CONTENTS 4 Letters from AYS Leadership 6 AYS Board and Staff 8 About the 12 Season at a Glance 16 Orchestra Roster 22 Thank You to our Donors 30 October 20, 2019 OPENING NIGHT CONCERT 40 November 23, 2019 APOLLO 13 IN CONCERT 45 November 3, 2019 SUNDAYS LIVE 45 November 5-14, 2019 GRAND PERFORMANCES PRESENTS AYS HOLIDAY BRASS ENSEMBLE 45 December 15, 2019 LAEMMLE LIVE 48 Glossary

AMERICAN YOUTH SYMPHONY

2301 Rosecrans Boulevard, Suite 2160, ADVERTISING El Segundo, CA 90425 Onstage Publications 937-424-0529 | 866-503-1966 310.470.2332 e-mail: [email protected] www.onstagepublications.com www.AYSymphony.org This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be Tax ID #95-2076046 reproduced in whole or in part without written Photography: Philip Hollahan permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. 3 Dear Friends,

Welcome to a new season with the American Youth Symphony! As I begin my fourth season with AYS, there is so much I look forward to sharing with you, our audience, and the amazingly gifted musicians in the orchestra. Together, we'll tackle some of the greatest masterworks of the symphonic repertoire, while continuing our commitment to providing a platform for new voices. Mother Nature has inspired artists across the centuries, and there has been ample material for crafting the 2019/20 season around the theme of celebrating our earth, our planet, our home.

Our Opening Night concert showcases the depth of this orchestra’s capability. We’ll pair a piece by a living composer, Joan Tower, with one of the greatest works of all time, Beethoven’s “Pastoral,” and feature the immense talent of the 2019 Concerto Competition winner, our Concertmaster Gallia Kaster, with the Sibelius Concerto. Then, in November, our annual film concert will be a live-to- picture performance of James Horner’s superstellar score for Apollo 13.

In 2020, we return to Walt Disney Concert Hall to feature the second year of the Korngold Commission Project. This series, generously sponsored by Peter Mandell and Sarah Coade Mandell, pairs esteemed film and media composers with world-class solo artists. This year AYS has commissioned -based Emmy-winning composer Kris Bowers to create a new concerto to be performed by the amazingly talented violinist Charles Yang. We’ll also make use of the beautiful organ at Disney Hall with Saint-Saëns’ third symphony.

Our next Spring Concert will present an American premiere by Los Angeles-based Grammy-winning composer, Richard Danielpour. His piece, Ricordanza, for baritone and string orchestra, will be followed by an iconic work of nature, An Alpine Symphony by Strauss. This year’s gala will be extra special for me, as we present a world premiere by Jihyun Kim, in collaboration with American Composers Orchestra, and my own Alabama Symphony Orchestra, where the new work will receive further performances. This will be followed by one of America’s greatest symphonic masterpieces, Copland’s monumental Symphony No. 3.

In addition to these large-scale symphonic concerts, chamber ensembles from the orchestra will also be performing at a number of smaller community venues, plus the schools where we operate our Share-A-Stand music education program.

Finally, I want to thank all of you for being part of the AYS family. From the Board of Directors, to members, volunteers, audience members, and of course, the extraordinary musicians on stage, you are all vital to the American Youth Symphony's mission to inspire the future of classical music. I can't tell you how much I've enjoyed leading this great orchestra for the past three seasons, and I look forward to what we can achieve in years to come.

Sincerely,

Carlos Izcaray Music Director 4 Dear AYS Community,

On behalf of the American Youth Symphony’s Board of Directors, I am honored to welcome you to the orchestra’s 55th season. Led by Music Director, Carlos Izcaray, now in his fourth year with AYS, 2019/20 concerts feature both beloved classics and new works by award-winning composers. We are eager to share another season of extraordinary performances with our community.

The mission of AYS is to inspire our young musicians and our audience through the performance of great symphonic works. Achieving this is only possible with our loyal community of supporters and funders. Your generosity and belief in our work sustains us.

This season includes programming anchored by Strauss, Beethoven, and Copland, along with premieres from local composers Kris Bowers and Richard Danielpour. In line with season’s theme, the orchestra will perform several of the many works throughout music history that have been inspired by nature, including the “Pastoral” Symphony, An Alpine Symphony, and All Things Majestic.

I am constantly inspired by the artistry and dedication of these hard- working musicians on the verge of their professional careers, and year after year, I am thrilled by the success of our brilliant alumni. AYS is without question one of the best of its kind, and its success is directly connected to the support of its audience.

Thank you for helping us achieve excellence.

Yours sincerely,

Kevin Dretzka Chairman of the Board of Directors

5 AYS BOARD AND STAFF Honorary President Founders Mildreth Sheinkopf Samson Music Director Carlos Izcaray Board of Directors CHAIRMAN EMERITUS Hebert M. Gelfand CHAIRMAN Kevin Dretzka VICE CHAIRMAN Krystyna Newman TREASURER David Papale SECRETARY Peter Mandell* Shoshana Claman* Mary Levin Cutler Beverly Gelfand James Newman Howard Russ Lemley Saul Levine Steven A. Linder Ilene Nathan * Doreen Ringer-Ross Peter Ross* Wendy Ruby William Sullivan STAFF Tara Aesquivel, Executive Director Isabel Thiroux,* Director of Orchestra Operations Mandy Matthews, SHOW YOUR LOVE FOR AYS Manager of WITH A COOL T-SHIRT! Community Engagement Mia McNeil, Available in men’s & women’s Development Associate sizes in the lobby or online at: Rich Johnson, https://aysymphony.threadless.com/collections Operations Specialist Max Mueller,* Share-A- Stand Lead Instructor 6 Dear AYS Community,

Welcome to the American Youth Symphony’s 55th season! I’m so glad that you have joined us to celebrate great music and the extraordinary talent of our musicians. We continue to explore how music is interconnected with many aspects of our lives with a new season theme: A Celebration of Nature.

Music is everywhere, and it's no surprise that composers and musicians across centuries have been inspired by or have tried to emulate the sounds of nature. Philosophers across the ages have also been inspired to explain the mysteries of the natural world through musical ideas, like the music of the spheres or string theory.

From everyday sounds, like a melodious bird song, to musical masterpieces, I hope our Celebration of Nature will encourage our audience members to enjoy the music all around.

Acoustics are a natural phenomenon, and the orchestra is a collection of beautifully-crafted instruments designed to produce specific frequencies and sound waves. Woodwinds and brass are powered by the wind of breath. String sections resonate through instruments constructed from wood. Reeded instruments produce sound through the vibration of thinly sliced canes. They all come together to produce a magnificent symphonic sound.

Every year, through the changing themes of each season, AYS strives to prepare orchestra fellows for careers as professional musicians. This includes mastery of beloved classics— such as Beethoven, Copland, and Strauss—and curating new experiences, like the three world and U.S. premieres on our program. Our talented young musicians will perform in world-renowned and Walt Disney Concert Hall, as well as getting hyper-local in the community at our expanding variety of chamber concerts.

These unique experiences and growth opportunities are only possible because of the generosity and dedication of the vibrant AYS community. To our donors, members, sponsors, audience members, volunteers, and our wonderful Board of Directors: thank you! Thousands of people are connected to the rich, creative, dynamic power of music because of your support.

Although season themes will change year to year, I am committed to “inspiring the future of classical music” to be one that is more equitable and accessible for all people, for decades to come. Thank you for joining us on this journey.

Sincerely,

Tara Aesquivel Executive Director 7 ABOUT THE ORCHESTRA A Training Ground of the 21st Century

The American Youth Symphony’s mission is to inspire the future of classical music by providing advanced artistic training and professional development opportunities to virtuosic young adults and exceptional, innovative, and free concerts to the Los Angeles community.

Competitively selected, our orchestra is comprised of 100 musicians who represent extraordinary talent from all over the world. By offering remarkable concerts at world-class venues, we remain committed to creating access and opportunity for everyone to experience the inspiration of this beautiful art form.

AYS is designed to prepare the concert artists of tomorrow for leadership in 21st century orchestras and ensembles. Musicians receive in-depth exposure to a wide variety of symphonic music, from classical masterworks to world premieres and unforgettable film scores. AYS is a tuition-free program, and each AYS Fellow receives an annual stipend ranging from $1,400-$4,000. Fellows perform at renowned venues like Royce Hall and Walt Disney Concert Hall, and work alongside world-class guest artists such as , Daníel Bjarnason, Anna Clyne, Glenn Dicterow, , , David Newman, , Takeshi Furukawa, and Lera Auerbach. Designed to challenge, nurture, and inspire, the American Youth Symphony is a musical laboratory where musicians not only master their parts and develop a deep understanding of musical scores, but also explore their roles as artist citizens within their community. At AYS, we aim to create leaders, innovative thinkers, and articulate communicators for the 21st century and beyond.

Founded in 1964 by world-renowned conductor Mehli Mehta, AYS celebrates over five decades as an important architect in building the future of classical music. To date, AYS has trained over 2,600 musicians who now enjoy successful careers in some of the finest orchestras in the nation, including the , the Symphony, the , and the Metropolitan Opera. The three leading orchestras in Los Angeles—LA Phil, LA Chamber Orchestra, and LA Opera—employ 37 AYS graduates. AYS has firmly established itself as a “gateway” orchestra for aspiring musicians, as well as an international network of orchestras where alumni currently perform.

