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Sebastian Yradier, arr. Longfield La Paloma

Doug Spata City of Steel

Spring Concert

April 19, 2026

3:00 PM

Conductors

Susan Wines & Joshua Miller

Soon Hee Newbold Voyager

Michael Giacchino arr. Kazik Remember Me from “Coco”

Larry Clark Endless Possibilities

Sting, arr. Larry Moore Fields of Gold

Noah D. Taylor Fanfare 250

Carl Maria von Weber Concertino for Clarinet and Orchestra

min Nancy Mae Flippin, clarinet

Gustav Holst Song without Words

Georg Philipp Telemann Suite in A Minor 1. Overture 8min Addyson Posey, flute

Ron Nelson Jubilee

min

La Paloma

Sebastián Yradier

La Paloma, meaning “The Dove,” is a popular melody. Spanish composer Sebastián Yradier wrote the piece in the 1860s after visiting Cuba, and the melody reflects the influence of Cuban dance rhythms. Over time, La Paloma has become an international classic performed in many styles around the world.

City of Steel Doug Spata

City of Steel by Doug Spata is an exciting work inspired by the strength and energy of great industrial cities. Driving rhythms and bold musical ideas capture the sense of motion, determination, and power that define these communities.

This piece presented one of the honors ensemble’s biggest challenges. Its rhythmic

Voyager

Soon Hee Newbold

Soon Hee Newbold’s Voyager captures the excitement and wonder of exploration. The music suggests a journey into the unknown, filled with adventure, courage, and discovery. Sweeping melodies and powerful musical moments give the piece a heroic character.

Remember Me Kristen AndersonLopez & Robert Lopez

Remember Me comes from the Academy Award–winning animated film Coco. In the story, music connects generations of a family and reminds them of the importance of honoring those who came before us. The song moves between joyful celebration and heartfelt reflection.

During rehearsals, the Prelude Honors Ensemble worked to establish a strong Latin rhythmic feel, focusing on the natural flow and dance-like character of the music. Capturing this rhythmic style helps bring authenticity and warmth to this timeless melody.

Larry Clark

Larry Clark’s Endless Possibilities is a lyrical and expressive work that highlights the beauty and flexibility of the string orchestra. The music moves through contrasting sections that allow the ensemble to explore a wide range of musical colors and emotions, reminding performers and listeners alike of the many musical possibilities that can be created through collaboration.

complexity required several weeks of careful rehearsal to align the different parts of the orchestra. The students rose to the occasion, working together to create the strong, unified rhythmic energy the music demands.

In rehearsals, the Prelude Ensemble focused on developing a full, powerful orchestral sound. This piece encouraged the students to play with confidence, strength, and musical expression as they brought the adventurous spirit of the music to life.

Because the melody was already familiar to many of the students, the Prelude Ensemble was able to focus their rehearsals on ever-changing finger patterns and shifting notes, helping them develop confidence and flexibility on their instruments while bringing this beloved tune to life.

During rehearsals, the Prelude Ensemble focused on developing a rich ensemble tone while also shaping clear dynamic contrasts between the softer and stronger sections of the music. These changes in tone and volume help bring depth and expression to the piece, allowing the orchestra to fully explore the “endless possibilities” suggested by the title.

Originally written and recorded by Sting in 1993, Fields of Gold is a reflective and heartfelt song inspired by the golden barley fields near the singer’s home in the English countryside. The melody is known for its warmth and simplicity, making it a favorite among audiences.

For the Prelude Ensemble, this piece provided an opportunity to focus on syncopated entrances and maintaining a warm, blended sound throughout the orchestra. The beauty of this music lies in its simplicity, and the ensemble worked carefully to make each entrance together and allow the melody to shine.

Fields of Gold Sting

The composition features bold rhythmic figures, brilliant brass writing, and commanding percussion, establishing a strong and dignified character. Energetic passages require precision and coordination, while broader musical moments invite a full, resonant ensemble sound. These contrasts reflect both the strength and solemnity associated with military ceremony and national pride.

Throughout the work, Taylor highlights clarity of articulation, balance across the ensemble, and sustained intensity.

