the season. We can’t be happier with the new acoustics of Discovery!

Tonight’s concert has a wide variety of music, from Bach through standard works in the repertoire to modern ‘pops’ repertoire. This reflects our philosophy of providing a wide variety of orchestral experience for our members and their families.

With all best wishes,Linn Weeda, Artistic Director

LINN WEEDAARTISTIC DIRECTOR



It is with great pleasure to have been chosen as the new Executive Director for Alaska Youth Orchestras. I hope to increase organizational efficiencies, build and retain board members, provide support to our conductors, performers and their families. I can see that many people have created something great here. I'll strive

to make a significant contribution to Alaska Youth Orchestras.

My background includes being a founding board member of the ATA, management roles, head tennis coach for a decade at Robert Service High School, fund-raising, and almost two decades working in radio broadcasting. As a parent and grandparent, I recognize the importance of providing young adults with great organizations and opportunities. They are the strong bridges into adulthood.

I look forward to working with all our parents, staff, performers, everyone that makes up Alaska Youth Orchestras.

Sincerely,

Darla Brooks, Executive Director

DARLA BROOKSEXECUTIVE DIRECTOR



On behalf of the board and staff of the Alaska Youth Orchestras

Welcome to another exciting season of wondrous music with the Alaska Youth Orchestra. AYO Music Director Linn Weeda and Anchorage Youth Philharmonic Conductor Tevya Robbins have put together some inspiring musical

selections that showcase the amazing talent of our young musicians, who have worked hard to make the magic you will hear this evening.

Thank you to parents and family members for supporting your children in their pursuit of beautiful music. You are the reason that they are here with us today. Your patience, dedication and support of your young musicians have made all of this possible tonight.

As we start this season, we are delighted to welcome Darla Brooks as our new Executive Director. She is already hard at work ensuring, financial support and rich musical opportunities for Alaska Youth Orchestras. You can help the Board and help Darla by volunteering a few hours of your time to make us a stronger organization.

This year, we are updating/upgrading quite a few items, including our webpage, some of our instruments and even our photo and video archives. This is all part of a continuing effort to upgrade our organization and Youth Orchestras brand. All of this, of course takes funding. Please remember that we have opportunities to sponsor a chair or a section. This will, of course be recognized in our programs.

Last of all; please put our next concert on your calendar as well, on March 3. This will also be time for our traditional winter auction, an annual tradition that is both fun and important to the organization. Please remember that every dollar that you contribute to tickets, sponsorships and dues goes directly to ensuring that the Alaska Youth Orchestras continues to make beautiful music, nurturing our amazingly talented young artists.

Warmly,Tanguy Libbrecht, Board President

TANGUY LIBBRECHTBOARD PRESIDENT’S LETTER


LINN WEEDAANCHORAGE YOUTH SYMPHONY CONDUCTOR

A lifelong Alaskan, Linn Weeda received his baccalaureate from UAF, where his trumpet teacher was James Kowalsky and his conducting teacher was Gordon Wright. He received his Master’s from Boston University, where he studied trumpet with Armando Ghitalla and Roger Voisin, won the concerto competition, and was student of the year.

Further studies were with Julio Tancredi in trumpet, Larry Scripp in solfege, Charles Bruck and Gunther Schuller in conducting. He has also studied with

the principal trumpeters of the Atlanta, London, Los Angeles, and Rotterdam orchestras.

As a freelancer in Boston, he was a member of a number of orchestras and was heard nationally on National Public Radio performing on baroque trumpet with the Smithsonian Chamber Players. He has given recitals and performed concertos throughout the country and in Asia.

He has appeared with most of the orchestras and festivals in Alaska as soloist – most recently appearing with the Anchorage Symphony, performing a world premier of a trumpet concerto written for him by Boston composer Louis Stewart.

“He has appeared with most of the orchestras and festivals in Alaska as soloist – most recently appearing with the Anchorage Symphony, performing a world premier of a trumpet concerto written for him by Boston composer Louis Stewart.”

As a conductor, Weeda led orchestras in the United States, Australia, New Zealand, and Germany. He has been Music Director of the Fairbanks Youth Symphony and founded the Tupelo (Mississippi) Community Orchestra. He was Staff Conductor of the Greater Boston Youth Symphony. He regularly conducts the Anchorage Symphony Orchestra in the annual Halloween concert and in Young People’s Concerts. He has led the AYS on tours within Alaska and on international tours to Australia and, in the summer of 2010, to China.

