, 1957 by April L. Racana by April January (1918-1990) World premiere: 26th piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, Over the next thirty years Bernstein continually revised the entire continually revised the entire Over the next thirty years Bernstein It has been said that Leonard Bernstein never approached any work the approached any work the never Bernstein that Leonard said been It has

Overture to "Candide" Overture to Leonard Bernstein Work composed: 1956 bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3,trombones, tuba, timpani, percussion (snare drum, tenor drum, harp, strings bass drum, triangle, cymbals, glockenspiel, xylophone）, Instrumentation:

24 Jun musical numerous times, with varying success in its many transformations. success in its many transformations. musical numerous times, with varying including The contains a mixture of tunes from the show, The ‘Overture’ , and Glitter and Be Gay. So Oh Happy We All Possible Worlds, Best of Philharmonic was Bernstein, and so York closely associated with the New concert following Bernstein’s well-loved was this work, that at a memorial without performed the ‘Overture’ death in 1990, members of the orchestra Laureate Conductor. a conductor as a tribute to the symphony’s may very well be the epitome the epitome his score for Candide may very well be same way twice, and and revise his he would go to continually rework of the extent to which dubbed both which has been The opening for this show, compositions. 1st, 1956 and was based on musical and operetta, came on December author by been adapted had which satire, eighteenth-century Voltaire’s only lasted 73 performances, The first run of the show Lillian Helman. to become an orchestral piece take long for the ‘Overture’ however it didn’t Philharmonic York with the New on its own, making its debut performance in January 1957. Program Notes Program

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Program Notes Jun Program Notes 27 24 Jun Program Notes Program (1898-1937) In the meantime, Gershwin had to follow through on the final follow through on the final In the meantime, Gershwin had to As the story goes, Gershwin had told bandleader Paul Whiteman Whiteman Paul told bandleader had Gershwin goes, story the As , George Gershwin was Gershwin was George American Rhapsody, Originally titled George Gershwin George in Blue Rhapsody , which was due to open in New York, York, rehearsals for Sweet Little Devil, which was due to open in New as well as accompany for soprano Eve Gauthier in a major recital, in the Gershwin revealed that big event. Later, Whiteman’s short time before that he was contemplating merging jazz influences with classical for jazz influences with classical for that he was contemplating merging Whiteman decided to afterward an upcoming composition. Shortly his band for an event called ‘An program a variety of works featuring The works were all intended to highlight Experiment in Modern Music.’ on jazz, and although he hadn’t with an emphasis ‘American Music’ Whiteman published in Gershwin, gotten a firm commitment from on a ‘jazz Gershwin was working that George Tribune York the New That was news to Gershwin, but in spite of for the occasion. concerto’ Whiteman convinced initial resistance due to previous commitments, composition melding jazz with Gershwin to complete his proposed classical styles. apparently convinced by his lyricist brother, Ira, that the title needed that the title needed Ira, by his lyricist brother, apparently convinced collaborator and a wordsmith experienced Being an some re-thinking. was inspired by Ira purportedly tunes with George, on so many popular “Nocturne imagery in such paintings as colour Whistler’s James McNeil Black”, when he and “Arrangement in Gray and in Black and Gold” that in title Rhapsody in Blue. Ironic perhaps, suggested the revised associated with theme from this work has become recent times, the main inspired by those the underlying rhythms were an airline, when initially on when he was pressed to complete of a train that Gershwin was riding upcoming performance. the work on very short notice for an was arranged for full of Rhapsody in Blue was arranged for full revised version A This first version, for a relatively smaller ensemble, was premiered was premiered for a relatively smaller ensemble, This first version,

