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Fall Concert

Oct. 26, 2025

3:00 PM

Conductors

Susan Wines & Joshua Miller

Brian Balmages Rise of the Olympians

min Prelude Honors

Don Brubaker El Toro 3 min

Alan Lee Silva Golden Fields

John Powell, arr. Robert Longfield How to Train Your Dragon 3min

Mikhail Ippolitov-Ivanov Procession of the Sardar 4 min

Ludwig van Beethoven Symphony no. 7 in A, Op. 92 II. Allegretto

min

Danny Elfman, arr. Douglas E. Wagner Corpse Bride 4 min

Modest Mussorgsky Night on Bald Mountain 9 min

Rise of the Olympians Brian Balmages

“Rise of the Olympians” brings the power and drama of ancient Greek mythology to life through music. From the opening fanfare, listeners can imagine the mighty gods of Mount Olympus awakening—Zeus commanding thunder, Poseidon stirring the seas, and Athena preparing for battle. The piece combines heroic lines, driving rhythms, and sweeping melodies to capture both the strength and majesty of these legendary figures. Balmages masterfully transports the audience into a world of myth and adventure, where every note feels like part of an epic story.

El Toro

Don Brubaker

“¡Olé!” — this energetic work bursts with the excitement of a Spanish bullfight. The title, El Toro (“The Bull”), perfectly fits the fiery rhythms, bold fanfares, and spirited moments that bring the arena to life. The music paints a vivid picture: the proud matador, the swirling cape, and the thrilling dance between courage and danger. With its lively tempo and dramatic flair, El Toro captures the color, motion, and passion of traditional Spanish music while providing a fun and exhilarating challenge for the musicians.

Golden Fields

Alan Lee Silva

“Golden Fields” is a beautifully reflective work that celebrates the quiet majesty of open landscapes. Through its warm harmonies and flowing melodies, the piece evokes images of sunlight stretching across wide fields and gentle breezes moving through tall grass. Silva’s writing invites both performers and listeners to pause, breathe, and appreciate the simple beauty of nature. It’s a musical moment of peace and gratitude—a reminder of the golden places we hold in our hearts.

How to Train Your Dragon

John Powell

Based on the beloved DreamWorks animated film, this thrilling arrangement captures the adventurous spirit and emotional heart of How to Train Your Dragon. Listeners will recognize powerful themes which soar with the excitement of flight and friendship between Hiccup and his dragon, Toothless. Robert Longfield skillfully brings John Powell’s cinematic score to the concert stage, allowing the ensemble to share in the magic, wonder, and courage of this unforgettable music.

In the late 19th century, Russian audiences were captivated by the mysterious beauty of the Caucasus—a region rich in vibrant cultures, stunning landscapes, and powerful traditions. One composer who helped bring those sounds to the concert hall was Mikhail Ippolitov-Ivanov. A student of Nikolai Rimsky-Korsakov, Ippolitov-Ivanov became known for his lush orchestration and for weaving folk melodies into classical forms. His most famous work, Caucasian Sketches, Suite No. 1, premiered in 1895 and transported listeners to the Caucasus mountains through music.

Ippolitov-Ivanov’s connection to the Caucasus wasn’t just artistic—it was personal. In the 1880s, he served as the director of the music school in Tbilisi (in present-day Georgia), where he immersed himself in local folk music. He carefully studied traditional melodies and rhythms, blending them with Western classical orchestration to create something fresh and vibrant. Procession of the Sardar is a perfect example of this fusion: it feels both formal and ceremonial, yet full of life and regional color.

The piece quickly became a concert favorite thanks to its grand opening theme, regal march rhythm, and dramatic crescendos. It’s often performed as a stand-alone work, even outside the full suite. Listeners are swept into a scene of pageantry—a powerful leader riding proudly through a cheering crowd, accompanied by trumpets, drums, and swirling strings.

Mikhail Ippolitov-Ivanov lived from 1859 to 1935, a period of enormous change in Russian history. He worked as a conductor, composer, and teacher, and eventually became the director of the Moscow

Procession of the Sardar

Mikhail IppolitovIvanov (1859-1935)

COMPOSED 1895

APPROXIMATE DURATION 4 minutes

Symphony

no. 7, Op. 92

Ludwig van Beethoven (1770-1827)

COMPOSED 1812

APPROXIMATE DURATION 11 minutes

In 1812, toward the end of the Napoleonic Wars, Ludwig van Beethoven composed one of his most joyful and rhythmically compelling works: Symphony No. 7 in A major, Op. 92. By this time, Beethoven was in his early forties, profoundly deaf, and facing immense personal struggles. Yet his creative powers were at their height, and the Seventh Symphony radiates energy and vitality. The composer himself once called this symphony “one of my best works,” and it quickly became one of his most beloved.