Currently Weeda is Music Director of the Anchorage Youth Symphony, Assistant Music Director and Principal Trumpet of the Anchorage Symphony, Principal Trumpet of the Anchorage Opera. In addition to his many credits as a performer, Weeda has taught at King’s Lake Music Camp, University of Alaska Fairbanks Summer Fine Arts Camp, and the Fairbanks Summer Arts Festival. In addition he teaches classes in ear training, solfege, and trumpet at the University of Alaska Anchorage.

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TEVYA ROBBINS ANCHORAGE YOUTH PHILHARMONIC

Mr. Tevya Robbins received two Bachelor of Arts Degrees in Music Education and Political Science from Humboldt State University. He has earned a M.M. in Instrumental Conducting

from Portland State University. He has had opportunities to conduct the Beaverton Community Band and the Portland State University Wind Ensemble. Mr. Robbins is

currently the Band Director at East Anchorage High School. He has a love of music and a love of being involved in the education of young people.

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VIOLIN 1Emma Clink, principal

Emily JensenMariya Gilliland

Emily DeckerFaith Marroquin

William SonSiobhan WhittleStephen KagererVasily SoloviewYohei Fujimoto

Jessen Cao

VIOLIN 2Jacob Morris, principal

Catherine McKoySerena InoueClaire Bredar

Naomi RatcliffeSabine Kretschek

Jacob KaasJerry Yang

Hanna HellenAnton Risse

VIOLASarah Bartholomew, principal

Luke HoneckPiper Kurtz

Katrina BrownClaudia Wong

John LeeJohn Paul LaChapelle

Madison Smith Cade MorganSylvia Taylor

CELLOErin Kim, principal

Sarah SoudersCaleb Kaas

Edouard SeryozhenkovFoster Birnbaum

Sterling GingerichCiara WhittakerPaul Lindemuth

BASS

Harrison Greenough, principalEmily Arsenault

Myah PrecieWillow GroskreutzSpencer DeBerard

Gannon Lawley

FLUTECatherine Goolsby, principal

Isabelle LibbrechtJoyce Kim

OBOERemy Libbrecht, principal

Ansley MorrisJames Homsley

Emily Reast

CLARINETAllison Stapleford, principal

Krista StaplefordJoseph CagleyArthur Welsh

Ig-Gun (Jason) Choi

BASSOONMerrigan Horn, principal

Natalie TalcottJenna Morris

HORNEvan Hagen, principal

Hannah BrownAlexander HammMaggie Spotanski

Emma Thomas

TRUMPETBryce Davis, principal

Gus FloerchingerJayden Frazer

Iman Allen

TROMBONEBenton Campbell, principal

TUBADrew Cochran, principal

PERCUSSIONAlexander Wong, principal

Naomi EndresNoah Chesterman

Eli NeslundNiklas Pieper

HARPKailey Gates

GUESTSDr. Christopher Sweeney, Trombone

Seth Bodine, Trombone

ANCHORAGE YOUTH SYMPHONY


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VIOLIN 1Hahni Johnson, principal

Maria KlingAbigail Luiken

Lou Mei GutschKelli Thomas

Jose AbdelnoorJoel Beich

Sujin In

VIOLIN 2Jinah Yoon, principal

Sarah ChenPeter StiassnyCaleb Swan

Karmen WycheMadeline Maurer

VIOLA

Cory McDonald, principalAaron Jenkins

Sarah WolskiCharles PanigeoNoah AmasonAlice PrenticeIsabelle Pope

CELLOCamille Heubner, principal

Alexander DaskalosRachel Morgan

BASSKatelyn Marshall, principal

Sarah Earnhart

FLUTEElizabeth Van Alstine, principal

Yu-Jin ChoiChelsea Hutchings

OBOEAntonia Barela, principal

Jared LowtherMichael Fischer

CLARINETAngela Frazer, principal

Gabriel DartDylan Cerveny

Claretha Graydon

TRUMPETChandra Boyle, principal

Tuan Graziano

TROMBONEThomas Tyler, principal

PERCUSSIONNoah Greene, principal

ANCHORAGE YOUTH PHILHARMONIC


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S E N I O R P R O F I L E

SARAH BARTHOLOMEW (VIOLA) Ms. Bartholomew’s many musical awards, accomplishments and honors include All-State Orchestra 2012, 2013. She was first chair in 2013. Sarah was the recipient of the Daniel Pearl Memorial Viola Award in 2012. She also placed third in the Rocky Grass National Fiddle Competition in that same year. Her other accomplishments and honors include the KTUU Fund the Future Award, The Presidential Volunteer Award, Alaska Spirit of Youth Award and Scholarship in 2012, along with being a University of Alaska

Scholar in 2014. Ms. Bartholomew’s hobbies and other interests are drawing, painting and an interest in life sciences. Sarah’s future plans are to attend Appalachian State University in NC and earn a degree in music therapy.