AYS shares our love and enthusiasm for classical music with diverse audiences from across Southern California. In fact, AYS audiences are some of the most diverse to be found in classical music today. What begins as a free opportunity to experience something new often develops into a life-long appreciation for the art, with audiences who first came through the Royce Hall doors for a film concert returning for classical programs year after year. This creates a system of support both for AYS and the field at large. Therefore, supporters of AYS not only provide the gift of exceptional concerts to the Los Angeles community, they also are investing in the future of this beautiful art form.

8 The American Youth Symphony strives to be a resource for the community, and have established partnerships to include collaborations with Title-1 LAUSD schools through our Share-A-Stand music mentorship program, as well as other local nonprofits, like TreePeople, Grand Performances, and A Place Called Home. This season we are proud to be growing our presence outside of the concert hall through a doubling of the number of chamber concerts presented throughout the vast Los Angeles metro area. 2019/20 is the third year of the AYS Citizen Musician Fellowship, for which one musician is selected to guide his or her colleagues in learning how best to use classical music as a tool for social good.

We are proud to be part of this diverse and vibrant city, honored by your presence at tonight's concert, and excited to continue growing and evolving together.

9 CARLOS IZCARAY Music Director

Carlos Izcaray is Music Director of the Alabama Symphony Orchestra and of the American Youth Symphony. Praised by the international press, he won top prizes at the 2007 Aspen Music Festival and later at the 2008 Toscanini International Conducting Competition. Since then he has appeared with numerous ensembles across five continents and is now firmly established as one of the leading conductors of his generation. Throughout his career Izcaray has shown special interest and prowess in tackling some of the most complex scores in the symphonic repertoire, while also championing the historically informed approach to works from past eras.

On the symphonic platform he is leading ensembles such as the Pacific, St. Louis, North Carolina, Grand Rapids and Kitchener-Waterloo Symphonies, Los Angeles Chamber Orchestra, Chamber Orchestra of San Antonio, Orchester der Komischen Oper Berlin, Malmö Symfoniorkester, Filarmonica Arturo Toscanini, Orquestra Sinfónica do Porto Casa da Música, Orquesta Filarmónica de Bogotá, Orchestra Regionale dell’Emilia-Romagna, Orchestre de Chambre de Lausanne, Macedonian Philharmonic, Kwazulu-Natal Philharmonic, National Symphony Orchestra of Colombia, Venezuela Symphony Orchestra, Orquesta Sinfónica Municipal de Caracas, and Orquesta Filarmónica Nacional de Venezuela, among others. Izcaray’s latest recording, ‘Through the Lens of Time’, featuring Max Richter’s Recomposed: Vivaldi’s Four Seasons with the City of Birmingham Symphony Orchestra and violinist Francisco Fullana, was released in March 2018 on the Orchid Classics label, and has garnered widespread attention and praise.

Izcaray is equally at home with opera repertoire, receiving rave reviews for his performances at Opera Omaha, the Opera Theatre of Saint Louis, Utah Opera, International Opera Festival Alejandro Granda in Peru, and in particular at the Wexford Festival Opera, where he has led many productions since the opening of Ireland’s National Opera House. His 2010 performances of Virginia by Mercadante won the Best Opera prize at the Irish Theatre Awards.

A strong believer of supporting the younger generations, Izcaray has worked extensively with the world’s top talents and leading music institutions, including his country’s own El Sistema. In 2014 he led a tour of the Filarmónica Joven de Colombia, and he has additionally worked with the Fundación Batuta, Neojiba in Brazil, London Schools Symphony Orchestra, and Cambridge University Music Society, where he has also taught conducting workshops. Following a project at the Interlochen Center for the Arts in summer 2015 he returned there for a performance with the World Youth Symphony Orchestra in 2017. Building on his passion for music education, he became the Music Director of the American Youth Symphony in autumn 2016.

10 A distinguished instrumentalist himself, Izcaray has featured as concert soloist and chamber musician worldwide, and served as Principal Cello and Artistic President of the Venezuela Symphony Orchestra prior to dedicating his career fully to the podium. Increasingly active as a composer, Izcaray’s orchestral work Cota Mil was premiered by the Orquesta Sinfónica Municipal de Caracas. In February 2018, Izcaray’s Yellowhammer received its world premiere with the Alabama Symphony Orchestra, conducted by the composer. April 2018 saw the premiere of his Strike Fugaz by the American Youth Symphony, commissioned in association with the Human Rights Watch to commemorate, and celebrate, the campaign for worldwide social justice, equality and freedom—a cause for which Izcaray is a proud and committed advocate.

Izcaray was born into a family of several artistic generations in Caracas. At the age of 3 he was enrolled in Venezuela’s public system of youth orchestras, continuing at the Emil Friedman Conservatory, where he was a boy chorister as well as an instrumentalist. He studied conducting with his father since he was a teenager, and went on to become a distinguished fellow at the American Academy of Conducting at Aspen. Izcaray is an alumnus of the Interlochen Arts Academy, New World School of the Arts, and Jacobs School of Music at Indiana University. He is a dual citizen of Spain and Venezuela, and divides his time between Birmingham (AL) and Berlin.

To learn more about Izcaray’s activities, please visit carlosizcaray.com.

11 AMERICAN YOUTH SYMPHONY “A Celebration of Nature”

OPENING NIGHT CONCERT Sun. October 20, 7:00 pm / Royce Hall TICKETS: FREE / Reserve Now at AYSymphony.org Carlos Izcaray, Conductor Gallia Kastner, Violin Joan TOWER: Sequoia Jean SIBELIUS: : Pastoral Symphony

AYS PRINCIPALS STRING QUARTET with SUNDAYS LIVE Sun. November 3, 6:00 pm / St. James Episcopal Church FREE / No reservation necessary Wolfgang A. MOZART: String Quartet No. 14 in G Major, K. 387 “Spring” Antonín DVORˇ ÁK: String Quartet No. 14 in Ab Major, Op. 105

AYS HOLIDAY BRASS ENSEMBLE with GRAND PERFORMANCES November 5-14 / Los Angeles International Airport FREE FOR AIRPORT TRAVELERS Performances from the AYS Brass Ensemble will delight travelers on November 5, 6, and 7 and November 12, 13, and 14. Locations within LAX are TBA.

APOLLO 13 IN CONCERT Sun. November 23, 4:00 pm / Royce Hall TICKETS: $18 / Reserve Now at AYSymphony.org/tickets FREE FOR AYS MEMBERS Carlos Izcaray, Conductor James HORNER: Apollo 13 Original Score, live to picture Apollo 13 is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All rights reserved.

HOLIDAY CHAMBER ENSEMBLE at LAEMMLE LIVE Sun. December 15, 11:00 am / Laemmle’s Monica Film Center TICKETS: FREE Reserve at Laemmle.com/live starting 11/18/19 Performance by AYS Brass Ensemble

12 2019 | 20

LA PHIL PRESENTS: SOUNDS ABOUT TOWN Sat. February 8, 2:00 pm / Walt Disney Concert Hall TICKETS: From $16 / Members get a 25% discount Reserve online starting 12/4/19 Carlos Izcaray, Conductor Charles Yang, Violin Maurice RAVEL: Alborada del gracioso : All Things Majestic Kris BOWERS: Violin Concerto, WORLD PREMIERE Camille SAINT-SAËNS: Organ Symphony

COMMUNITY MUSIC FESTIVAL Sat. February 29, 11:00 am / A Place Called Home FREE / No reservation necessary A community-centered music festival for all ages

SPRING CONCERT Sat. April 4, 7:00 pm / Royce Hall TICKETS: FREE / Reserve online starting 12/4/19 Carlos Izcaray, AYS Conductor Samuel BARBER: Overture to The School for Scandal Richard DANIELPOUR: Ricordanza, U.S. PREMIERE Richard STRAUSS: An Alpine Symphony

55TH ANNUAL GALA Sat. May 3, 5:00 pm / Royce Hall TICKETS: FREE / Reserve online starting 12/4/19 Carlos Izcaray, Music Director Alberto GINASTERA: Dances from Estancia Jihuyn KIM: WORLD PREMIERE Aaron COPLAND: Symphony No.3

CHAMBER SERIES with the UCLA LOWELL MILKEN FUND Sun. December 8 HOLIDAY CONCERT Sun. March 1 JEWISH AMERICAN MUSIC FESTIVAL Wanderings: Music Crossing Borders Sun. May 10 MOTHER’S DAY CONCERT

CITIZENS MUSICIAN CONCERT Summer 2019 FREE / No reservation necessary A concert exploring environmental justice through music 13 MEET THE STAFF

Tara Aesquivel Executive Director Music has shaped Tara Aesquivel’s life and, through her work, she hopes to share the power of the arts with others. Tara’s professional experience includes strategic planning, fundraising, production, and community engagement for Pittsburgh Opera, LA Opera, A Noise Within, The Lukens Company, and Invertigo Dance Theatre. Tara is thrilled to bring her experience to the Executive Director role at AYS. Tara has a B.A. in Music from the University of Missouri–Kansas City, a Master of Arts Management from Carnegie Mellon University, and studied Cultural Economics at the University of Bologna. Tara completed the Executive Directors Leadership Institute through Executive Service Corps and is on the Advisory Board for Emerging Arts Leaders/Los Angeles. She enjoys traveling, gardening, and being a mom.

Isabel Thiroux Director of Orchestra Operations Isabel has been with the American Youth Symphony since she first joined the viola section in 2001! After seven years in the orchestra, she “graduated” to working in the office, becoming Orchestra Manager in 2010 and Director of Orchestra Operations in 2015. Isabel is passionate about mentoring the next generation of musicians, and in 2015 completed the League of American Orchestras’ “Essentials of Orchestra Management” program. She continues to work as a freelance violist, and recently completed a three-week tour in China performing classic film scores for audiences in 12 cities. Isabel is in an ongoing competition with herself to see how many steps she can log on her fitbit at AYS concerts this year.

