5/4/2022 Emory Youth Symphony Orchestra

2021–2022

MUSIC@ EMORY

This concert is presented by the Schwartz Center for Performing Arts.

404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Audience Information Please turn off all electronic devices.

The concert hall capacity has been reduced in order to allow distance between seated parties. Please be mindful of distancing.

Photographs and Recordings

Digital capture or recording of this concert is not permitted.

Ushers

The Schwartz Center welcomes a volunteer usher corps of approximately 60 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.

Accessibility

The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.

Design and Photography Credits

Cover and Program Design: Lisa Baron | Cover Photo: Mark Teague

Acknowledgment

The Schwartz Center gratefully acknowledges the generous ongoing support of Donna and Marvin Schwartz.

2021–2022

MUSIC@ EMORY Emory Youth Symphony Orchestra Paul Bhasin, conductor

Featuring the winner of the 2022 EYSO Concerto Competition: Jeremiah Jung, violin Wednesday, May 4, 2022, 8:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program José Pablo Moncayo (1912–1958)

Huapango

Violin Concerto in D Minor, op. 47 I. Allegro moderato

Jean Sibelius (1865–1957)

Jeremiah Jung, violin Winner of the 2022 EYSO Concerto Competition

Lieutenant Kijé, Symphonic Suite, op. 60 I. The Birth of Kijé II. Romance III. Kijé’s Wedding IV. Troïka V. The Burial of Kijé

Suite from The Firebird I. Introduction: The Firebird and Her Dance; Variation of the Firebird II. The Princesses’ Round: Khorovode III. Infernal Dance of King Kastcheï IV. Berceuse V. Finale

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Sergei Prokofiev (1891–1953)

Igor Stravinsky (1882–1971)

Program Notes Huapango (1941) One of the great traditions in classical music is the incorporation of folk elements into concert works. As Czech composer Antonín Dvořák acknowledged, “I myself have gone to the simple, half-forgotten tunes of the Bohemian peasants for hints in my most serious works. Only in this way can a musician express the true sentiment of his people. He gets in touch with the common humanity of his country.” An irresistible example of the blending of folk and classical elements is the orchestral work Huapango, by the Mexican composer, conductor, instrumentalist, and educator José Pablo Moncayo. Moncayo completed Huapango in 1941.

The premiere took place on August 15 of that year, with Carlos Chávez conducting the Orquesta Sinfónica de México.

Moncayo based his Huapango on the Mexican folk dance of the same name that he encountered during visits to Veracruz. The huapango, juxtaposing duple and triple meters, is performed by a wide variety of ensembles, both vocal and instrumental. Moncayo’s Huapango incorporates three authentic Mexican folk dances, “Siqui Siri,” “Balajú,” and “El Gavilán.” The work features two quick-tempo outer sections framing a slower-tempo central episode. The vibrant folk dances, couched in Moncayo’s scintillating orchestral colors, have made Huapango one of the most beloved works of its kind. As French composer Darius Milhaud once remarked, “When in the grey light of a Parisian winter, I want there to be sun in my flat, I listen to a record of Huapango.”

Violin Concerto in D Minor, op. 47 (1903/4, Rev. 1905) Jean Sibelius began work on his Violin Concerto in 1902. A driving force behind the work was Willy Burmester, an acclaimed virtuoso and former leader of the Helsinki Philharmonic. A great admirer of Sibelius, Burmester encouraged the composer to finish the concerto, and even offered to play the first performance. Sibelius was enthusiastic about the prospect, and offered Burmester a November 1903, premiere. However, Burmester’s schedule precluded any performances until March of the following year. Sibelius was in dire financial straits, and needed to present the work as soon as possible.

Sibelius then offered the premiere to Victor Nováček, a teacher in Helsinki and, by all accounts, a violinist of decidedly lesser ability than Burmester. Sibelius hoped for a premiere in November, but delays in completing the final score postponed the first performance until 5

February 8, 1904, just a month prior to when Burmester would have been available to play the concerto. At the premiere, Nováček struggled with the considerable technical challenges of the work. In summer 1905, Sibelius made substantial changes to the concerto, tightening its structure and altering or removing many passages. In that revised form, the Sibelius Violin Concerto has remained a favorite of violinists and their audiences.