EMILY DECKER (VIOLIN) Ms. Decker’s musical accomplishments include participation in All-State and the State Solo and Ensemble. Emily is on the Honor Roll at West High School, is a member of the National Honor Society, and a National Spanish Exam Honoree. She has participated in a gifted mentorship program with an ER doctor and has been a NANA Nordic Ski Ambassador. Her future plans will be either on the pre-med track or environmental studies.

GUS FLOERCHINGER (TRUMPET) Mr. Floerchinger was selected for All-State three consecutive years. He garnered Superior ratings at the regional and state levels his Junior year.

Gus lettered three years with the South High Band and currently serves as Band President. He is also a member of the National Honor Society and a Tri-M member. His hobbies and other interests include robotic design and engineering, skiing, shooting sports, including trap, skeet, and sporting clays. Mr. Floerchinger will be pursuing a mechanical engineering degree after graduating from South High School.

STERLING GINGERICH (CELLO) Mr. Gingerich’s musical awards, accomplishments and honors include Alaska All-State Orchestra in 2013 and 2014. He also participated in the State Solo and Small Ensemble Competition. Sterling received a Command Performance Nomination in 2014. Mr. Gingerich is a National Merit Semifinalist, AP Scholar and was a US Senate Page the summer of 2014. He enjoys playing saxophone and is highly interested in politics and chemistry. Sterling’s future plans include pursuing a Bachelor of Music in Performance degree.

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LUKE HONECK (VIOLA) Mr. Honeck’s many musical awards, accomplishments and honors include Guest Performer with the Kenai Peninsula Orchestra, All-State 2012 and 2013.

Luke has performed with The Anchorage Opera Pit Orchestra and has sung with The Anchorage Opera Chorus. If he is not playing his viola Luke is singing. Mr. Honeck’s love of all music knows no bounds. His future plans include studying Vocal Performance with a focus on opera at a small music conservatory and pursue a career in opera.

“Membership in AYO has exposed me to such wonderful symphonic works. I have developed such appreciation for so many composers-some of whom I never would have known about! Through being a principal player, I have developed admirable leadership skills and an appreciation and understanding of large group activities and settings. I am truly thankful for all I have learned here.” Luke Honeck, 2014.

MERRIGAN HORN (BASSOON) Ms. Horn has been a member of AYO for the past four years. She has also played with the Anchorage Civic Orchestra and the Kenai Peninsula Orchestra. In the past two years, Merrigan learned how to play contrabassoon, which she also played for AYS. Her other awards, accomplishments or honors include a two-year varsity letter for the Dimond High Riflery Team. In May she will receive her Completion Cord for the Japanese Immersion Program which she has been a part of since the second grade. Merrigan’s hobbies and interests include, both digital and film photography, writing, listening to music and traveling. She will be attending Utah State University in the fall of 2015 where she would like to major in music therapy and minor in Japanese. Merrigan would like to extend her thanks to her parents and Hal Nonneman, for their help and support over the years. She also expressed thanks to The Alaska Youth Orchestras. She stated that Mondays were her favorite day of the week thanks to rehearsals. Her four years with AYO has been life-changing having met lifelong friends along with the opportunities to play in beautiful historic venues.

PIPER KURTZ (VIOLA) Mr. Kurtz has played with The Anchorage Youth Symphony four years. He plays first chair viola for West High. His musical awards, accomplishments and

honors also include All-Northwest, All-State his sophomore year along with this year. Piper is also a member of the National Honors Society for the past three years, Key Club, along with lettering twice with the West High Soccer Team. His hobbies and other interests include saxophone, international travel, psychology, soccer and teaching at Highland Women’s Prison. After graduating from West High School, Mr. Kurtz will attend Claremont McKenna in the fall and pursue a

degree in political science.