Mandy Matthews Manager of Community Engagement Mandy Matthews is an arts educator, advocate, and leader grounded in making connections and building community. She has worked for Los Angeles based arts organizations including The Broad Stage and the Arts Council for Long Beach. In 2017 she completed Arts for LA’s arts advocacy program, ACTIVATE and founded an arts network and organization called EN-ACT, Educator’s Network: Art Creates Transformation. Mandy is also passionate about supporting college students and has facilitated professional development workshops and coached interns at CSULB and for the Los Angeles County Department of Arts & Culture. She is a graduate of Loyola Marymount University, with two Bachelor's Degrees in Dance and History, and recently received her Social Emotional Learning Facilitator certificate at UCLA. You can also find Mandy in the yoga studio teaching at CorePower Yoga!

14 Mia McNeil Development Associate Mia McNeil graduated from Loyola Marymount University with a Bachelor's degree in English and Journalism. She grew up in Chicago, Illinois and quickly fell in love with writing and musicalComposition. Mia played violin throughout her childhood, studying at the Chicago High School for the Arts and Roosevelt High School in Seattle, Washington.

Rich Johnson Operations Specialist Rich Johnson is a musician, sound designer, teaching artist and arts producer with a passion for bringing the arts to all. After studying music education with a emphasis at the Hartt School and music technology at NYU, Rich worked in New York City for 7 years both on and off stage including Radio City Music Hall, Abrons Arts Center, BEAT Festival and the NY Fringe Festival among numerous other arts productions. Rich is excited to be a part of the AYS team in helping to bring accessible, high quality orchestral music to audiences all over Los Angeles and beyond.

Max Mueller Share-A-Stand Lead Instructor Max Mueller, cellist, composer, music educator and classic Simpsons super fan, first became involved with AYS in 2010, working with David Newman to edit the scores for the Goldsmith III concert. He has been an active consultant ever since, taking on the expansion of the Share-A-Stand program in2015, bringing AYS musicians into local middle schools, where he is beloved for his ability to transcribe pop songs.

KEEP IN TOUCH! Don’t forget to sign up for our e-newsletter at AYSymphony.org And follow AYS on social media for all the latest updates!

15 AMERICAN YOUTH SYMPHONY

FIRST VIOLAS Gallia Kastner, Concertmaster Johanna Nowik, Principal Viola Alexis Hatch, Associate Concertmaster Nao Kubota, Assistant Principal Viola Bree Fotheringham, Yun-Chien Sung Associate Concertmaster Chanelle Huang Hannah Chou Stefan Kosmala-Dahlbeck Anna Kochnerov Lu Walstad Sam Lorenzini Mercedes Quintana John Fawcett Lorenna Garcia Wagner Oliveira Leonardo Santi Elizabeth Scarnati Anthony Kukavica CELLOS Mariko De Napoli Alex Mansour, Principal Cello Justus Ross Michael Ljungh, Yaxin Tan Assistant Principal Cello Tommu Su Phillip Suwandi Joel Shimada SECOND VIOLINS Raymond Newell Evan Johanson, Shawn Berry Principal Second Violin Tyler DeVigal Wenqi Ke, Alejandro Thompson-Sanchez Assistant Principal Second Violin Tatum Hodgson Elisa Jeon Angela Marvin Ani Sinanyan Kayvon Sesar BASSES Liya Ma Sam Miller, Principal Bass Sarah Bunch Evan Hillis, Assistant Principal Bass Kristi Holstein Mark Lillie Oscar Martinez Mark Gutierrez Alexa Lee Luis Primera Jasmine Kim Jacob Kalogerakos Madeleine Hogue FLUTES Elizabeth LaCoste, Principal Flute Sierra Schmetlzer

16 2019 | 20 Season

PICCOLO Marley Eder Forrest Johnston, Principal Nicolas Bejarano Tyler Norris Laura Arganbright, Principal Chris Fujiwara Will Stevens Michael Dolin, Principal Cole Davis Sergio Coelho, Principal Clarinet BASS TROMBONE Alexander Tu Riley McGinn E-FLAT CLARINETS Richard Dobeck vacant BASS CLARINET TIMPANI Tyler Baillie Jonathan Wisner, Principal Timpani PERCUSSION Lieza Hansen, Principal Jeremy Davis, Principal Percussion Anne Ranzani Pat Chapman Miles Mateus Arthur Lin Nikolaus Keelegan CONTRABASSOON Miles Mateus HARP vacant HORNS Valerie Ankeney, Principal Horn Jacskon Prasifka, Wan Rosalind Wong Assistant Principal Horn Christian Thomas Elizabeth Linares Tanner West

17 Support free community concerts, get great seats, attend special events, BECOME A MEMBER! Learn more in the lobby or visit AYSymphony.org/contribute

18 AYS ADVISORY COUNCIL

The AYS Advisory Council serves as an invaluable resource for the AYS Board of Directors, staff, and talented musicians. We are deeply honored to count these esteemed industry professionals as advisors; their impact on the work of the American Youth Symphony is as profound as the effect they have had on the industry as a whole. SARAH CHANG DEBORAH RUTTER Concert Violinist President, John F. Kennedy Center for the Performing Arts ROBERT CUTIETTA Dean, University of Southern California ESA-PEKKA SALONEN Thornton School of Music Conductor and Composer

SARAH COADE MANDELL ALAN SILVESTRI Managing Partner of a Composer and Conductor multi-generational Family Office; Studio and Orchestral Double Bassist CHAD SMITH Chief Operating Officer, GLENN DICTEROW , and Concert Violinist Artistic Director of the Ojai Music Festival

ZUBIN MEHTA JEAN-YVES THIBAUDET Conductor Concert Pianist

ANNE AKIKO MEYERS EDWARD YIM Concert Violinist President, American Composers Orchestra

CELEBRATION OF NATURE

It is no coincidence that artists of all mediums have attempted to pay tribute to the majesty of nature since the beginnings of traceable history. Nature has long stood as the epitome of creativity in its support of life and vast display of scale and processes. As the complexity of our interdependency with the environment comes into global focus, AYS dedicates the 2019/20 season in honor of the natural world. AYS proudly presents nature-inspired music spanning centuries—from Beethoven’s Pastoral Symphony to Higdon’s tribute to Grand Teton National Park, All Things Majestic. Powered by wood, brass, and wind, the orchestra harnesses the forces of nature to conjure the phenomenon of music in both direct and abstract symphonic depictions of our world.

19 CELEBRATING OVER 50 SEASONS OF ALUMNI

AYS Alumni have joined the finest orchestras, enjoy successful careers in recording, and are on the faculties of prestigious schools. Their success speaks to the impact of our training program.

We value your updates to this incomplete list!