The second movement, marked Allegretto, stands apart from the symphony’s bright outer movements. Darker and more contemplative, it opens with a steady, almost march-like rhythm in the lower strings. As the movement unfolds, this pulsing pattern supports hauntingly beautiful melodies that build in intensity, layering theme upon theme until they reach a powerful, almost spiritual resonance. The Allegretto was so striking that at its premiere, the audience demanded an immediate encore of that movement alone—a rare honor.

Beethoven wrote this symphony during a turbulent period in Europe, when the continent was weary from war but beginning to hope for peace. Many believe the piece reflects a sense of triumph through struggle—a hallmark of Beethoven’s music. While he did not leave specific programmatic notes, the Seventh is often interpreted as a celebration of human resilience and the power of rhythm to drive us forward. The

Imagine a world where skeletons swing, ghosts waltz, and romance blooms between the living and the dead—welcome to the delightfully spooky world of Corpse Bride! Directed by the master of Gothic whimsy, Tim Burton, and scored by his longtime musical partner-in-crime, Danny Elfman, this film blends dark humor, quirky characters, and a surprising amount of heart. The music is a huge part of its charm, bringing the underworld to life with toe-tapping rhythms and swinging, dramatic melodies.

Elfman’s score is equal parts creepy and playful. One moment you’re surrounded by

Allegretto, in particular, has been described as a meditation on endurance and quiet strength.

The first performance took place on December 8, 1813, at the University of Vienna in a concert benefiting soldiers wounded in battle. The orchestra was filled with some of the greatest musicians of the time, including Louis Spohr and Gioachino Rossini. Beethoven himself conducted the ensemble. The premiere was such a sensation that critics praised the symphony as a “glorious hymn to joy and freedom.” Over time, the Allegretto took on a life of its own, often performed independently of the rest of the work and later used in countless films, memorials, and ceremonies.

Despite his deafness and personal pain, Beethoven created a movement that continues to speak across centuries. Its hypnotic rhythm and quiet intensity remind listeners that even in darkness, beauty and strength can rise.

swirling strings and mysterious harmonies, the next you’re in a jazzy, skeletal dance party. His musical style perfectly matches Burton’s storytelling—slightly strange, beautifully offbeat, and never without a wink of mischief. In this arrangement, players get to step straight into that cinematic world. The opening lines set a spooky mood, like a whisper through a foggy graveyard. Then the music takes off with quirky rhythms and dramatic bursts of sound, creating the feeling that anything could happen. Listeners might imagine tiptoeing through a haunted forest, stumbling into a ghostly ballroom, or joining a skeleton conga line.

In the mid-19th century, the Russian composer Modest Mussorgsky set out to create music that captured the soul of his homeland—raw, untamed, and steeped in legend. Though he spent much of his life working as a civil servant, his true passion was composing bold, imaginative works that broke from European traditions. One of his most striking creations, Night on Bald Mountain, was born from his fascination with Russian folklore and the supernatural.

Mussorgsky imagined a wild scene on St. John’s Eve, a night in Slavic mythology when witches and spirits were said to gather on a mountaintop to dance, summon dark forces, and celebrate in a frenzy until dawn. He completed the piece in 1867, calling it a “musical picture of a witches’ revelry.” In his vision, the music would conjure shrieking winds, fiery dances, and the arrival of the devil himself, all culminating in a sudden hush as church bells toll and morning light chases the spirits away.

Whether you’re in the orchestra or in the audience, this piece is all about letting your imagination run wild. It’s spooky, it’s silly, it’s romantic—and it proves that sometimes the afterlife throws the best parties. Fun fact: the original film used stop-motion animation, meaning every single frame was created by moving puppets—one tiny movement at a time. It took over 100,000 individual shots to bring the story to life! That same level of care and imagination shines through in Elfman’s score, which layers musical textures like a Halloween layer cake.

Corpse Bride continued

From its stormy opening to its serene conclusion, Night on Bald Mountain is more than just a piece of music—it is a story of darkness and light, of legends whispered through the centuries, brought to life by one of Russia’s most daring musical voices. Despite Mussorgsky’s passion, the piece was never performed in his lifetime. His mentor, Mily Balakirev, dismissed the work, and it was set aside for years. After Mussorgsky’s death, his friend Nikolai Rimsky-Korsakov re-orchestrated and refined the score, transforming it into the brilliant, dramatic version that has captivated audiences ever since.

The title itself has an intriguing origin. The Russian phrase “Noch’ na Lýsóy Gore” translates literally to “Night on the Bald Mountain.” The word “bald” or “bare” describes a treeless, windswept mountaintop—exactly the kind of eerie setting where witches were believed to gather in folklore. English translations sometimes refer to it as “Bare Mountain,” but “Bald Mountain” has become more widely used.