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PAUL LINDEMUTH (CELLO) Paul has been playing cello for six years. He lettered in the West High Symphonic Orchestra. Other awards accomplishments or honors include, lettering twice on the West Varsity Tennis Team, four varsity letters for the West High Track Team and four West High Academic letters. His film debut at the Bear Tooth Theater was also a crowning achievement for Mr. Lindemuth. His hobbies include, composing music, alpine skiing, traveling, camping,

filmmaking, and making omelets. Paul’s future plans are to study dentistry or filmmaking.

ALLISON STAPLEFORD (CLARINET) Ms. Stapleford has performed with Alaska Youth Orchestra four years. She has been the Principle Clarinet for The Anchorage Youth Symphony for the past two years. Allison’s musical awards, accomplishments and honors include playing with the All-State Orchestra four years, earning a first chair medallion twice. She played with the All-Northwest Band her Junior year. She also competed two years in the State Solo and Small Ensemble Competition. In Allison’s Junior year she was an Anchorage Civic Orchestra Concerto Competition winner along with an MTNA State winner. She currently serves as the Symphonic Band President at South High School where she also received a Varsity Letter. Ms. Stapleford is a member of the National Honor Society and the Tri-M Club. When she is not practicing her clarinet, she enjoys baking, traveling, doing puzzles, yoga and cuddling with her beloved cat. Her plans for the future include pursuing a degree in Clarinet Performance and possibly Music Education.

“Being A member of AYS has opened up a whole world of classical music that I was never previously exposed to. From touring in Europe to performing Coplands Appalachian Spring, to being a part of four very different sections throughout the years, AYO has given me experiences I can't gain elsewhere. Thanks to AYO I now have memories and friendships I will take with me in the next stage of my life!” Allison Stapleford, 2014.


These generous individuals have chosen to recognize the hard work and immense energy displayed by these part icular musicians.

B R A V O !O R C H E S T R A S P O N S O R S H I P

Alex Wong - Silas & Sofia Wong

O B O E

Emily Reast - Timothy & Joanna Reast

T R O M B O N E

Benton Campbell - Campbell Family

C L A R I N E T

Joseph Cagley - Scott & Vicki Cagley

V I O L A

John Paul LaChapelle - Ravnit & Francis LaChapelle

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JOHN ASBJORN OSNESMaker and repairer of violins, violas, cellos.

8900 Jupiter Drive, Anchorage, Alaska 99507 • Tel: 907.346.3609 Res: 907.346.4615 • www.osnesviolins.com • [email protected]


LIKE our Facebook page!For more information on upcoming

auditions and the 2014-2015 season, please visit www.

anchorageyouthsymphony.org


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A laska Youth Orchestras ProgramLinn Weeda, Music Director

December 2, 2014 • 7 PM in the Discovery Theater

Anchorage Youth Phi lharmonicTevya Robbins, Conductor

Modeste Mussorgsky ............................................................................. Night on Bald Mountain

Johann Sebastian Bach/arr J.J. Abert ................................................ Prelude, Choral and Fugue

Andrew Lloyd Webber ...............................................Selections from The Phantom of the Opera

Anchorage Youth SymphonyLinn Weeda, Conductor

Franz von Suppé .................................................................................. Overture to Light Cavalry

Sergei Prokofiev ............................................................................... Lieutenant Kijé Suite op. 60 I. The Birth of Kijé II. Romance III. Kijé's Wedding IV. Troika V. The Burial of KijéLudwig van Beethoven ........................................................................Overture to Fidelio, op. 72

Nikolai Rimsky-Korsakov ...................................................................Capriccio Espagnol, op. 34 I. Alborada II. Variazioni III. Alborada IV. Scena e canto gitano V. Fandango asturiano

I N T E R M I S S I O N

Anchorage Youth Symphony and Anchorage Youth Phi lharmonicLinn Weeda, Conductor

Felix Mendelssohn ...................................... Wedding March from A Midsummer Night's Dream

Thanks to Corliss Kimmel for use of percussion instruments

I N T E R M I S S I O N


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Program Notes by Linn Weeda

Night on Bald Mountain (Noch’ na lïsoy gore)

Modeste MussorgskyBorn in Karevo, March 9/21, 1839. Died in St. Petersburg March 16/21, 1881.Composed in 1867. Premier of Rimsky-Korsakov version October 15, 1886, Russian Symphony Concerts, Rimsky-Korsakov conducting.

Modeste Mussorgsky was one of the most important figures of the Russian nationalist school of composition called the Kushka. Like other late Romantic nationalistic composers, Mussorgsky wanted to use musical language that reflected Russian folklore, language, and folk songs.