ALABAMA SYMPHONY DETROIT SYMPHONY cont. Richard Cassarino, bass Robert Williams, principal bassoon Brad Whitfield, assistant principal clarinet Johanna Yarbrough, horn ATLANTA SYMPHONY ENSEMBLE ORCHESTRAL DE PARIS Joseph McFadden, bass Joel Sultanian, viola AUCKLAND ORCHESTRA FORT WORTH SYMPHONY (New Zealand) Allan Steele, principal cello Sophia Acheson, viola GRAND RAPID SYMPHONY Jonah Levy, associate principal trumpet Joel Schekman, bass clarinet Steven Logan, principal timpani BERKELEY SYMPHONY HAWAII SYMPHONY Anna Lenhart, principal horn Franklyn d’Antonio, concertmaster & orchestra manager HOLLYWOOD BOWL ORCHESTRA Rene Mandel, executive director Tim Barr, principal bass Cheonho Yoon, principal trumpet Nicole Bush, violin BOSTON SYMPHONY Rose Corrigan, principal bassoon Gregory Goodall, percussion Rachel Childers, horn Armen Ksajikian, associate principal cello CHAMBER ORCHESTRA Barry Newton, bass OF PHILADELPHIA Radu Pieptea, violin Stephen Tavani, concertmaster KANSAS CITY SYMPHONY CHARLOTTE SYMPHONY Maria Crosby, cello Brice Burton, principal percussion Joseph Petrasek, associate CINCINNATI SYMPHONY ORCHESTRA principal percussion Raymond Santos, principal clarinet Philip Marten, assistant concertmaster CHICAGO SYMPHONY KITCHENER-WATERLOO SYMPHONY Edwin Outwater, music director , asst. principal clarinet Karen Basrak, cello KNOXVILLE SYMPHONY ORCHESTRA CLEVELAND ORCHESTRA Claire Chenette, principal oboe Garrett McQueen, bassoon Michael Sachs, principal trumpet Richard Weiss, asst. principal cello LOS ANGELES CHAMBER ORCHESTRA COLORADO SPRINGS PHILHARMONIC Maia Jasper, violin Armen Ksajikian, associate principal cello Sergei Vassiliev, principal clarinet Connie Kupka, violin COLORADO SYMPHONY ORCHESTRA Damian Montano, bassoon Nicholas Recuber, asst. principal bass Searmi Park, violin DENMARK NATIONAL ORCHESTRA Steven Scharf, violin & personnel manager David Washburn, principal trumpet Stanislav Zakrievski, violin DALLAS SYMPHONY ORCHESTRA LOS ANGELES OPERA Tamsen Beseke, violin Bing Wang, violin Ryan Darke, trumpet DETROIT SYMPHONY Marlow Fisher, viola Michael Ke Ma, asst. principal bassoon Mary Gale, clarinet Peter McCaffrey, cello Gregory Goodall, principal timpani Shannon Orme, clarinet Jennifer Johnson, oboe & english horn Hang Su, viola Jenny Kim, horn Daniel Kelley, horn William May, bassoon 20 LOS ANGELES OPERA cont. OREGON SYMPHONY Jayme Miller, violin Silu Fei, viola David Stenske, associate concertmaster PACIFIC SYMPHONY Andrew Ulyate, trumpet Rose Corrigan, principal bassoon John Walz, principal cello Marisa Sorajja, violin Mark Zimosky, percussion LOS ANGELES PHILHARMONIC PHILADELPHIA ORCHESTRA Brook Speltz, cello Kazue Asawa-McGregor, librarian Raynor Carroll, percussion (retired) PHOENIX SYMPHONY Richard Elegino, viola Viviana Cumplido, principal flute Jerry Epstein, viola (retired) PITTSBURGH SYMPHONY ORCHESTRA Barry Gold, cello Bronwyn Banerdt, cello Michele Grego, bassoon David Howard, clarinet SAN ANTONIO SYMPHONY Matthew Howard, principal percussion Marisa Bushman, viola Ingrid Runde Hutman, viola Martha Long, principal flute David Allen Moore, bass SAN DIEGO SYMPHONY Jeffrey Reynolds, bass trombone Benjamin Jaber, principal horn Peter Rofe, bass Rose Lombardo, principal flute Brent Samuel, cello Julia Pautz, violin Barry Socher, violin (retired) Yao Zhao, principal cello Lawrence Sonderling, violin (retired) Dennis Trembly, principal bass SAN FRANCISCO SYMPHONY Bing Wang, associate concertmaster Yun Chu, violin LOUISIANA PHILHARMONIC Yun-Jie Liu, associate principal viola ORCHESTRA Brian Marcus, bass Bruce Roberts, horn Jack Pena, principal bassoon MACAO ORCHESTRA (China) SANTA CRUZ SYMPHONY Nigel Armstrong, concertmaster Christian Goldsmith, principal trombone Lu Ya, violin SEATTLE SYMPHONY MANCHESTER SYMPHONY ORCHESTRA Sayaka Kokubo, viola Andrew Tang, viola SINGAPORE SYMPHONY ORCHESTRA METROPOLITAN OPERA Yu Ling Duan, violin Kari-Jane Docter, cello SPOKANE SYMPHONY ORCHESTRA MILWAUKEE SYMPHONY ORCHESTRA Zhe Song, violin Ilana Setapen, associate concertmaster ST. LOUIS SYMPHONY Benjamin Adler, assistant principal clarinet Anna Spina, horn MINNESOTA ORCHESTRA TORONTO SYMPHONY Gregory Milliren, associate principal flute Theodore Chan, bass NASHVILLE SYMPHONY TUCSON SYMPHONY ORCHESTRA James Zimmermann, principal clarinet Gabrielle Castriotta, oboe Patrick Kunkee, co-principal trumpet Jonah Levy, trumpet NATIONAL SYMPHONY ORCHESTRA Laura Odegaard-Stoutenborough, principal clarinet Paul DeNola, bass Conrad Jones, principal trumpet NEW YORK CITY OPERA US AIR FORCE Montgomery Hatch, percussion Christine Lightner, cello NEW YORK PHILHARMONIC VANCOUVER SYMPHONY Michelle Kim, assistant concertmaster Ryan Zwahlen, principal oboe Roger Nye, bassoon Cynthia Phelps, principal viola VIRGINIA SYMPHONY Sheryl Staples, associate concertmaster Gabriel Campos Zamora, principal clarinet

21 WE THANK YOU

Over the past five decades, AYS has grown into an ensemble of exceptional quality that has transformed over 2,500 young musicians into world-class concert artists, and all of it was made possible through the generosity of our contributors. We wouldn’t be here today without you! AYS supporters also make our concerts free and accessible to the Los Angeles community, ensuring that anyone can experience the power and beauty of remarkable orchestral concerts. The following list includes gifts received between September 1, 2017 and September 1, 2018.

Gifts of $100,000 or more Gifts of $5,000 or more Peter Mandell and Sarah Coade Mandell* Irma and Benjamin F. Breslauer Gifts of $50,000 or more Linda and Maynard Brittan Continental Development Corporation Sara and Emily Horner Mary Levin Cutler Gifts of $40,000 or more Marcie and Cliff Goldstein Silvia and Kevin Dretzka Sheila Krasnoff The Kaman Foundation Russ and Brenda Lemley Krystyna and David Newman* Sony ATV Music Publishing LLC Wendy and Ken Ruby John Williams Gifts of $30,000 or more Marilyn Ziering The Ralph M. Parsons Foundation Gifts of $2,500 or more Gifts of $20,000 or more Michelle M. Horowitz Charitable Foundation The Capital Group Companies Annie Gross Charitable Foundation Hochberg Family Foundation Colburn Foundation Anita and Jeffrey Landau Flora L. Thornton Foundation David Papale Steven Linder and Michael Hanel Pasadena Showcase House For The Arts Annica and James Newton Howard Gertrude Pomish James and Ilene Nathan Sidney Stern Memorial Trust Gifts of $15,000 or more Gifts of $1,500 or more Clarence E. Heller Charitable Foundation Association of California Symphony Orchestras Los Angeles County Arts Commission Thomas and Christine Frisina National Endowment for the Arts Marion Marsh-Goldenfeld Gifts of $10,000 or more Louise Merage and Alfred Somekh Broadcast Music Inc. (BMI) Sam Plotkin and Allison Parker Shoshana Claman* and Bill Sheinberg Doreen Ringer Ross Beverly and Herb Gelfand Tom Roddel Ann and Gordon Getty Foundation Debra Ruby and Eric Ellsworth Gorfaine Schwartz Agency Kirby Shanklin The JDS Fishing Foundation Of Roger Stoker and Michael Ostron The Dayton Foundation Isabel Thiroux* and Gina Satriano Steve Kofsky Cathy and Ken Weiss Jerry and Terri Kohl Foundation Gifts of $1,000 or more Saul Levine Danielle Claman Gelber Los Angeles Philharmonic Association Warren and Elaine Deutsch Paramount Pictures Fortress Talent Management Richard J. Rosenthal and Katherine Spillar Abner and Roz Goldstine Theodore J. Slavin and Marsha Calig Marlene and James Henerson Gifts of $7,500 or more Donald H. Hubbs Irwin and Helgard Field Jones Zafari Group Ruth Flinkman-Marandy and Ben Marandy Dolph Kornblum and Judy Koenig Geri Rotella* and Peter Rotter* Lady’s Secret Foundation Milken Family Foundation Tim Molnar Dana Sano

22 Ping Shih Debra Vilinsky and Michael Sopher Alan and Sandra Silvestri Pamela Anne Ward James Williams and Marc Wenderoff Zeke and Carolyn Warsaw Gifts of $500 or more Edna Weiss Dorothy Wolpert Paula Brown Claud & Co. Bacchus’ Kitchen LLC Gifts of $120 or more First Artist Management George Aguilar Robert and Mimi Gazzale Garland Allen Carol S. Gee Joni Alpert Andrew Gumpert Murray J. Aronson Wesley Hough and Marlow Fisher Marco and Lisa Bacich Anthony Hudaverdi Homa and Harry Bald Arlene Fishbach Ted Braun Meyer Luskin Lee Cioppa Daniel Miller Mike Denapoli Jasper Randall Yvonne Denenny Theodore Shapiro Jill Dixon Rick Stone Silverstein David Dwiggins Elise Sinay Spilker David Feldman Susan Thiroux Film Musicians Secondary Markets Fund Janice Yee and Mike Briggs Linda and Bob Fleischman Gifts of $250 or more Barry J. Forman Imelda Padilla Frausto Grace Abou El Fadl Fernanda Gray and Elliot Goldberg Tara and Dakota Aesquivel* Bruce Gridley Shoichiro Akiyama Ralph and Caroline Grierson Robert C. Anderson Hiroshi and Yoshino Hara Elaine Avak Rachel Harms Mary Jo Braun Scott and Andrea Holtzman Jeffrey Brown Chris Ishida Donald Chang Sally Karbelnig Mei Chang Flavia J. Kavanau June Claman Barbara Korbin Kurt DeMars Rosalie Kornblau Marcia Dickstein Myron and Harriet Kusnitz Joan and Albert Dorman Marlowe and Eric Lichtenfeld Lori Froeling Fred Manaster Inez R. Gelfand William Marks Lee and Sue Gonsalves Maxine Banks Events Brian Grohl King and Roberta Mendelsohn Josh Zweiback and Jacqueline Hatgan Debra Franklyn and Alan Meyers Roger Keller Stacy Moore Nancy Knutsen Network For Good Alexa Lee Linda Ornitz Christine Lee Edward A. Perez W. Stanley and Hendrina Lisiewicz Ernest Phan Susan Lorenzini Robert L. Potts Manny Marroquin Allison Elder and Thomas Reinsel Terrie Marroquin Michael Richards Thomas Metzler John and Christine Sells Tom and Denise Luiso-Morello Kyung Sook Song Jeffrey L. Nagin Lana Sternberg Julie and Sam Pakula Cliffton M. Tsai Janelle and Jim Riley Eric Walstad George Roberts Herb Weinberg Myriam and Mauricio Silva Patty and Richard Wilson Janneke and Gene Straub Silvana R. Wise Mildred Sudarsky Chris Woodyard Clarissa Takakawa Zahava Zait University of Michigan, School of Music, Theater and Dance 23 THE AMERICAN YOUTH SYMPHONY THANKS THE FOLLOWING ORGANIZATIONS FOR THEIR SUPPORT OF OUR WORK:

24 JOIN THE CHAMPIONS TODAY! Invest in the FUTURE

AYS helps transform aspiring musicians into the next generation of professional concert artists by providing advanced artistic training and professional development opportunities to youth in high school through post-doctoral musicians. AYS orchestra members are selected through a competitive audition process, and represent between 25-35 schools in any given year. There is no fee to audition, and no tuition to participate; in fact, AYS musicians receive paid fellowships.