The concerto is in three movements. The first (Allegro moderato) is based upon two themes. Muted strings accompany the soloist’s extended introduction of the haunting opening theme. After a short cadenza, a brooding orchestral passage develops into the second principal theme, first intoned by the bassoons and cellos, and later played with searing passion by the soloist. An expansive solo cadenza replaces the traditional development section.

Lieutenant Kijé, Symphonic Suite, op. 60 (1934) In 1933, Sergei Prokofiev returned to his native Russia after 15 years of residence abroad, first in the United States, then in France. He soon began work on the first of several film scores, Lt. Kijé, based upon a story

by Yury Tynianov and directed by Alexander Faintsimmer. Despite some early misgivings, Prokofiev soon realized that Lt. Kijé would afford him the chance to fulfill his ambition to compose music that would appeal to the Soviet people. As the composer recalled, Lt. Kijé “gave me a welcome opportunity to try my hand, if not at a Soviet subject, then at music for Soviet audiences, and a mass audience at that.” There is also no question that Prokofiev, known for his keen, dry sense of humor, was strongly attracted to Tynianov’s cynical political tale.

The story of Lt. Kijé takes place in Tsarist Russia around the turn of the 19th century. Due to an office clerk’s typographical error, a military roster contains the name of a nonexistent person, one Lt. Kijé. The Tsar wants to learn more about this “Lt. Kijé.” Rather than admit the mistake, the Tsar’s officers engage in all sorts of contortions to satisfy their leader by creating a Lt. Kijé, complete with a detailed life history. At one point, Kijé is sentenced to Siberia, but the Tsar pardons his subject and promotes him to the rank of general. Lt. Kijé dies a hero, although of course, he is “buried” in an empty coffin.

Prokofiev composed 16 separate numbers for the original film. In 1934, Prokofiev created a symphonic suite derived from the original Lt. Kijé film score. Prokofiev noted: “[t]his gave me much more trouble than the music for the film itself, since I had to find the proper form, reorchestrate the whole thing, polish it up, and even combine several of the themes.”

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Despite the composer’s professed difficulties in adapting his film music for the concert hall, the Lt. Kijé Suite remains one of Prokofiev’s most popular scores. It brilliantly complements the wit and pathos of a tale of the desire to please authority, even at the expense of the truth.

I. The Birth of Kijé—An offstage cornet, military drum, and piccolo herald Kijé’s arrival.

II. Romance—This slow-tempo movement is based upon a romantic folk song The Little Gray Dove is Cooing, first played by the double bass.

III. Kijé’s Wedding—The wedding ceremony begins with a grandiose orchestral introduction, immediately followed by a rather jaunty cornet solo.

IV. Troïka—In the fourth movement, Prokofiev incorporates yet another melody, the drinking song, A Woman’s Heart is Like an Inn. V. The Burial of Kijé—The final section, opening and closing with a cornet solo, also includes echoes of previous episodes.

Suite from The Firebird (1910, 1919 Revision) Igor Stravinsky composed his ballet, The Firebird, at the invitation of Sergei Diaghilev, impresario of the Ballets Russes. The triumphant premiere took place in Paris on June 25, 1910. The Firebird’s winning synthesis of lyric and dramatic elements, couched in dazzling orchestration, captured the imagination of the Paris audiences and catapulted the young Russian composer to national and international prominence.

Stravinsky fashioned three orchestral Suites from The Firebird, the first (1911) employing the huge orchestral forces of the original score. In 1919, Stravinsky created another Suite for reduced orchestra. Stravinsky completed the third (and final) Suite in 1945. The 1919 Suite—the most frequently performed of the three—is featured in this concert.

I. Introduction: The Firebird and Her Dance; Variation of the Firebird—The Firebird is based upon Russian folk legend. While wandering in the forest at night, the Prince Ivan encounters a magic Firebird. The Prince is entranced by the Firebird’s beauty and captures her. However, the Prince takes pity on the Firebird and sets her free. In gratitude, the Firebird gives the Prince one of her feathers, and promises to aid him in his hour of need.