1924(original version), 1942 (orchestral version) Work composed: 1924(original version), 1942 (orchestral World premiere: 12th February, 1924 (original version) Instrumentation: 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 3 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, triangle, cymbals, tam-tam, glockenspiel), 2 alto solo piano saxophones, tenor saxophone, strings,

orchestra, This version is the one most often presented also by Grofé. Gershwin to further pursue other in modern day performances, and led his own orchestrations, which classical compositions, later writing his true musical abilities. quelled many questions by critics regarding some of his best work in the time Gershwin would go on to compose would perhaps remain remaining in his short life, but Rhapsody in Blue to this day. his most popular work for audiences on February 12, 1924 at New York City’s Aeolian Hall. Gershwin had Aeolian Hall. Gershwin had City’s York at New on February 12, 1924 indicating only score the solo passages for the piano, not included in the for the for his nod to bring in the orchestra Whitehead should wait that critical reviews were mixed, the work And although the next section. as to whether well-received, spurring on a debate was for the most part or along the as classical with a jazz influence, the work is best classified classical stylings. lines of a popular work arranged with the basic concept for the piece was inspired by the rhythmic patterns he he by the rhythmic patterns was inspired concept for the piece the basic a score Gershwin created short time frame, the train. Given the heard on Grofé Ferde arranger, Whiteman’s to over it and turned two pianos for it for the band. who then orchestrated

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Program Notes Jun Program Notes 29 24 Jun Program Notes Program by Lodovico Roncalli is the only baroque by Lodovico Roncalli is the only baroque (1879-1936) These pieces show Respighi’s intense interest in and love of early intense interest in and love of early These pieces show Respighi’s Suite No. 3 breaks from the previous two in that it is arranged for strings in that it is arranged for strings Suite No. 3 breaks from the previous two Suite No. 1 is based primarily on Renaissance lute pieces written Renaissance lute pieces written Suite No. 1 is based primarily on Interspersed between ‘The Roman Trilogy’ compositions, and showing compositions, and showing Trilogy’ ‘The Roman Interspersed between Ⅲ． Siciliana / Ⅳ． Passacaglia Ⅳ． Siciliana / Ⅲ． Ottorino Respighi Ottorino No. 3 Suite Airs and Dances Ancient Ⅰ． Italiana / Ⅱ． Arie di corte / / di corte Arie Ⅱ． Italiana / Ⅰ． music, as well as his brilliant abilities as an orchestrator. He found a way He found a way music, as well as his brilliant abilities as an orchestrator. guitar work set by Respighi. The wide variety of strumming and plucking and plucking The wide variety of strumming guitar work set by Respighi. orchestrated by Respighi techniques found in the original are wonderfully to mirror their unique sounds. is an anonymous 16th century song. is an anonymous 16th century song. The first movement, Italiana only. several songs attributed Arie di Corte follows, in a mini-suite taken from it is believed that he may have been to Giovanni Battista Besard, although this suite, called Siciliana byThe third of merely the compiler of these. as Spagnoletta in 17th century Spain Respighi is more commonly known The finale, Passacaglia and Italy. originally by Simone Molinaro, Vincenzo Galilei, and other anonymous Galilei, and other anonymous Vincenzo originally by Simone Molinaro, in 1924 and is transcribed from composers. Suite No. 2 was completed Caroso, Jean-Baptiste Besard, pieces for lute, archlute and viol by Fabrizio is also a There composer. Bernardo Gianoncelli, and another anonymous Amaryllis.” famous song “Divine Antoine Boësset’s transcription included of his great devotion to early Italian music, Respighi transcribed a number of a number of to early Italian music, Respighi transcribed his great devotion The orchestras. pieces for much smaller chamber Renaissance and Baroque suites beginning in for Lute were created in three Airs and Dances Ancient in 1932. 1917 and finishing (1879-1936) World premiere: January 1932, Milan The most popular of these tone poems are considered by many to be the are considered by many to be the The most popular of these tone poems Born in Bologna, Italy in the late 19th century, Respighi found himself himself found Respighi century, 19th late the in Italy Bologna, in Born Ⅲ．The Pines of the Janiculum / Ⅳ．The Pines of the Appian Way Appian the of Pines Ⅳ．The / Janiculum the of Pines Ⅲ．The