Create a gift of lasting support and cultural significance by sponsoring a musician in the American Youth Symphony. As a Champion, you can name a chair (in your own name, or in honor or memory of a loved one) for one season, 10 years, 25 years, or in perpetuity!

By becoming a Champion you will join a group of philanthropists who share your passion and commitment to the mission of AYS. Sponsoring a chair for more than one season has a long-term impact on AYS and is the perfect opportunity to leave your mark in an enduring and meaningful way.

Champions are invited to meet with these musicians at private events throughout the year. This is a fantastic opportunity for our musicians to foster a relationship with our philanthropic and visionary supporters—a professional skill they all need—and for our Champions to foster one-on-one relationships with the talented and enthusiastic concert artists of tomorrow. Our Champions are vital to AYS achieving artistic excellence!

On behalf of the entire orchestra, we thank the following patrons for supporting this effort:

Linda and Maynard Brittan James and Ilene Nathan Shoshana Claman and Bill Sheinberg Krystyna and David Newman Silvia and Kevin Dretzka James Newton Howard Irwin and Helgard Field Bradley and Stephanie Penenberg Thomas and Christine Frisina Richard J. Rosenthal and Katherine Spillar Carol Heather Goldsmith Lois Rosen Annie Gross Geri Rotella and Peter Rotter Steven Linder and Michael Hanel Wendy and Ken Ruby Craig and Judi Huss Sidney Stern Memorial Trust Sheila Krasnoff Theodore J. Slavin and Marsha Calig Anika Lorber Isabel Thiroux and Gina Satriano Peter Mandell and Sarah Coade Mandell Susan Thrioux Ruth Flinkman-Marandy and Ben Marandy

25 CHAIR NAMINGS

5

12

Sponsored for the 2019/20 Season Sponsored for the Opening Night Concert

Thank you to our Champions, who have sponsored the chairs below (highlighted in teal) for the 2019/20 Season:

1. Gallia Kastner, The David Frisina Concertmaster LAPO 1943-1978 Concertmaster Co-Sponsor & The Annica and James Newton Howard Concertmaster Co-Sponsor 2. Alexis Hatch, The James & Ilene Nathan Associate Concertmaster Chair 3. Bree Fotheringham, The Theodore J. Slavin and Marsha Calig Assistant Concertmaster Chair 4. Joyce Kwak, The Shoshana Claman & Bill Sheinberg Violin Chair 5. Evan Johnson, The Anika Lorber Principal Second Violin Chair 6. Vacant, The Flinkman-Marandy Assistant Principal Viola Chair 7. Stefan Kosmala-Dahlbeck, The Richard Rintoul Viola Chair 8. Alex Mansour, Bonnie Hartman Principal Cello Chair 9. Michael Ljungh, The Sheila Krasnoff Assistant Principal Cello Chair 10. Phillip Suwandi, The James H. Warsaw Cello Chair* 11. Shawn Berry, The Anne Warsaw Cello Chair** 12. Sam Miller, The Sidney Stern Memorial Trust Principal Bass Chair 13. Vacant, The Bradley & Stephanie Penenberg Bass Chair 14. Elizabeth LaCoste, The Janneke Straub Principal Flute Chair

26 15. Sierra Schmeltzer, The Johnny Rotella Flute Chair 16. Marley Eder, The Johnny Rotella Piccolo Chair 17. Will Stevens, The Benny and Liliana Brittan English Horn Chair 18. Sérgio Coelho, The Steven Linder & Michael Hanel Principal Clarinet Chair 19. Vacant, The Helgard Field Tuba Chair*** 20. Lieza Hansen, The Peter Mandell & Sarah Coade Mandell Principal Bassoon Chair 21. Valerie Ankeney, The Vincent DeRosa Principal Horn Chair**** 22. Amy Ksandr, The Annie Gross Principal Timpani Chair 23. Caroline Hales, The Dretzka Family Harp Chair 24. Wan Rosalind Wong, The Henry Brittan and Maxwell Siemons Piano Chair

*In memory of James H. Warsaw **In honor of Anne Warsaw’s 102nd birthday ***In Honor of Helgard Field ****In Honor of Vincent DeRosa

Thank you to the following "Gift of Music" donors, who supported the chairs highlighted in light blue for our Opening Night Concert.

Tara and Dakota Aesquivel Nancy Knutsen Michael Arkin Terrie Marroquin Sheryl and Bill Borough Manny Marroquin Mary Jo Braun Roger Stoker and Michael Ostron Daniel Butler Janelle and Jim Riley Kurt DeMars Isabel Thiroux and Gina Satriano Debra Ruby and Eric Ellsworth Kirby Shanklin Jeffrey Flair Myriam and Mauricio Silva Lori Froeling Zeke and Carolyn Warsaw Marcie and Cliff Goldstein Cathy and Ken Weiss Brian Grohl James Williams and Marc Wenderoff Roger E. Keller

27 PLANNED GIVING

We would like to thank the following contributors for supporting the legacy of the American Youth Symphony by making a planned gift:

Mr. and Mrs. Herb Gelfand Dr. Richard Handwerger Mr. John Liebes Mr. Steven A. Linder and Mr. Michael Hanel Mr. Richard Rosenthal and Ms. Katherine Spillar

Make your core values known through a planned gift to the American Youth Symphony. Members of our Legacy Society are generous and forward-thinking donors who will support our long-term success and be gratefully remembered.

In addition to supporting our work through your generous cash donations, there are other ways you can contribute to the sustainability of our mission to inspire the future of a timeless art form. Many of these options are a win-win for you and for AYS. We encourage you to consult with your financial advisor to discuss the tax implications of these options:

• Bequests • Life Insurance Policy and Retirement Assets • Life Income Gifts • Complex Gifts

Legacy Society members become a very special part of the American Youth Symphony contributor family. They are also honored with recognition in all print and digital materials. To discuss planned giving options, please contact Executive Director, Tara Aesquivel at [email protected] or call (310) 470-2332.

28 29 AMERICAN YOUTH SYMPHONY OPENING NIGHT CONCERT SUNDAY, OCTOBER 20, 7:00 PM ROYCE HALL CARLOS IZCARAY, CONDUCTOR GALLIA KASTNER, VIOLIN

Joan TOWER Sequoia (16 min)

Jean SIBELIUS Violin Concerto in D Minor, Op. 47 (35 min) I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto

Ludwig Van BEETHOVEN Symphony No. 6 in F Major, Op. 68 “Pastoral” (40 min) I. Awakening of cheerful feelings on arrival in the countryside. II. Scene by the brook. III. Merry gathering of country folk. IV. Thunder, Storm. V. Shepherd’s song. Cheerful and thankful feelings after the storm.

30 GALLIA KASTNER, VIOLIN CONCERTO COMPETITION WINNER

Gallia Kastner is a twenty-two year old violinist currently studying with Robert Lipsett at the Colburn School of Music in Los Angeles, California. She commenced her private violin study at five and a half with Betty Haag-Kuhnke and at age 9, she studied with Almita and Roland Vamos at the Music Institute of Chicago.

Gallia has been the concertmaster of the American Youth Symphony since 2016 and has won numerous local, national, and international competitions, both as a soloist and chamber musician. She is a winner of the Aspen Conducting Academy’s Violin Competition, performing Sibelius Violin Concerto, the winner of the Dorothy Delay Fellowship for the 2020 Aspen Music Festival, performing with the Aspen Philharmonic on their next season, the Pasadena Showcase Competition, the Cooper International Violin Competition, the Blount Slawson National Concerto Competition in Montgomery, Alabama, the Triennial Johansen International Competition in Washington, D.C., and most recently the American Youth Symphony Concerto Competition, which includes an opportunity to solo with the orchestra in the Fall of 2019. In addition, Gallia was awarded the Jack Kent Cooke Young Artist Scholarship and the Jerome and Elaine Nerenberg Foundation Scholarship from The Musicians Club of Women in Chicago.

An avid chamber musician, Gallia was a member of the Lumiére String Quartet that won first place at the Fischoff National Chamber Music Competition and she was also the violinist of Trio Solaris, which collaborated with the Trey McIntyre Project at Jacob’s Pillow. Gallia’s broadcast performances include appearances on WFMT 98.7/Introductions, WTTW Channel 11, WGN Channel 9, and a Today Show appearance with Rachel Barton Pine.

Some of Gallia’s performances with orchestras include The Chicago Symphony Orchestra, The Cleveland Symphony Orchestra, The Gettysburg Chamber Orchestra in Pennsylvania, and The Montgomery Symphony. Other stage appearances include concerts in Chicago’s Millenium Park, Ravinia’s Bennett Gordon Hall and outdoor Pavilion, Lincoln Center, Kloster Schontal and Schwabish Hall Kultursiftung in Germany. She has participated in master classes with Rachel Barton Pine, Vadim Gluzman, Arkady Fomin, James Ehnes, Joseph Silverstein, Ida Kavafian, Ani Kavafian, Ben Beilman, Ilya Kaler, Milan Vitek, Ivry Gitlis, the Cavani Quartet, the Pacifica Quartet, the , the Calidore Quartet, the Dover Quartet, and the Ying Quartet. She has shared the stage with artists such as Lynn Harrell, Gil Shaham, Robert Chen, Jean-Yves Thibauldet, Clive Greensmith, Martin Beaver, Scott St. John, and many others.