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II. The Princesses’ Round: Khorovode—The Prince comes to the courtyard of an enchanted castle, where he finds 13 beautiful Princesses, captives of the evil magician Kastcheï.

The Princesses warn Prince Ivan not to enter the castle, for Kastcheï has the power to turn intruders to stone. The Prince boldly ignores their warnings.

III. Infernal Dance of King Kastcheï—The Prince suddenly encounters Kastcheï’s horrible servants, and ultimately the magician himself. Kastcheï tries to turn the Prince into stone, but the hero produces the Firebird’s magic feather. The Firebird appears and forces Kastcheï and his followers into a frenetic dance.

IV. Berceuse—When Kastcheï and his followers are exhausted, the Firebird lulls them to sleep.

V. Finale—Kastcheï and his retinue are destroyed. All of the prisoners are set free, including the 13th Princess, whom the Prince weds.

—Program notes by Ken Meltzer.

Emory Youth Symphony Orchestra

As one of the finest pre-college programs in the region, the Emory Youth Symphony Orchestra (EYSO) supports the pedagogy of school directors and private teachers while providing additional performance opportunities and ensemble experience. In addition, all students 8

and parents are offered the opportunity for extensive pre-college counseling, assistance with college and scholarship applications, and related endeavors. The orchestra is open to string, wind, and percussion musicians from ninth through twelfth grade. The home of EYSO is the nationally renowned Emerson Concert Hall in the world-class Schwartz Center for Performing Arts on Emory’s campus, where the orchestra performs three concerts during the school year. Members receive regular sectional instruction from Emory’s outstanding roster of artist affiliates, which includes the Vega String Quartet and members of the Atlanta Symphony Orchestra. In 2009–2010, the orchestra was featured on the nationally broadcast From the Top, National Public Radio’s program dedicated to the most outstanding young musicians in the country.

EYSO has also been featured at Spivey Hall, performed with guest soloists from several major American symphony orchestras, and has appeared in concert with Emory’s string quartet in residence, the Vega String Quartet.

In 2014, the orchestra began a regular tour cycle with a performance at New York’s Lincoln Center attended by major donors and supporters of the program, Donna and Marvin Schwartz and Ted Turner.

Paul Bhasin, conductor Paul Bhasin serves on the faculty of Emory as director of orchestral studies. He conducts the Emory University Symphony Orchestra (EUSO) and the Emory Youth Symphony Orchestra (EYSO), and he teaches conducting.

Praised for his crisp, clear conducting and highly expressive interpretations, Bhasin has led a variety of university, youth, and professional ensembles throughout North America and abroad, including performances at the Kennedy Center in Washington, D.C., throughout the People’s Republic of China, and later this year in Vienna, Austria, with the EUSO and vocal studies program. Bhasin’s guest engagements include appearances with the Virginia Symphony Orchestra, American Youth Philharmonic, Williamsburg Symphony Orchestra, at Interlochen Arts Academy, and performances with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra.

He has served as a guest orchestral clinician throughout the United States, 9

and presented at national conferences, including the Midwest Orchestra Clinic and the National Music Teachers Association Conference.

Bhasin serves as music director of the Atlanta Chamber Music Festival.

He has performed as a chamber musician on WFMT in Chicago and Detroit PBS-TV, at festivals nationwide, and with members of the Metropolitan Opera Orchestra in New York. His chamber music program development experience includes work with Chicago’s Music Integration Project, the Chicago Symphony Orchestra’s Musicorps program, and residency development with the Grammy–winning sextet Eighth Blackbird.

Bhasin is an accomplished orchestral trumpeter, having performed and recorded with the Virginia Symphony and Opera, Columbus (Ohio) Symphony, New World Symphony, the Civic Orchestra of Chicago, and at the music festivals of Aspen, Tanglewood, and Ravinia, under the batons of David Zinman, Tilson Thomas, James Conlon, James DePriest, and Gustav Meier. Bhasin’s trumpet students have attended prestigious conservatories and have won first prize at major competitions, including the National Trumpet Competition. Bhasin has recorded as trumpeter and conductor for both the Centaur and Interscope record labels. A forthcoming CD project will feature Atlanta Symphony Orchestra principal soloists with Emory ensembles.