Ottorino Respighi Poem "Pines of Rome" Symphonic Ⅰ．Pines of the Villa Borghese / Ⅱ．The Pines Near a Catacomb / Catacomb a Near Pines Ⅱ．The / Borghese Villa the of Ⅰ．Pines Work composed: 1931 Instrumentation: strings

three that belong to what have been called ‘The Roman Trilogy.’ Within Within Trilogy.’ called ‘The Roman three that belong to what have been of ancient Italian music, but these, one can hear not only reminiscences All three are enhanced by the evocative songs as well. folk and children’s studying in Russia with Rimsky- orchestral colourings he developed after and being influenced by other 20th century composers of similar Korsakov, romantic tendencies, including Ravel and Strauss. in the shadow of many great composers of his country, including the likes of including the likes of of his country, in the shadow of many great composers but also an admirer He was not only a scholar, Verdi. Puccini, Rossini and most well known for combining the of early Italian music, and is perhaps After building his reputation composing in a variety “old with the new.” a piano concerto, sonatas and of genres, including opera, songs, quintets, ); and arranging a tribute to Bach (Suite in G major for Strings and Organ Tartini works by Bach, Monteverdi, numerous orchestral transcriptions of many early chamber works, Respighi and Rossini, as well as editing Vivaldi, turned his attention to symphonic poems. not only to give tribute to the legacies of great early composers through through early composers the legacies of great to give tribute to not only “…early Julia Bömers: stated by annotator but as these transcriptions, him.” self-discovery for renewal and a source of musical music became

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Program Notes Jun Program Notes 31 24 Jun Program Notes Program , the composer sought to reproduce by means of to reproduce by means of , the composer sought Fountains of Rome —Misty dawn on —Misty dawn on di Marcia) (Tempo Appian Way The Pines of the The tragic country is guarded by solitary pines. Way. Appian the The poet has the rhythm of unending steps. incessantly, Indistinctly, blare, and the army of the Trumpets a fantastic vision of past glories. Consul bursts forth in the grandeur of a newly risen sun toward the in triumph the Capitoline Hill. mounting Way, Sacred —There is a thrill in the air. The full The full The Pines of the Janiculum (Lento)—There is a thrill in the air. nightingale A Hill. Gianicolo’s of pines the of profile the reveals moon sings. —We see the shadows of the pines, the pines, see the shadows of The Pines near a Catacomb (Lento)—We From the depths rises a which overhang the entrance of a catacomb. like a hymn, and is then mysteriously chant, which echoes solemnly, silenced. —Children are at play vivace)—Children are at play (Allegretto Borghese The Pines of Villa equivalent Italian the dancing Borghese, Villa the of groves pine the in They mimic marching soldiers and battles. of “Ring around a Rosy.” at evening, coming and going in They twitter and shriek like swallows swarms. Suddenly the scene changes. was composed first of the three (1916), and after (1916), and after first of the three of Rome was composed Fountains he uses Nature as a point a point of Nature, in Pines of Rome he uses Nature as tone an impression The centuries-old to recall memories and vision. of departure, in order landscape become dominate the Roman trees which so characteristically addition, giving events in Roman life.” In witnesses to the principal about Pines of Rome, he wrote: specific program notes Pines of Pines of began work on a sequel, Respighi of contemplating several years of and speaking In his own words, completed in 1924. Rome which was in his preceding person, Respighi commented: “While himself in the third work, banda: 4 trumpets, 2 was the last of the trilogy to be composed, and composed, and the trilogy to be of last was the Roman Festival

trombones, gramophone World premiere: December 1924, Rome Work composed: 1923〜1924 Instrumentation: 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, bass drum, triangle, two small cymbals, cymbals, tam-tam, ratchet, glockenspiel), harp, celesta, piano, organ, strings /

April L. Racana / Music Specialist at Nishimachi International School where she has taught since 1992. She completed her undergraduate studies at the University of Illinois, Champaign-Urbana (BS/Piano Pedagogy) and her graduate studies at San Francisco State University (MA/Music), as well as a post-graduate fellowship at Studies Program at International Christian University. Northwestern University, and the Japan combines seemingly disparate images of the Circus, a Jubilee, October October Circus, a Jubilee, images of the seemingly disparate combines this the significance of wife, Elsa, noted His the Epiphany. Fest, and characteristics in which all the composer’s work: “…finally (‘Festivals’), impressions The admirably crowns the cycle…. are powerfully displayed, just as (he) saw and the multiform spirit of Rome contained therein…reflect as the work was me of what (he) told me as soon This reminds sensed it…. to impossible orchestra, it’s the present constitution of the finished: ‘With of this kind.’” think I shall write any more scores I don’t achieve more, and

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Program Notes Jun