Gallia Kastner performs on an 1843 Giovanni Francesco Pressenda Violin on generous loan from the Mandell Collection of Southern California.

31 JOAN TOWER (B. 1938): COMPOSER Joan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the as a composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets; soloists Evelyn Glennie, Carol Wincenc, David Shifrin, Paul Neubauer, and John Browning; and the orchestras of Chicago, New York, St. Louis, Pittsburgh, Baltimore, Nashville, Albany NY, and Washington, D.C. among others. Tower is the first composer chosen for a Ford Made in America consortium commission of sixty- five orchestras. Leonard Slatkin and the Nashville Symphony recorded Made in America in 2008 (along with Tambor and Concerto for Orchestra).

The album collected three Grammy awards: Best Contemporary Classical Composition, Best Classical Album, and Best Orchestral Performance. Nashville’s latest all-Tower recording includes Stroke, which received a 2016 Grammy nomination for Best Contemporary Classical Composition. In 1990, she became the first woman to win the prestigious Grawemeyer Award for Silver Ladders, a piece she wrote for the St. Louis Symphony where she was Composer-in-Residence from 1985-88. Other residencies with orchestras include a 10-year residency with the Orchestra of St. Luke’s (1997-2007) and the Pittsburgh Symphony (2010-11). She was the Albany Symphony’s Mentor Composer partner in the 2013-14 season. Tower was co-founder and pianist for the Naumburg Award winning Da Capo Chamber Players from 1970-85. She has received honorary doctorates from Smith College, the New England Conservatory, and Illinois State University. She is Asher Edelman Professor of Music at Bard College, where she has taught since 1972. TOWER: Sequoia (1981)

Orchestration: 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass trombone, tuba, 5 percussionists, strings

Listen for: • Lush timbral variety—The degree to which instrument families are treated as separate entities or blended into composite colors tightens and loosens, creating a rich and evolving sound-world. • Stratified layers of motion and development throughout different registers of the orchestra.

32 A note from the composer I think most composers would have to admit that they live, to various degrees, in the sound-worlds of other composers both old and new, and that what they consciously or unconsciously take from them enables them to discover what they themselves are interested in. Long ago, I recognized Beethoven as someone bound to enter my work at some point, because for many years I had been intimately involved in both his piano music and chamber music as a pianist. Even though my own music does not sound like Beethoven’s in any obvious way, in it there is a basic idea at work which came from him. This is something I call the “balancing” of musical energies.

In Sequoia, that concept is not only very much present in the score but it actually led to the title (which is meant in an abstract rather than a pictorial sense). What fascinated me about sequoias, those giant California redwood trees, was the balancing act nature had achieved in giving them such great height.

Cast in three continuous movements (fast, slow, fast), Sequoia opens with a long-held pedal point on G with percussion punctuations. Around this central G (finally arrived at in a solo-trumpet note), there begins a fanning-out (first high, then low), on both sides of harmonies symmetrically built up or down from G. This “balancing” of registers like the branching of a tree, continues to develop into more complex settings, as the “branches” start to grow sub-branches. The main pedal point (or trunk, to continue the analogy) on G eventually shifts, both downward and upward, thereby creating a larger balancing motion that has a longer-range movement throughout the piece. Because musical gestures are not confined only to registers and harmonies, the balancing principle permeates every facet of Sequoia—most importantly, in the areas of rhythm, tempo, dynamics, pacing, texture and instrumental color. For example, the initial movement’s first two sections (connected by quick, repeated Gs in the muted trumpet) exhibit a balancing of loud dynamics with soft; of heavy and thin sound (a possible parallel: despite the enormous size of sequoias, their “leaves”—literally, needles—are miniscule, the size of thumbnail); of static (one-note) and moving harmony; of many instruments with a few; of middle-low and middle-high registers, and so on. In this score, the pacing is active and energetic, perhaps suggesting (with the exception of occasional solo instrumental passages) the power and grandeur inherent in the sequoia.

— Joan Tower JEAN SIBELIUS (1865-1957): COMPOSER The works of Jean Sibelius established a strong sense of national musical tradition in Finland—a tradition that has flourished ever since, especially at the Academy of Music in Helsinki which adopted his name in 1939. Sibelius grew up at a time when Finland was fighting for independence from Russia and the nationalist flavor of his early works was simultaneously appealing to the public and alarming to the authorities. Sibelius’ music grew out of the Romantic tradition of Tchaikovsky, Berlioz and Wagner. The core of his oeuvre is his set of seven symphonies and his symphonic poems. He developed a personal and cogent symphonic style: every symphony has its own individual distinction which culminates in the 7th symphony. This work is the pinnacle of his technique in which he condenses the entire symphonic form into one movement. His status as one of Finland’s most important artists comes from his unique blend of original style combined with a profound national-historical awareness and strong connection with Finnish nature. 33 SIBELIUS: Violin Concerto in D minor, Op. 47

Orchestration: Solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

Listen for: • Development and churning out of thematic material in the low registers of the orchestra. • Virtuosic demands of the soloist tastefully woven into the emotional complexity of the work.

The Whole Story “When I play (the violin), I am filled with a strange feeling; it is as though the insides of music opened up to me.”—Jean Sibelius

Still a teenager when he intimated his enlightening relationship with the violin, Sibelius likely could not have imagined the countless listeners who would too experience that strange feeling of unspeakable musical empathy bestowed by a violin at his compositional command. In fact, it was as a performer that the young musician dreamed of accomplishing his life’s work. Composition was the incidental profession which Sibelius only fully embraced after a failed audition for the Vienna Philharmonic. Reportedly, the audition panel described Sibelius’s playing as ‘not at all bad’ but recommended he seek an alternative profession on account of his nerves. In this instance, Sibelius’s insatiable disposition steered him toward becoming the celebrated composer, but this pervasive discomfort would fester and exact a toll on his health and outlook throughout life. Whether or not he intended it so, the presence of Sibelius’s abyss permeates his music so vividly at times that it seems to have a gravitational pull—Even in passages of rejoice, one can sense the chill of Sibelius’s winter waiting to reabsorb the soaring notes as they quiet.

One of the very last violin concerti of the common practice period to achieve immortality through undisputed inclusion in the canon of orchestral repertoire, Sibelius’s only concerto exists both as a compelling farewell to romantic style and as a challenge to emerging composers. Written at the start of the 20th century as contemporaries pushed centuries of reliance on tonal harmony to a breaking point, the Sibelius dares composers to create works that equal its drama and comprehensive allure without the security of tonality. Executing a meaningful interpretation of this piece has nearly become a responsibility for violinists seeking careers as soloists. In many ways, Sibelius’s efforts in violin performance were not in vain, for the years of practice offered him a reservoir of tactile experience to draw from in composition. Though the concerto calls for a nearly impossible level of skill, the score radiates with a deep love for the instrument and its intricacies—continually attracting performers and becoming the medium through which Sibelius would fulfill his dreams as a violinist.

The piece commences as divided violins delicately oscillate between pitches of a D minor triad. In normal circumstances, this would constitute an appropriate statement of key. However, Sibelius uses an unstable inversion of the chord which holds it, and the listeners, in a state of suspension. As the motor-like repetition continues on, the suspense transforms into mystery—Anyone who frequents the movies will realize that film composers galore have implemented this texture of Sibelius’s invention. Out of this glistening ether, the solo violin emerges like an apparition with a timeless story to tell, buoyantly gliding up and down as it surveys the sparse soundscape. The warmth of the violin seems to awaken a

34 clarinet from hibernation, next the bassoons—Finally, the orchestra reveals its might as it stretches and yawns. Intensity ebbs and flows in waves of increasing power until an unexpected serenity cascades down through the orchestra, transforming the tumultuous waves into the tender second theme which solidifies in the bassoons and clarinets. The inspired violin responds with a belting restatement above a gushing accompaniment. After a brief duet with the viola, the soloist plays a series of trills, summoning the orchestra into a dance-like celebration that foreshadows the finale. When the dance subsides, the violin leaps into its cadenza, showcasing a full display of virtuosic demands and idiosyncratic exploits. Between blazing arpeggios and rapid alterations of register, the violin plays a canonic duet with itself—Here, Sibelius deploys his intimate knowledge of the instrument’s capabilities, carefully positioning double-stops like carpentry joints, overlapping the endings of phrases with the entrances of the alternate voice—à la Bach.

The Adagio di molto (very slow) belongs to the beloved class of soothing middle movements, capable of calling up old feelings in even the most hardened of us. Pairs of woodwinds pass a ponderous melody back and forth until the horns pad the texture with a warm bed. The soloist enters with an expressive and vulnerable melody that explores the velvety low register of the instrument. As the movement of the horns slows to just a pulse, plucked scales quietly bubble up from the celli and violas. Bows in hand, the rest of the strings gently cheer on the broadening confidence in the melody. Suddenly, the orchestra flails in bursts of powerful gestures while a rhythmic ostinato rustles along in the bass. The violin enters from above, playing its own accompaniment in another feat of contrapuntal ingenuity which stills the orchestra into a trance. For the remainder of the movement, the forces seem to gain curiosity in the other, subtly chasing one another in an impossible effort to encircle. The violin prances up and down as the orchestra sways side to side, rhythmically sliding past each other until they finally meet as one in triumphant exclamation—then peace.