The piece begins with an explosion of sound—trembling strings, blaring brass, and driving rhythms—that sweeps listeners into the supernatural celebration. The frenzied dance grows wilder until a church bell tolls in the distance. One by one, the spirits vanish, leaving only a calm, luminous dawn. Decades after Mussorgsky’s death, this vivid tone poem gained even greater fame when it was featured in Fantasia (1940), bringing its haunting power to new generations.

Night on Bald Mountain Modest Mussorgsky (1839-1881)

COMPOSED 1867

APPROXIMATE DURATION 9 minutes

Some cities celebrate their war heroes, others their sports stars, but in Spartanburg, it’s all about our musicians. Head out on the Spartanburg Music Trail, a 30-minute outdoor walking tour of the city’s incredibly robust music history. With your GPS enabled smartphone, you’ll be directed to each colorful marker to learn about the artists and hear the music that lifted them onto the national stage. You’ll also discover opportunities for side trips to further explore our musical heritage.

The Spartanburg Music Trail honors musicians from Spartanburg who have made a national or international impact in the world of music. The stops highlight artists in such genres as country, gospel, soul, rock ‘n’ roll and more. Ultimately, the trail will circle the downtown as new inductees are added.

Violin I

Luke Gardner*, Principal

Britton Matthews*,

Assistant Principal

Charlotte Clementson*

Jolene Yang*

Jennifer Lopez*

Emma Newsome*

Maliyah Buckley*

Harrison Pack*

Kendall Aguiar*

Violin II

Ethan Truong*, Principal

Joshua Vázquez*, Assistant Principal

Rover Morlino*

Brooke Bryant

Jeannie Buttimer

Claire Carman

Bobby Flandry

Anthony Burgess

Maiya Johnson

Wallace Massengill

Felipa Perez-Campos

Ava Eckerich*, Principal

Kyndall Thomas*, Assistant Principal

Viola

Lily Hoffee*, Principal

Mathias Arellanos Gutierrez*, Assistant Principal

Liam Sewell*

Lillian Long*

Carl McLean*

Nandhan Muruganathan*

Amy Sic Tumax

Bentley Pierce

Lucas Covington

Matthew Soberanis

Tio Dye

Cailinn Griswold*

Cello

Aiden Burow*, Principal

Zoey Ofori*, Assistant Principal

Briana Marquez*

Peyton Allen*

Madi Saad*

Raven LeBon*

Leena McRoberts*

Destiny Williams

Addison Wilson

Cooper Huang

Isabella Derrick

Bryson Kiehl

Jillian Potter

Patrick Jung

Mary Scott Strickland

Victoria Vazquez*

Leonardo Wright Bass

Colsen Long

Hannah Simpson, Education & Community Engagement Manager

Sectional Coaches

Susan Baier

Jennifer Diehn

Adena McDaniel

Bill & Valerie Barnet

George Dean & Susu Johnson

Nelly Zimmerli Anonymous

Joanna Mulfinger

Kathy Foster

Darian Washington

Bob Borden, SPYO Manager

March Moody

Angela Rex

Aaron Yackley

Zoe Harbison

Ashlyn Scheuch, Site Coordinator

Audition Judges

Darian Washington

John McAllister

Alvaro Angulo

*Prelude Honors

Audrey Bass

Jessica Martin

Michelle Tate Cockram

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

Angelique Farmer, Assistant Principal

Jackson Lui

Abby Clementson

Kate Lancaster

Nicholas Catto

Vittoria Stamile

Ella Hayes

Sam Strickland

Madison Raynor

Hector Perez

Anna Barber

Jeremy Rojas

Harp

Alina Kashirets

Violin II

Eva Burnett, Principal

Jonathan Steadman, Assistant Principal

Jackson Sewell

Jade Aparicio-Edwards

Maegan Lennon

Delaney Zibell

Samuel Sushinskiy

Leah Keen

Ellison Sellers

Malachi Shuler

Wren Sikma

Scarlett Spencer

Joey Lesley

Legend Davis

Addison Simcheck

Grace Velting

Clarinet

Nancy Mae Flippin

Bryan Avalos - Barrera

Kathryn Spivey

Karina Artega

Luz Jaramillo Carcamo

Trombone

Chris Depra

Ethan Pegram

Drew Gordon

Bryson Olmstead

Bassoon

Micah Whitfield

Clara Saad

Gabriela Garmise

Tuba

Emilio Perez-Salas

Clara Matz

Percussion

Michael Velting

Hayden Bean

Nolan Crum

Adena McDaniel*

Viola

Lincoln Heck, Principal Michael Depra, Assistant Principal

Nahomi Blanco

Jordi Vazquez-Perez

Sophia Keller

Catherine Arenas

Hayden Peace

Piper Lemons

Cello

Gracie Buttimer, Principal

Lily Cothran, Assistant Principal

Adyson Cloninger

Zarina Bogomaziuk

Solomon Smith

Bridge Keller

Reese Bennett

Rylee Potter

Ella Kern

Zayden Emsopheap

Britany Garcia Mesa

Layla Ferguson

Ervin Gonzalez

Sarah Lowry

Bass

Sebastian Cartwright, Principal

Chase Eckerich, Assistant Principal