Concertino for Clarinet

Carl Maria von Weber

(1786-1826)

COMPOSED 1811

APPROXIMATE DURATION

10 minutes

Carl Maria von Weber wrote his Concertino for Clarinet in Eb major, opus 26 for his friend, Heinrich Bärman, a famous clarinetist. The Concertino was written in just three days: a surprisingly short amount of time for a piece considered to be a cornerstone of the clarinet repertoire! Premiered on April 5, 1811, the concertino was popular even before it was first heard. For the premier concert, King Maximilian I of Bavaria purchased fifty tickets. The King liked it so much that he commissioned Weber to compose two more clarinet concertos. King Maximilian was not the only one who liked the Concertino, the performance was followed by rave reviews from the audience. This exciting one-movement work opens with a slow, dramatic introduction in C minor. Next, the operatic performance leads to a bright, but still lyrical, melody. The piece unfolds to a theme and variations, switching between sixteenth-notes and triplets to sixteenth-notes again. The clarinet’s full range is showcased in the sparkling variations. A short lento interlude

Song without Words

Gustav Holst (1874-1934)

APPROXIMATE DURATION 3 minutes

Gustav Holst’s Song without Words reflects the composer’s gift for lyrical expression and his deep sensitivity to melodic line. Best known for his monumental suite The Planets, Holst also composed more delicate works that reveal a quieter, more reflective side of his musical voice. In this piece, he creates a flowing, vocal-style melody that unfolds gently, allowing the ensemble to shape each phrase with warmth and care.

The title suggests a central idea: music can communicate meaning without language. Holst achieves this through expressive harmonies and subtle shifts in texture, giving performers the opportunity to explore nuance in dynamics, tone, and phrasing. The simplicity of the musical material challenges players to focus on blend, balance, and sustained tone—essential skills for any developing ensemble.

interrupts the performance, echoing the opening, followed by a quick six-eight section, completing the piece. Concertino for clarinet is a perfect blend of lyrical phrases and quick, brilliant rhythms. I have particularly enjoyed the challenge, but also the joy, this piece has presented in my practice. Weber exploits the clarinets’ warm, technical quality and agility throughout, with the orchestra providing dazzling contrasts. I hope you enjoy the performance as much as King Maximilian once did!

Nancy Mae Flippin

Rather than depicting a specific story, Song without Words invites listeners to form their own emotional interpretation. Some may hear a sense of calm reflection, while others may experience a feeling of longing or quiet beauty. Through its understated elegance, the piece demonstrates how even the simplest musical ideas can convey profound expression when performed with sensitivity and musicality.

Did you know that George Telemann originally composed this piece for a solo recorder? In the Baroque era, “fluato” meant recorder, not flute, much to the dismay of a modern audience. If you’ve ever had an elementary student attend the Spartanburg Philharmonic’s Link Up concert, you know the squeaky sounds of the recorder well! It’s a, shall we say, great

Jubilee, composed in 1998, reflects Ron Nelson’s signature style through its brilliant fanfare-like gestures and driving rhythmic momentum. The title itself suggests celebration, and the piece captures that spirit through bold brass statements, sparkling percussion, and contrasting lyrical passages. Nelson creates a sense of forward motion and anticipation, allowing different sections of the ensemble to shine while maintaining a cohesive and exhilarating musical narrative.

Over the years, Jubilee has become an important work in the orchestral repertoire, frequently performed by high school, collegiate, and professional ensembles. Conductors value the piece for its ability to develop ensemble precision,

learning tool, if not a wonderful instrument to listen to. Telemann played the recorder himself, and probably wrote more recorder music than any other composer of the era. Luckily for you in the audience today, Addyson Posey, an SPYO concerto competition winner, will be performing on a standard transverse flute.

Suite in A Minor opens with a slow stately introduction which picks up in speed in the contrapuntal section at the end. Overtures in this era are designed to give the listener a taste of the music to come, and set the mood for the dances that follow. Telemann liked to incorporate not only the standard courtly dance music from France and Italy, but folk music from Poland and Germany as well. He was widely influential in popularizing this style of music, and we hope you enjoy Addyson’s performance!

Suite in A minor Georg Philipp Telemann

(1681-1767)

COMPOSED 1725

APPROXIMATE DURATION

8 minutes

balance, and musical intensity, while performers appreciate the opportunity to engage with its energetic and rewarding musical material. Its continued presence on concert programs speaks to its lasting impact as a celebratory, accessible work that showcases the ensemble’s full power and color.