His contemporaries in Kushka admired Mussorgsky’s originality and creativity, but they considered him unschooled and ‘uncouth’. Struggling to survive for most of his life, he suffered from alcoholism that would eventually kill him. Despite these setbacks, his output of music, while small in number, is astonishing: three complete song cycles; one of Russia’s greatest operas, Boris Godunov along with other stage works; and one of the most often performed works in both the piano literature and orchestral concerts, Pictures at an Exhibition.

Pictures illustrates one of the problems with Mussorgsky’s music: many later musicians have transcribed, arranged and even completely changed his music, all in the interest in bringing out



the ‘true’ Mussorgsky. Pictures has been orchestrated at least seven times, most famously by Maurice Ravel. The composer’s friend Nicolai Rimsky-Korsakov significantly reworked Night on Bald Mountain a few years after Mussorgsky’s death.

Originally conceived as a response to Liszt’s immensely popular Totentanz, Mussorgsky best describes his own ideas of the work, set on the eve of St. John’s night:

“… the witches used to gather on this mountain, ... gossip, play tricks and await their chief — Satan. On his arrival they form a circle round the throne on which he sat… and sang his praise. Satan gave the command for the Sabbath, The form and character of the composition are Russian and original... I wrote St. John’s Night (Mussorgsky’s original name for the work) quickly. I wrote it in about twelve days, glory to God... While at work on St. John’s Night I didn’t sleep at night and actually finished the work on the eve of St. John’s Day, it seethed within me so, and I simply didn’t know what was happening within me.

Mussorgsky utilized the music and concept of this piece in two subsequent compositions: a concert piece for vocalist and orchestra (Glorification of Chornobog from Mlada which is now lost). A second version is from the composer’s third unfinished opera, Sorochintsï Fair. It is from the vocal score of this work that Rimsky-Korsakov fashioned the work heard tonight.

This brilliant work opens with the buzzing of witches leading to a bombastic theme played in the low brass. Fanfares and wild dance music ensue, sometimes punctuated by contrasting, slower music – as if the witches are catching their breath. This all leads to a culmination that is wild beyond imagination: a sudden silence is followed by dawn on St. John’s Day, depicted with six bell strokes from a distant church. The spell of the witch’s dance is broken.

Prelude, Choral and Fugue

Johann Sebastian Bach (arranged by J.J. Aber t)Born in Pesaro, Italy in 1685. Died in Leipzig, Germany in 1750.Prelude was composer around 1722. The Fugue was most likely composed in between 1717 and 1723.

As an organist, Bach was an imminently practical musician. That he produced monuments to musical art attests to his incredible training, background, and of course genius. There are many forms in which Bach wrote his organ music, but his preludes and fugues are considered some of the crowning examples of music for this noble instrument.

The Prelude, Choral and Fugue heard tonight was arranged for orchestra by the Czech composer and double bassist Johann Joseph Abert (1832-1915). The music was drawn from two sources: Bach’s prelude in C# minor BWV 849 from his Well Tempered Clavier Book 1, and from his Prelude and Fugue in G minor (“The Great”) BWV 542. Abert freely composed the Chorale.


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Bach composed the Well Tempered Clavier around 1722. WTC is a set of preludes and fugues, each set in one of the 24 major and minor keys. This beautiful prelude was originally in C# minor.

The second movement (Choral) was composed by Abert in the style of Bach, and features the brass.

One of the more interesting facts about the fugue is that it was probably written in an unsuccessful attempt to gain a position in Hamburg. The fugue – full of technical complexity – was undoubtedly designed to show off Bach’s skills both as a composer and as a performer. One of the chief examiners at this job interview was Dutch, so Bach utilizes a lively Dutch folk song as its subject.

Overture to The Light Cavalry

Franz von SuppéBorn April 18, 1819 in Spalato (now Split), Dalmatia (now Croatia). Died May 21, 1895 in Vienna. Opera premiered on March 21, 1866 in the Carltheater in Vienna.

One of the most popular composers in German speaking lands during his lifetime, Franz von Suppé works are now rarely performed. The exceptions are two or three overtures, one of which is heard tonight. Written for an operetta that has not been staged since its premiere, through the overture one can sense the frothiness and fun of the operetta, as well as the composer’s Eastern European background.