In the finale, confidence and comradery between the orchestra and soloist springs forth from the outset with clearly defined roles of melody and accompaniment. The opening is brightened by the key choice of D Major instead of the expected D Minor. A rhythmic ostinato in the strings, reminiscent of the second movement, invokes a polonaise which the violin prances into with syncopated responses that increase in sophistication until the final moments of the piece. The full orchestra finds its way back to D minor, bringing some of the newfound levity into its charming, march-like dance. Known as one of the most challenging movements for violinists, the finale also serves as one of the most rewarding for audiences. The wide range of demanding techniques brings all the intensity and showmanship of the first movement’s cadenza to top speed—this time with the full support of the orchestra. Leaping over strings, long polyrhythmic phrases, and high- flying harmonics are just a few ways in which the soloist dazzles. As if clinging to a powerful pendulum, the orchestra sways between major and minor expressions of key, intensifying with each swing, sending the soloist into a frenzied sprint. In a fraction of pause, the violin finds a major scale like it’s the last sun-beam to peek through the forming clouds—it rapidly ascends and in a bright flash, vanishes from the world it came to visit along with the orchestra.

35 LUDWIG VAN BEETHOVEN (1770-1827): COMPOSER A central figure in the history of Western music, Beethoven’s is some of the most performed music around the world. Born in Bonn, a Rhineland town in Germany, Beethoven was relentlessly driven by his father to fill the role of a child prodigy—the fame of young Mozart was still fresh in the minds of musicians. His father’s pursuit was insistent and obsessive, going so far as to falsely claim the young Beethoven was six years old on the bill at his first public performance (he was seven). Nevertheless, it is clear that early on, Beethoven developed an intimate relationship with music and the keyboard that transcended the act that his father hoped to sell. At the time, Maximilian Francis was appointed by Joseph II as archbishop of Cologne, with Bonn as its capital. Under Maximilian, Bonn became a robust cultural center for the region, ushering in the German literary renaissance associated with Goethe and Schiller. Ideals of the enlightenment were thriving, and evidence as to the climate of relative openness is supported by the nomination of Christian Neefe (a protestant from Saxony) as court organist. When it became apparent that Beethoven had outgrown his father’s ability to teach, he began studying with Neefe and became his assistant court organist in 1782. Within a year, Beethoven was appointed continuo player for the Bonn Opera. During this period, he made social contacts that would prove paramount to his ability to dedicate himself to music. Beethoven taught piano to the children of the well-to-do which presented opportunities to rub elbows with the upper milieu. Aristocracy prided themselves on their patronage to the arts, and Beethoven’s brilliant keyboard playing coupled with his imaginative improvising skills made him the ideal beneficiary to present at social gatherings. Beethoven could not have picked a more musically fertile era to move to Vienna, where Prince Lichnowsky became his ardent supporter. After briefly studying with Joseph Haydn, Beethoven sought out composition lessons from both Antonio Salieri and Johan Albrechtsberger, organist at St. Stephen’s Cathedral and practitioner of the learned contrapuntal style that the classical period had abandoned.

His total compositional output is often divided into three periods, the first of which, approximately 1794 to 1800, includes his early piano sonatas, string quartets, and first two symphonies. Early on, Beethoven shows a proclivity for experimentation with form, but characteristically, the music from this period is drawn from an admiration of Haydn and Mozart. During his middle period, roughly 1800 to 1815, Beethoven wrote many of his most well-known works, including the “Moonlight Sonata,” the “Appassionata Sonata,” the Rasumovsky string quartets, and Symphonies 3 through 8 (some consider Symphonies 7 and 8 as belonging to a transitional period preceding his ‘Late Period’). It is throughout this middle period that Beethoven’s impending deafness began to take hold with consequence, depressing him to the point of drafting a quasi-suicide note (which he never sent) to his brother. It is unclear where Beethoven mustered the resolve to continue if not his own music. The compositions of this period embody a timeless elemental power and universal heroism that inspires millions to this day. In his late period, Beethoven

36 intentionally secluded himself as much as possible. The embarrassment and frustration of worsening deafness made city life unbearable, and so the peace and beauty of the country which he already held so dearly became his ultimate sanctuary. Many dismissed the musical density of his late works as the confused errors of a man who cannot hear. Luckily, the scores outlived the critics—His 9th symphony, late string quartets, and Missa Solemnis are among his most awe-inspiring pieces, weaving layers of dense intellectual, philosophical, and emotional paradigms into comprehensive works of art which busy the minds of musicologists to this day.

The evolution of Beethoven’s work outlines the transition from the classical to the romantic period. He showed how ideals and intention could super-charge the power of music with a forcefulness that had not previously existed. Beethoven pushed instrumentalists and audiences into new levels of commitment, demanded a higher standard of musicianship from the entire orchestra, and wrote congruent music which lasted up to three times longer than a typical Haydn Symphony. For many, Beethoven has come to represent the highest ideal of an artist—one whose passion, authenticity, and persistence weathered the harshest setback a musician can imagine and still managed to elevate humanity to new heights, not in spite of the adversity, but inspired through his willingness to overcome it. BEETHOVEN: Symphony No. 6 in F Major “Pastoral”, Op. 68 (1808)

Orchestration: 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons and contrabassoon, 2 horns, 2 trumpets, 2 trombones, timpani, strings

Listen for: • Relaxed and indulgent repetition and re-orchestration of thematic material. • Organic development of smaller motifs splintered off from the main melodies.

The Whole Story Beethoven’s 6th Symphony premiered in Vienna on December 22, 1808 along with the premieres of his 5th Symphony, Fourth , Choral Fantasy, and selected movements from his Mass in C, Op. 86. One can only wonder if those present for this massive display of new work could fathom its significance in the history of music. At the premiere, Beethoven reversed the order of his 5th and 6th Symphonies, calling the Pastoral his 5th Symphony. He had worked on the two over the same period of time, finishing the Pastoral immediately after Symphony No. 5, likely making this temporary switch to curate the flow of intensity over the course of a very long a concert. What is astonishing is the realization that the same person created these two drastically different sound-worlds at the same time. The fact that he articulated the tenderness and joy which emanate so sensitively from the Pastoral Symphony while concurrently conjuring the might of the 5th Symphony stands as a testament to Beethoven’s versatility and depth.

While each of Beethoven’s symphonies has its own distinct character, The Pastoral Symphony stands apart from the rest as the only with five movements, and the only with an extra-musical title. To anyone who knew him well, it would not have been surprising that nature was the only subject Beethoven found worthy of programmatic incorporation. His affinity for the outdoors was well apparent in both his own letters and in the accounts of those around him. In a letter to a student, Beethoven famously claimed that, “no one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear.” In Vienna, it was his daily routine to stroll the outer embankments and soak in the woods. As much as possible, Beethoven would spend his

37 summers away from the city, immersed in nature. Serendipitously, it was near the village of Heiligenstadt (where several years early he had drafted a near suicide note) that he wrote much of 5th and 6th symphonies. Heiligenstadt literally translates to “Holy Place,” and for those of us whose sanctuary is music, whatever rejuvenation it provided Beethoven warrants its name.

Beethoven was acutely concerned with the interaction of the music and the evocative titles in this symphony. In the original program, he had printed, “Pastoral Symphony, more an expression of feeling than painting,” to highlight a distinction that made all the difference to him—The symphony does not attempt to create or represent the outside world of nature directly, but rather give musical life to and sensations that nature arouses in him. His sketches for the work contain handwritten notes, such as “the hearers should be allowed to discover the situations,” and “painting in instrumental music, if pushed too far, is a failure.” These little notes to read like mantras, as if to remind himself of his ideal intention. This fine line of artistic intent is underscored by the fact that the Pastoral Symphony achieves such a sophisticated actualization of symphonic form and thematic development that its appreciation does not require knowledge of the descriptive titles. However, the titles do enhance the experience by offering an intimacy which is not typically available—Beethoven is explicitly inviting us to hear musical transcriptions of his emotions while also revealing their cause.

A sprightly phrase begins the work, gently landing on a fermata, as if pausing to draw a deep breath of fresh air upon arrival in the countryside. As the ‘cheerful awakening’ ripples throughout the orchestra, frolicking triplets increasingly embed the texture, culminating in a wonderfully expressive clarinet passage which softly steers the movement towards closure. The Scene by the Brook is characterized by low, rich strings and leisurely lyrical woodwinds. Even without the nudge from its title, it is easy to associate this luxuriously unpressured Andante with the cyclic and cathartic essence of flowing water. Beethoven’s tasteful perceptive sense of humor shine in Merry gathering of country-folk, depicting an amateur tavern band through a harmonically simple dance with a quirky rhythm that seems to scramble the bassoon. He was indeed a one-time student of the father of musical dad-jokes, Joseph Haydn, but Beethoven is rarely ‘on the nose’, and seems to come from a place of endearment. Listeners will not need preparatory cues to understand when the fourth movement, Thunder and Storm ensues… you will know. The orchestral ingenuity with which the storm is crafted has been mined for its reservoir of explosive techniques by composers to this day. The serenity which follows the passing of the storm is evocative of the sort only available in precious moments of relief, when the value of peace is fresh in the mind and body. In the final movement, Shepherd’s Song. Happy and gratefully feelings after the storm, Beethoven evokes an actual ranz des vaches, a folk-tune native to the Swiss-Alps, traditionally played on the alphorn to call in the grazing cattle. Through elegant harmonization and instrumentation, he elevates this simple and tuneful folk-song to the status of a spiritual hymn. Notorious for his forceful and repetitious cadences, the end of the Pastoral Symphony serves as a counterexample to this tendency, delicately drifting into tranquility. Just before the sound evaporates completely, the orchestra rises once more for a terse and affirmative farewell.