The Spartanburg Philharmonic Youth Orchestra celebrates a true “Year of Jubilee,” drawing on the historical meaning of jubilee as a time of achievement and joyful recognition. The idea of jubilee resonates deeply with this ensemble’s recent accomplishments. Their acceptance to perform at the South Carolina Music Educators Association (SCMEA) Conference stands as a testament to the students’ dedication, discipline, and artistic growth. This milestone reflects not only musical excellence but also a sustained commitment to collaboration, resilience, and high standards. As these young musicians continue to refine their craft, they embody the spirit of jubilee through both their achievements and their ongoing pursuit of excellence, inspiring their community and setting a powerful example of what focused effort and shared purpose can achieve.

Jubilee

Ron Nelson (1949-)

Violin I

Britton Matthews*, Principal

Luke Gardner*,

Assistant Principal

Jolene Yang*

Jennifer Lopez*

Harrison Pack*

Charlotte Clementson*

Kendall Aguiar*

Emma Newsome*

Maliyah Buckley*

Bass

Ava Eckerich*, Principal

Kyndall Thomas*,

Assistant Principal

Victoria Vazquez*

Colsen Long

Violin II

Ethan Truong*, Principal

Joshua Vázquez Flores*,

Assistant Principal

Rover Morlino*

Anthony Burgess

Bobby Flandry

Jeannie Buttimer

Claire Carman

Wallace Massengill

Maiya Johnson

Brooke Bryant

Felipa Perez - Campos

Hannah Simpson, Director of Education & Community Engagement

Sectional Coaches

Susan Baier

Audrey Bass

Jennifer Diehn

Kathy Foster

Allison Key

Adena McDaniel

Viola

Lily Hoffee*, Principal

Liam Sewell*,

Assistant Principal

Mathias Gutierrez*

Carl McLean*

Cailinn Griswold*

Lillian Long*

Nandhan Muruganathan*

Isael Perez

Amy Sic Tumax

Matthew Soberanis

Bentley Pierce

Tio Dye

Lucas Covington

Bob Borden, SPYO Manager

Cello

Briana Marquez*, Principal

Leena McRoberts*,

Assistant Principal

Aiden Burow*

Peyton Allen*

Raven LeBon*

Madi Saad*

Bryson Kiehl

Isabella Derrick

Mary Scott Strickland

Jillian Potter

Patrick Jung

Cooper Huang

Leonardo Wright

Addison Wilson

Destiny Williams

Ashlyn Scheuch, Site Coordinator

Audition Judges

Timothy McMurray

Darian Washington

Aaron Yackley

Alvaro Angulo

Michelle Tate Cockram

*Prelude Honors

Jessica Martin

Bill Scott

Bill & Valerie Barnet

George Dean & Susu Johnson

Nelly Zimmerli Anonymous

Flute

Addyson Posey

Sunny Harrison

Mason McNeilly

Analiz Garza

Oboe

Kylie Fowler

Ella Bowen

Horn

Matthew Price

Emma Green

Henry Wilson

Trumpet

Eden Vander Ploeg

Jack Cooper

Mabry Patterson

Holley Loftis

Blaire Goin

Rodolfo Yanez-Dera

Violin I

Zoe O’Brien, Principal

Jackson Lui, Assistant Principal

Nicholas Catto

Ella Hayes

Angelique Farmer

Abby Clemsontson

Sam Strickland

Vittoria Stamille

Kate Lancaster

Madison Raynor

Hector Perez

Violin II

Eva Burnett, Principal

Jade Aparicio Edwards, Assistant Principal

Jackson Sewell

Jonathan Steadman

Maegan Lennon

Samuel Sushinskiy

Scarlet Spencer

Ellison Sellers

Wren Sikma

Malachi Shuler

Joey Lesley

Legend Davis

Addison Simcheck

Leah Keen

Grace Velting

Delaney Zibell

Harp

Alina Kashirets

Clarinet

Nancy Mae Flippin

Bryan Avalos - Barrera

Kathryn Spivey

Karina Artega

Luz Jaramillo

Trombone

Chris Depra

Ethan Pegram

Drew Gordon

Bryson Olmstead

Viola

Jordi Vazquez - Perez, Principal

Michael Depra, Assistant Principal

Sophia Keller

Nahomi Blanco

Piper Lemons

Catherine Arenas

Hayden Peace

Lincoln Heck

Bassoon

Micah Whitfield

Clara Saad

Gabriela Garmise

Tuba

Clara Matz

Liam Wideman

Percussion

Michael Velting

Hayden Bean

Nolan Crum

Adena McDaniel*

Matt McDaniel*

Cello

Zarina Bogomaziuk, Principal

Alex Arenas, Assistant Principal

Ella Kern

Gracie Buttimer

Adyson Cloninger

Rylee Potter

Reese Bennett

Lily Cothran

Sarah Lowry

Solomon Smith

Zayden Emsopheap

Ervin Gonzalez

Bridge Keller

Britany Garcia Mesa

Layla Ferguson

Bass

Sebastian Cartwright, Principal

Katie Federchenko,

Assistant Principal

Chase Eckerich

Jessica Riley

Zoey Ofori

*Sectional Coach

Nancy Mae Flippin is a 16 year old homeschooled sophomore who grew up in South Carolina. She began playing Clarinet in the fifth grade and has attended Region and Allstate band