Von Suppé wrote some 30 operettas and 180 farces, along with a smattering of more serious works. Born in Dalmatia, he studied flute and harmony in Italy as a young man. He was enticed to Vienna to learn the craft of conducting in the theater, becoming one of the most successful theater conductors of his generation, all the while producing hundreds of compositions.

The Overture to The Light Cavalry opens with a typical military fanfare, and after brief passage work for the strings, comes to the most familiar part of the overture, used in innumerable cartoons, spoofs, and commercials. One instantly recognizes the sound of horses galloping. An interlude of Gypsy style music provides relief before the previous galloping music returns, brilliantly ending after a recapitulation of the fanfare from the beginning.



Lieutenant Kijé Suite

Sergei ProkofievBorn in Sontzovka, 1891. Died in Moscow, 1953Film score composed and recorded in 1934. Suite arranged 1937. Premier in 1937 in Paris with thecomposer conducting.

In the spring of 1933 the Soviet film director Feinzimmer asked Prokofiev to write a score for a satirical film based on a tale by the nineteenth century Russian author Uri Tynyanov. In the tale, a military clerk creates a person through a misprint resulting from an accidental joining of a suffix with an expletive. The compound was inadvertently mistaken for a name of a real person, and stupid military bureaucrats of the Czar promoted the suffix plus expletive to a higher rank. Because the Czar had already signed his promotion, Lieutenant Kijé became a real person. His history was made up: his birth, wedding, career, and finally death. The Czar was never the wiser. The story is a wry commentary on the nature of bureaucracy and its relationship to dictatorial power.

Prokofiev had never worked on a film score before, but accepted the challenge and worked on the score in Paris during the following summer. The film was shown briefly in Leningrad, but soon disappeared from circulation. The composer turned the music into a concert suite - expanding the orchestration and reordering the movements - and premiered it in Paris in 1937.

His music is appropriately grinning and satiric, full of vibrant rhythms and mock-sentimental songs. Our imaginary hero is born in a cornet solo, heard offstage. This same solo closes the work, signifying his death. Indeed, the whole suite (which is not in the order of the film music) is symmetrical: movements one and five are the birth and death of Kijé, movements two and four are songs (the suite can be done either with or without a singer). The first of these songs is a sentimental romantic song, while the fourth movement is a song about the ‘troika’ - the sleigh ride. The middle movement is rather bombastic, and depicts Kijé’s wedding - a party where everyone has a little too much ‘fun’.

This music was used in other contexts: in 1959 United Artists released The Horse’s Mouth, starring Alec Guinness. And Sting used the tune from the second movement in his song Russians from his first solo album The Dream of the Blue Turtles.

Overture to Fidelio, op. 72

Ludwig van BeethovenBorn in 1770 in Bonn, Germany. Died in 1827 in Vienna, Austria.Composed in 1814. First performance in Vienna on May 23, 1814, the composer conducting assisted by Michael Umlauf at the Kärtnerthor Theater, Vienna.

No other work of Beethoven demonstrates both his obsessive drive for perfection and the political nature of his thinking.


The compositional history of the composer’s only opera is convoluted. Originally composed in 1804-05, the opera’s subject matter was one dear to his heart. The opera tells the story of Leonore (disguised as a Spanish prison guard named Fidelio) and her rescue of her husband Florestan from death on trumped up political charges. The subtext of the drama is one of bravery in the face of overwhelming odds, in response to challenges to liberty, love and freedom. This reflects on the era of its composition: a week before its premier, the French occupied Vienna, and the audience at the premier were mostly French officers. Freedom indeed!

The first performances (and it’s overture – now call Leonore Overture No. 2) were a success, but for a performance in 1806 the opera was shortened from the original three acts to two with a subsequent new overture – now called Leonore Overture No. 3. The premier of this version was an even greater success. Finally in 1814, the opera was revived, and (ever the perfectionist) Beethoven composed yet a third overture – the Fidelio heard tonight – finally finding the perfect balance.

Leonore Overture Nos. 2 and 3 are magnificent compositions, but they are overwhelming orchestral works – long, fully dramatic concert overtures. Fidelio Overture is equally dramatic, but not as overwhelming; it fits better with the opening of the opera. Interestingly, this overture uses no themes from the opera. The only clue of Beethoven’s thinking is that all of the Leonore Overtures are in the key of C major. For the composer, this is the key of victory and liberation. However, the Fidelio Overture is in the key of E major, which is the key of hope and heroism in Leonore’s aria.