Bhasin’s compositions, transcriptions, and arrangements are published by Carl Fischer Music and have been performed and commissioned in the United States and abroad by the St. Louis Opera Theater, Grand Tetons Festival Orchestra, La Unió Musical l’Horta de Sant Marcel·lí (Valencia, Spain), and the Washington (DC) Symphonic Brass.

Bhasin’s score to 9/23 Films’ motion picture HOGTOWN (award-winner at the Berlin, Los Angeles, and Nashville International Black film festivals) was praised by the Chicago Sun-Times as “ . . . scored beautifully by composer Paul Bhasin . . . better than the entirety of the last few features I’ve seen, period.” In 2016, reviewer Ben Kenigsberg of the New York Times named the film a Critic’s Pick and one of the Top 10 Films of 2016.

Bhasin’s previous appointments include positions at the University of Wisconsin-Green Bay, Triton College, and the College of William & Mary.

He received his musical education from the University of WisconsinMadison, Northwestern University, and the University of Michigan.

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Jeremiah Jung, violin Jeremiah Jung first began playing the violin at nine years old, when he quickly developed a passion for the instrument. Since then, he has performed with numerous orchestras, including the Fulton County Youth Orchestra, Emory Youth Symphony Orchestra, and GMEA All State Orchestra for seven years. Jeremiah plays a leading role as co-concertmaster of the Atlanta Symphony Youth Orchestra and Emory Youth Symphony Orchestra and was concertmaster of the 2020 GMEA All State Orchestra. Jeremiah has won numerous musical accolades, including being awarded Georgia state winner/ representative and Southern Division Alternate in the MTNA 2021 competition. He was also awarded 3rd place in the Hilton Head Symphony Orchestra Youth Concerto Competition. Now a senior at Northview High School in Johns Creek, GA, Jeremiah studies violin under William Pu, the former Associate Concertmaster of the Atlanta Symphony Orchestra.

Jeremiah also enjoys playing piano and guitar in his spare time.

Music at Emory The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in the department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, the faculty and ensembles also welcome the participation of nonmajor students from across the Emory campus.

Become a part of Music at Emory by giving to the Friends of Music. A gift provides crucial support to all of the activities. To learn more, visit music. emory.edu or call 404.727.1401.

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Emory Youth Symphony Orchestra Jessica Stinson, orchestra manager All musicians listed alphabetically within instrument section.

Flute and Piccolo Ryan Clever (Pinecrest Academy) Ivy Lee (Greater Atlanta Christian School) Alexandra Tarassenko (Paul Duke STEM High School) Oboe and English Horn Christopher Lee (Johns Creek High School) Benjamin Lee (Johns Creek High School) Ashley Na (Lambert High School) Clarinet Daniel Kim (North Gwinnett High School) Brandon Kwon (Lambert High School) Stan Lee (Lambert High School) Nicholas Wandrick (Cambridge High School) Bassoon Lucas Black (Homeschool) Andrew Guthrie (The Paideia School) Rob Liberman (Weber School) Saxophone Raymond Liu (Brookwood High School) Horn Cathleen Bolger (Lambert High School) Aidan Christensen (Kell High School) Lyle Foley (Lakeside High School) Irene Tang (Johns Creek High School) Trumpet Toby Johnson (Northgate High School) Justin Oh (North Gwinnett High School) Freddy Wendelburg (Northgate High School) Trombone and Bass Trombone Christopher Park (Parkview High School) Scott Rasher (West Forsyth High School) Nathaniel Wasihun (Parkview High School) Tuba Ryan Lofland (Etowah High School) 12

Emory Youth Symphony Orchestra All musicians listed alphabetically within instrument section.