She has been the recipient of the Lawson Scholarship. She started playing in the Spartanburg Philharmonic Youth Orchestra last year. She plays in the Converse Clarinet Choir and studies under Dr. Karen Hill.

When not playing clarinet, Nancy runs for the Spartanburg High school cross country and mountain bike teams.

Addyson Posey is a senior at Boiling Springs High School and has been playing the flute for 6 years. This is her 3rd year participating in SPYO and her 5th year studying through the Lawson Academy under the instruction of Julie Keeling. Addyson has participated in SCBDA All State Honor Band Clinics, Region Honor Band Clinics, and Furman Music Clinics. She is also very active in her school’s music program, performing with the BSHS Wind Ensemble, BSHS Symphonic Band, BSHS Marching Band, and the BSHS Jazz Band. Addyson consistently receives Superior ratings at Solo and Ensemble Festivals and other adjudicated events. In addition to her musical achievements, Addyson is also currently in the top 2% of her graduating class, a Beta Club and National Honors Society member, and a Gifted Art student.

Susan Wines

SYMPHONY CONDUCTOR

As a native of Spartanburg, Susan Wines’ enthusiasm for music and teaching began as a double bass player at Boiling Springs Middle School. Her eagerness and excitement for music continued to develop through teacher encouragement as well as participation in several honor orchestra opportunities throughout the state.

With nearly two decades of youth orchestra experience, it is with excitement that she joins the Spartanburg Philharmonic Youth Orchestra community as the Symphony Conductor at her alma mater - Converse University. Susan Wines holds a Bachelor of Music in Instrumental Music Education from Converse University, two Master of Education degrees from the American College of Education, and is pursuing a Doctorate of Music Education from Liberty University.

In addition to being the Director of Orchestras at Byrnes Freshman Academy, she enjoys being an adjudicator for performance assessments, a mentor for pre-service teachers, and a guest clinician across the nation. She was instrumental in creating many student-centered music activities such as Greenville County’s All-County Honor Orchestras, SC ASTA Double Bass Workshop, as well as the annual SC ASTA Orchestra. Ms. Wines serves as the Executive Director of the SCMEA Orchestra Division and past president of the South Carolina Chapter of SC ASTA.

She has been recognized as a WYFF Golden Apple Teacher Award Recipient, Teacher of the Year, Music Club of Greenville’s Golden Note Award Recipient, South Carolina High School League’s “Heart of the Arts Award,” and most recently, the recipient of the Yamaha “40 under 40” national music educator recognition.

Joshua Miller

PRELUDE CONDUCTOR

Although he didn’t originally set out to become a teacher, he received his Bachelor of Music degree in Music Education from Furman University. While in college, his plan was to become a dentist until he finally listened to the encouragement of those around him to consider teaching. The choice to become an orchestra teacher turned out to be one of the greatest decisions of his life. After graduation, Dr. Miller began his career in Anderson School District One teaching orchestra for grades 5-12.

In 2016, he moved back to his hometown and joined the faculty at Spartanburg School District Two. As a music educator, he holds two main philosophies: kids who trust you can learn anything, and fundamentals are key to musical success. He currently serves as an Assistant Principal at Roebuck Elementary School in Spartanburg School District 6.

In 2021, he was selected by his peers and administration to serve as Teacher of the Year. And this past year, he received the honor of being the WYFF News 4 Teacher of the Year. During his years as an orchestra teacher, his performance groups have earned numerous awards. Dr. Miller and his wife (Raven) currently reside in Inman, SC, with their son (Asher) and daughter (Ayla). He enjoys watching as much Netflix as possible and spending time with his family.