What about Leonore Overture No. 1? After a tryout with a chamber orchestra, Beethoven withdrew it. It was found after the composer’s death, and was most likely written in anticipation of a performance in Prague in 1807 that never occurred.

Capriccio Espagnol op. 34

Nicolai Rimsky-KorsakovBorn in 1844 in Tikhvin (near Novgorod), Russia. Died in 1908 in Liubensk (near St. Petersburg).Composed in 1887. First performance in St. Petersburg, 1887.

Originally trained as a Naval Officer, Rimsky-Korsakov became an important teacher of music, leading the newly formed St. Petersburg Conservatory from 1871 until his death. He was part of a group of Russian composers (the Kushka-sometimes translated as ‘the mighty handful’ or the ‘mighty five’ and included Cui, Borodin, Balakirev, and Mussorgsky) whose model for new music was the exoticism of the Russian landscape, the poetry and language of the Russia, and the myths and stories of the its people.

Like many nationalistic composers, Rimsky-Korsakov was also fascinated with exotic lands far away from his own. Capriccio Espagnol (Spanish Caprice) is a symphonic suite on themes that the composer borrowed from a collection of authentic Spanish songs. A tour de force of brilliant orchestration, the work displays a multicolored panoply of instrumental timbres.



The work opens with Alborada, which was originally music performed at dawn, especially on a festive occasion. The Variazioni is a set of Variations on a languid theme that is first played by the horn section. A return to the Alborada - this time in a slightly different orchestration - leads directly into the Scena e canto gitano (Gypsy scene and song) which starts with a series of cadenzas for the brass, violin, flute, clarinet, and finally harp, before the statement of the wild gypsy song. This movement proceeds directly to the trombones announcing the Fandango asturiano (Fandango from Asturias). This is a familiar dance in triple meter found throughout Spain. Again without break, the Alborada reappears as a coda, ending the suite.

A Midsummer Night’s Dream, op. 61: Wedding March

Felix MendelssohnBorn in Hamburg, Germany in 1809. Died in Leipzig in 1847.Composed in 1843. Theater production premier, October 14, 1843 in Potsdam. Concert performance premier in London, May 27, 1844, composer conducting.

The history of music can have no better example of a musical prodigy than that of Felix Mendelssohn. By the age of 17 he had composed numerous and masterly symphonies, songs, and most likely his most famous work, the Overture to A Midsummer Night’s Dream. His rise the musical world was fabulously rapid, and like Mozart - a prodigy with whom he is most often compared - his life was short-lived.

In 1842 Mendelssohn was asked by the King of Prussia to organize and direct the musical activities in Berlin. The composer was unhappy in Berlin where he was under appreciated by musicians and critics. Eventually he was released from his duties and returned to his home in Leipzig, where he had made the Leipzig Gewandhaus Orchestra into an internationally renowned ensemble. While in Berlin the King commissioned Mendelssohn to compose works for the theater. Mendelssohn returned to Shakespeare’s play A Midsummer Night’s Dream to which he had composed his now famous overture some 20 years earlier. He completed 12 numbers - ent’ractes, songs, choruses and the like. In addition to the overture, three movements comprise the most famous of these pieces: the Scherzo, Nocturne and Wedding March.

In the play, this march forms the entr’acte before the fifth act, where the royal marriage and that of the two young couples takes place. The Wedding March is so very familiar to listeners: thousands - even millions - of couples have walked down the wedding aisle using this music (or Wagner’s equally familiar march from Lohengrin). Because of our familiarity with this music, we can miss its ingenuities and delightful details. For instance, trumpets open with a fanfare in C major - yet the orchestra enters with chords not in that key! Another example is the wonderful middle section in two parts that offers a lyrical respite from the noisier music. Joyousness and good humor permeate this remarkable composition.



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History of the AYO

In the early 1960’s many individuals recognized the need for an orchestra for the youth of Anchorage. Forerunners of what became known as the Anchorage Youth Symphony were organized and conducted by such prominent local musicians and educators as Kurt Pasch, Jeanne (Ray) Bruhn, Charles Gorsuch, and Marlow Thomas. Young musicians of that period were trained in the Anchorage schools and gave many concerts throughout the city.

“The AYO encourages and supports the music program within the schools in the belief that great music played well instills in young people discipline and the joy of great musical ideas.”

In 1965 the Anchorage School District hired Frank Pinkerton as its director of music. In that position he formally organized the Anchorage Youth Symphony. As its music director, Mr. Pinkerton oversaw the expansion of opportunities to perform throughout the state, and the youth symphony’s reputation grew steadily.