Zoey Ofori

Jessica Riley

*Sectional Coach

November

Wirewood

Music Sandwiched In Zimmerli Series

Bluegrass Spartanburg

Event Date Venue

Bluegrass Spartanburg

Wed 11/5

Wed 11/19

Fireside Collective Thurs 11/22

December

Harp Ensemble

Wed 12/3

Hub-City Holiday Sat 12/6

The Nutcracker Fri 12/12

The Nutcracker Sat 12/13

The Nutcracker Sun 12/14

Philharmonic Brass

Wed 12/17

Spartanburg Cyrill-Westside Library

Chapman Cultural Center

Spartanburg Cyrill-Westside Library

Twichell Auditorium

Spartanburg Cyrill-Westside Library

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.

Abner Creek Middle School

Lucas Covington, Viola

Briana Marquez, Cello

Emma Newsome, Violin

Jillian Potter, Cello

Florence Chapel Middle School

Isabella Derrick, Cello

Jackson Lui, Violin

Ethan Pegram, Trombone

Kyndall A. Thomas, Bass

Byrnes Freshman Academy

Zoey Abena Ofori, Cello/Bass

Carl McLean, Viola

Mason McNeilly, Flute

James F. Byrnes High School

Sunny Harrison, Flute

Lincoln P. Heck, Viola

Matthew Price, Horn

FLUTES & PICCOLOS

The highest, clearest sounding instruments in the woodwind family, the flutes and piccolos are seated in the middle of the stage, directly in front of the conductor.

HORNS

The heroic sound of the horns is instantly recognizable. The bell (or opening) of the horn faces away from the audience, and they are usually seated toward the back of the stage.

VIOLINS

OBOES & ENGLISH HORNS

The oboe and its larger sibling the english horn are seated next to the flutes. The oboe is the first thing you hear when the full symphony tunes at the beginning of a concert.

TRUMPETS

Brilliant and brassy, the trumpets power over the orchestra. They are usually seated toward the rear or side of the orchestra, facing the conductor.

The highest instruments in the strings family, the violins are the largest group on stage. They are typically divided into first and second violins and are seated immediately to the conductor's left.

CLARINETS

Clarinets come in a variety of sizes, from the small and highpitched E-flat, to the middle range B-flat, all the way down to the Bass Clarinet. They sit behind the flutes in the middle of the stage.

TROMBONES

Trombones are the only family of brass instruments that use a slide to change pitch instead of valves. Like the trumpets, they are usually seated behind the rest of the orchestra.

TIMPANI & PERCUSSION

Percussion is anything that you can strike or shake to make sound. The timpani (also called kettle drums) has been in the symphony for centuries. They are usually located behind or to the side of the rest of the orchestra. Other percussion instruments have slowly joined over the years as composers look for more colorful sounds.

VIOLAS

The violas are slightly larger and deeper sounding than the violins, and they blend well with most other instruments. They sit between the cellos and the violins, and between the conductor and the oboes.

BASSOONS

The bass instrument of the woodwind family, the reedy, almost growling nature of the bassoon is very recognizable. They sit next to the clarinets and behind the oboes.

TUBA

The tuba is the largest and deepest brass instrument. The bell faces upward toward the ceiling. You can usually spot the tuba near the trombones and low stringed instruments.

CELLOS

The cellos have an enormous range, sometimes playing the bass line and sometimes the high melody. The cello section is to the conductor's right, in front of the basses.

HARP

Although not always a part of the symphony, the harp adds beautiful, sweeping colors to the orchestral sound. The harp is usually seated near (or even in) the violin sections.

BASSES

The largest and lowest instrument in the string family, the basses are so big that musicians typically stand to play them. They are usually positioned near the cellos and the tuba.

The Spartanburg Philharmonic is proud to announce the establishment of the Music Educator of the Year Award, which is dedicated to honoring outstanding music educators in Spartanburg County. This prestigious award celebrates the exceptional dedication, creativity, and passion of local music teachers who inspire and cultivate a love of music in their students.

Nomination Deadline: January 31, 2026 SpartanburgPhilharmonic.org/Educators

Announcement: March 2026