38 ABOUT THE PROGRAM NOTES At the American Youth Symphony, part of our mission is to engage new audiences to sustain this beautiful art form. We dedicate ourselves to educating and inspiring a growing community and eliminating all barriers to accessing the power and beauty of orchestral music. While these program notes were written in the spirit of our educational mission and tailored to make these extraordinary works accessible for those who may be hearing them for the first time, they are designed to enhance the experience of listeners from a wide continuum of musical Paul Engle familiarity. Definitions for musical terms that are highlighted in red can be found in the Glossary, on page 48. Unless otherwise noted, all program notes were written by Paul Engle, who was our 2019 Music Library Intern through the Los Angeles County Department of Arts & Culture Internship Program. Thank you to the Los Angeles County Department of Arts & Culture for this wonderful program that benefits local students and arts organizations alike.

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41 JAMES HORNER (1953-2015)

Having composed the music for more than 130 film and television productions, James Horner was among the world’s most prolific and beloved film composers. He earned two Academy Awards and two Golden Globe Awards, eight additional Academy Award nominations, five additional Golden Globe nominations, and he won six Grammy awards. Horner’s Titanic soundtrack completed a record-breaking run of 16 weeks at #1 on the Billboard Top 200 Album Chart, and it remains the largest selling instrumental score album in history, having sold more than 27 million copies worldwide.

Known for his stylistic diversity, his other film credits include Titanic, Braveheart, Avatar, A Beautiful Mind, Glory, The Perfect Storm, Aliens, Legends of the Fall, Field of Dreams, The Mask of Zorro, Clear and Present Danger, Courage Under Fire, The Missing, Patriot Games, Jumanji, An American Tail, How The Grinch Stole Christmas, Ransom, Honey I Shrunk the Kids, The Land Before Time, Willow, The Rocketeer, Apocalypto, Cocoon, Gorky Park, and Star Treks II and III. His final feature film projects were director Jean- Jacques Annaud’s Wolf Totem, Patricia Riggen’s The 33, and Antoine Fuqua’s Southpaw.

Born in Los Angeles in 1953, Horner spent his formative years in London where he attended the Royal College of Music. His initial interest was avant-garde classical music. Returning to California, Horner continued his education at USC, where he received a Bachelor of Music in Composition, and UCLA, where he earned a Doctorate in Music Composition and Theory. In 1980, Horner was approached by the American Film Institute to score a short film, after which he left the academic world and began working for Roger Corman at New World Pictures. There, he became acquainted with a number of young directors including Ron Howard, for whom he would later score such films as Willow, Cocoon, and Apollo 13 among many others. Also during his time at New World, Horner met a young cameraman named James Cameron, with whom he would later collaborate on Aliens, Avatar, and Titanic. Horner went on to collaborate with many of Hollywood’s most noted filmmakers, including Steven Spielberg, William Friedkin, Mel Gibson, Oliver Stone, and Francis Ford Coppola.

42 Horner likened his approach to composing to that of a painter, where the film serves as the canvas and musical color is used to describe and support the film’s emotional dynamics. An accomplished conductor, Horner preferred to conduct his scores directly to picture and without the use of click tracks. He also composed several concert works including A Forest Passage, commissioned by the Cleveland Orchestra, Pas de Deux, a double concerto for violin and cello, and Collage: A Concerto for Four Horns and Orchestra, premiered by the London Philharmonic Orchestra in March of 2015.

Tragically, Horner died in 2015 when the single-engine aircraft he was piloting crashed in a remote area of northern Ventura County. He was 61 years old. Horner is survived by his wife, Sara, and his daughter Emily. He left behind a legacy of some of the most influential and acclaimed music in the history of cinema.

PRODUCTION CREDITS

Apollo 13 in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Elise Peate Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Warren Brown Sound Engineer: Matthew Yelton

Music Composed by James Horner

Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Epilogue Media Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Apollo 13 has been adapted for live concert performance.

With special thanks to: Universal Pictures, Ron Howard, Brian Grazer, Michael Rosenberg, Sara Horner, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Alex Levy, Mark Graham, Connor Walden and the musicians and staff of the American Youth Symphony.

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AMERICAN YOUTH SYMPHONY SUNDAYS LIVE PRESENTS AYS PRINCIPALS STRING QUARTET SUNDAY, NOVEMBER 3, 6:00 PM ST. JAMES EPISCOPAL CHURCH Performance by AYS Principals String Quartet, programmed by Concertmaster Gallia Kastner

Wolfgang A. MOZART String Quartet No. 14 in G major, K. 387

Antonin DVORˇÁK String Quartet No. 14 in Ab major, Op. 105

GRAND PERFORMANCES PRESENTS AYS HOLIDAY BRASS ENSEMBLE NOVEMBER 5-14 LOS ANGELES INTERNATIONAL AIRPORT Performances from AYS’ Brass Ensemble will delight travelers on November 5, 6 and 7 and November 12, 13, and 14. Locations within LAX are TBA.

LAEMMLE LIVE PRESENTS AYS HOLIDAY CHAMBER ENSEMBLE SUNDAY, DECEMBER 15, 11:00 AM LAEMMLE’S MONICA FILM CENTER Performance by AYS Brass Ensemble 45 AMERICAN YOUTH SYMPHONY SHARE-A-STAND PROGRAM

The “Share-A-Stand” program places AYS orchestra members in Edwin Markham Middle School in Watts, Robert Frost Middle School in Granada Hills, and Griffith STEAM Magnet Middle School in East LA, to mentor 300 young music students. Under the direction of Lead Instructor, Max Mueller, AYS musicians conduct master classes, hold Q&A sessions, lead sectionals, and rehearse side-by-side with the students. AYS also provides bus transportation and tickets for teachers, students, and their families to attend two AYS concerts each season. The year culminates in concerts where AYS musicians and Share-A-Stand students perform at each school.

Share-A-Stand started in 2013 with a handful of AYS staff and musicians volunteering to visit Markham Middle School twice a year. Since then, the program has continually expanded, with musicians now in classrooms at three schools every week. We look forward to continued growth of this program in the years to come, and thank the following organizations for their support of this vital aspect of our mission: The Flourish Foundation, Thelma Pearl Howard Foundation, California Community Foundation, The Ella Fitzgerald Foundation, Pasadena Showcase House for the Arts, The JDS Fishing Foundation of the Dayton Foundation and The Capital Group Companies Charitable Foundation.

46 FELLOWSHIPS Thanks to a generous gift from Peter Mandell and Sarah Coade Mandell, AYS has expanded professional development opportunities by offering three new fellowships:

The Concertmaster Fellow, Gallia Kastner, receives professional support and guidance in advancing the critical leadership skills necessary to be the orchestra's leading instrumentalist. Gallia is tasked with selecting the repertoire for the orchestra’s annual chamber concert at LACMA, and serving as project manager for additional chamber performances in underserved communities.

The Orchestra Management Fellow gains valuable skills in the artistic administration of an orchestra. The fellow receives guidance from the AYS Director of Orchestra Operations, Isabel Thiroux, and training including music preparation, managing orchestra personnel, and organizing rehearsals.

The Citizen Musician Fellowship focuses on developing leadership in the use of classical music to better the community. The selected fellow will research best practices in musician citizenship world-wide, and will program a themed concert in Spring/Summer 2020, exploring the power of classical music to transform lives and build community.

47 GLOSSARY

Arpeggio A patterned succession of tones that belong to the same chord. Cadenza An unaccompanied solo section, typically placed at the end of a movement in a concerto. Historically, soloists improvised cadenzas, but fully notated cadenzas have become standard. Canonic Of or relating to canon form, a process in musical composition in which each successively entering voice presents the initial theme in a strict and consistent manner. Common practice period A period of Western art music from approximately 1600 to 1910 throughout which, arbiters of culture developed musical systems and rules by synthesizing trends in aesthetic taste with the Catholic tradition of vocal part-writing. Although romantic and baroque music differs in many ways, the two eras belong to the same larger period, as romantic composers were still justifying their choices in harmonic resolution by the same fundamental principles of 17th century composition. The Common Practice Period is separated into subcategories, the years of which are generalizations: The Baroque Period (1600-1750), The Classical Period (1750-1820), and The Romantic Period (1820-1910). Contrapuntal Of or relating to counterpoint, the art or technique of writing or playing a melody or melodies in conjunction with another. Divided When a section of instruments has two or more separate parts, creating multiple subsections, that section is divided. This technique offers a wide degree of textural possibility, but limits the potential power of any one line as the resultant is fewer musicians reinforcing the same music. Composers often indicate this direction by printing “divisi” above a stave with multiple lines. Double-stops Two tones produced simultaneously on one instrument. When a string player pushes a string against the fingerboard, they ‘stop’ the string to produce a specific tone. A player can adjust the angle of their bow to contact adjacent strings, allowing them to “stop” two distinct pitches under one bow. Fermata A hold on a note or rest of unspecified duration. Harmonics In performance technique, harmonics are isolated overtones that musicians produce through instrument-specific methods. On string instruments, lightly touching a string (instead of pressing it down) creates unique fractional relationships between the segments on either side of the point of contact to the string as a whole—this produces a pitch that is usually higher than what would result from pressing all the way down in the same place. Inversion If the lowest sounding note of a chord is not its root (the note the chord is named after), that chord is said to be in inversion. For example, when the notes of a D minor chord (D, F, and A) are arranged so that either F or A are the lowest sounding note, the chord is inverted. Here, inversion describes the vertical of a chord relative to its lowest sounding note. However, inversion is a concept that is applied to various parameters in music, carrying different meanings in each case.

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