Dewey Ehling replaced Frank Pinkerton as music director of both the Anchorage School District and the youth symphony. The Anchorage Youth Symphony Association became a 501(c)(3) non-profit in 1981. Until his retirement in 1986, he expanded the touring schedule, traveling and performing nationally and internationally.

In 1986 and 1987 Linn Weeda led the orchestra. In 1987, John Duff was appointed Music Director. During his tenure the orchestra toured Scotland. In 1991 Russell Guyver succeeded Duff, instituting a series of retreats to encourage the social interaction of members, as well as concerts in the Matanuska-Susitna valley.

Linn Weeda was again engaged as the Music Director in 1992, and continues in that position. In recent years the orchestra’s program has expanded to include coaching by local professional musicians, many who were in the youth symphony as young players. Other

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activities under Weeda have included a chamber music series, the formation of the Anchorage Youth Philharmonic, an alumni association and scholarships.

In 2012, the non-profit Anchorage Youth Symphony Association became Alaska Youth Orchestras.

Members of the orchestras are chosen each year during auditions in the spring, and are drawn from every public and private school in the area as well as from the Matanuska-Susitna valley. In previous years, students have flown in from Kodiak, Homer, and Kenai to rehearse and perform with the orchestras.

Without great music, education is not complete. Music education has long been an educational priority of the Anchorage School District with classes in orchestra, band, and chorus offered at the elementary, junior, and senior high levels. The AYO encourages and supports the music program within the schools in the belief that great music played well instills in young people discipline and the joy of great musical ideas.


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Upcoming Events for Alaska Youth Orchestras

M A R C H 3 R D , 2 0 1 5 • 7 P MJoin us for a celebration of the “American Perspectives” along with a special silent film

presentation, a first for the AYO. Join us for a historic evening. We will also be hosting a silent auction to benefit AYO. March 3. 7pm. Atwood Concert Hall.

M A Y 2 N D , 2 0 1 5 • 7 P MJoin us for our Spring Concert, closing out a wonderful year of joyful, inspiring classical

music. May 2. Discovery Theatre. 7pm.

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T H A N K - Y O U !Alaska Youth Orchestras wants to extend i ts thanks the fol lowing

donors who helped make our events and season possible.

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SUMMIT CLUB$7,500 OR MORE

Alaska Orchestral Music PTSACarrs/Safeway eScrip Program Municipality of Anchorage Arts

Commission

ANGEL $1000 to $7499

Alaska Arts & Health PTSAAlaska State Council on the ArtsCMI, Construction Machinery

Industrial, LLC.

PATRON $500 to $999

Revnit Basi-LaChapelle & Francis LaChappelleSilas & Sofia Wong

SUPPORTER $100 to $499

Victoria Cagley Robert & Blythe Campbell

Scott & Lisa DeBerardRuth Dukoff & Alan BirnbaumFred Meyer Rewards Program

Daniel HayesTimothy & Joanna Reast

FAN $50 to $99

Stanley Brown William & Julie Goolsby

FRIENDS $49 AND UNDER

Hirotoshi Inoue & Eun Young KimPatrick Marshall & Stephanie Wolf

IN KINDDONATIONS

Clark J. Mishler

Your Business Will Shinein the AYO Programs!

Want to see your business here? Your ad will be seen by the more than 5,000 patrons who will attend the 2014-2015 season. We have an ad size to fit any budget!

Contact us at [email protected]


YOU CAN HELP (NON-PROFIT) EARN DONATIONSJUST BY SHOPPING WITH YOUR FRED MEYER REWARDS CARD!

Fred Meyer is donating $2.5 million per year to non-profits in Alaska, Idaho, Oregon and Washington, based on where their customers tell them to give. Here’s how the program works:

• Sign up for the Community Rewards program by linking your Fred Meyer Rewards Card to (non-profit) at www.fredmeyer.com/communityrewards. You can search for us by our name, Alaska Youth Orchestras, or by our non- profit number, 85901.• Then, every time you shop and use your Rewards Card, you are helping (non- profit) earn a donation!• You still earn your Rewards Points, Fuel Points, and Rebates, just as you do today.• If you do not have a Rewards Card, they are available at the Customer Service desk of any Fred Meyer store.• For more information, please visit www.fredmeyer.com/communityrewards.

AYO Program.December.concert #1

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