Timpani and Percussion Camden Briggs (Cass High School) Issac Jung (North Gwinnett High School) Jace Park (East Coweta High School) Ezekiel Werner (Decatur High School) Piano and Celeste Albert Zhang (Innovation Academy) Harp Emma Burnsworth (Homeschool) Erin Howard (Drew Charter School) Violin Isaac Bryan (Johnson Ferry Christian Academy) Benjamin Cha (Peachtree Ridge High School) James Chen (Alpharetta High School) David Chung (The Paideia School) Elizabeth Domashchenko (GSMST) Mary Gilbert (Pope High School) Nevin Gregory (GSMST) Christian Hable (George Walton Comprehensive High School) Irene Ha (Johns Creek High School) Ashley Heo (Northview High School) Revin Jun (Northview High School) Jeremiah Jung (Northview High School) Christina Kim (Peachtree Ridge High School) Lee Kim (Johns Creek High School) Nathan Kim (North Gwinnett High School) Ryan Kim (South Forsyth High School) Rebekah Kim (Peachtree Ridge High School) Alyssa Lee (GSMST) Janice Lee (Chattahoochee High School) Alicia Li (Northview High School) Carol Li (Chamblee Charter High School) Violet Lorish (Capstone Academy) Ella Grace Malcolm (Milton High School) Hermes Mejia-Holguin (Duluth High School) Danielle Najarian (Milton High School) Daniel Ng (GSMST) Madison Park (River Ridge High School) 13

Emory Youth Symphony Orchestra All musicians listed alphabetically within instrument section.

Violin (continued) Joshua Sampson (The Weber School) Ryan Shin (GSMST) Katie Son (Peachtree Ridge High School) Ethan Son (GSMST) Ranjani Vasudevan (Fulton Science Academy) Sophie Wang (The Westminster Schools) Brayden Wilson (Georgia Connections Academy) Caeley Woo (Chamblee Charter High School) Salome Won (Lambert High School) Jeffrey Xu (Johns Creek High School) Joseph Yeo (Collins Hill High School) Eric Yu (Fulton Science Academy) Dianne Zhao (Northview High School) Viola Lynden Baek (North Gwinnett High School) Nicholas Chang (Duluth High School) Danielle Chun (Mill Creek High School) Aria Cox (Paul Duke STEM School) JaeHyun Im (Northview High School) Joshua Jeon (GSMST) Bryan Kim (GSMST) Hyeonju Kim (Callaway High School) Sarah Kim (The Westminster Schools) Erika Tay (Lanier High School) Chaeyoung Park (Wesleyan School) Seungmin Pyo (North Gwinnett High School) Jihwan Shin (North Gwinnett High School) Jason Xu (Walton High School) Olivia Yu (Alpharetta High School)

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Emory Youth Symphony Orchestra All musicians listed alphabetically within instrument section.

Cello Jonathan Fuller (Grady High School) Julia Gaines (Homeschool) Tyler Gemmell (Mill Creek High School) Charlton Hills (Riverwood International Charter School) Yeseo Han (North Gwinnett High School) Salome Ho (Lambert High School) Dean Kim (Lambert High School) Elly Kim (Peachtree Ridge High School) Joshua Kim (North Gwinnett High School) Theodore Kim (Johns Creek High School) Jaime King (Chamblee Charter High School) Alex Ko (Lambert High School) Owen Lear (Midtown High School) Jeremy Lee (Duluth High School) Gabriel Liu (GSMST) Kelsey Queen (Dekalb School of the Arts) Bass Sreya Ambadipudi (Northview High School) Madeline Bower (Marietta High School) David Cooper (Druid Hills High School) E’LissaAnn Jones (Northview High School) Audrey Nguyen (Alpharetta High School) Elena Scharris (Lakeside High School) Richard Zhou (North Gwinnett High School)

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Music at Emory Music at Emory brings together students, faculty, and world-class artists to create an exciting and innovative season of performances, lectures, workshops, and master classes. With more than 150 events each year across multiple Emory venues, audiences experience a wide variety of musical offerings.

As you explore Music at Emory, we hope you enjoy this variety by sampling an assortment of work from our student ensembles, community youth ensembles, artists in residence, professional faculty, up-and-coming prodigies, and virtuosos from around the world.

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