The Black Sea
GARY GACKSTATTER (b. 1959)

Gary Gackstatter's The Black Sea is a high-energy orchestral piece that captures the unpredictable nature of the Black Sea through dynamic rhythms and innovative techniques. Inspired by Robert Bly's evocative poem, the composition reflects the sea's tumultuous history and mystique.

The piece features shifting meters, including accessible 7/8 interludes, and employs techniques such as col legno and pizzicato to depict the sea's volatility. These elements create a dramatic yet approachable work that challenges and excites performers.

Through its compelling rhythms and textures, The Black Sea offers both musicians and audiences an engaging musical journey, embodying the essence of the enigmatic sea.

“Hoe Down” from Rodeo
AARON COPLAND (1900–1900)

Aaron Copland (1900–1990) is widely regarded as one of the most important American composers of the 20th century, and his music is deeply infused with the spirit and landscape of the United States. Known for his ability to capture the essence of American life, Copland’s works span a variety of genres, but his ballet scores remain some of his most iconic contributions. Among these, Rodeo (1942) stands out as a quintessentially American piece, celebrating the rural heartland and the cowboy spirit.

Composed as part of a ballet commissioned by the Ballets Suédois, Hoe-Down is the lively and exuberant finale of Rodeo. The ballet, choreographed by Agnes de Mille, tells the story of a young cowgirl who longs to be accepted into the cowboy community. In Hoe-Down, Copland evokes the energy and vigor of a barn dance or cattle roundup, with spirited rhythms, infectious melodies, and a sense of joyful motion. The music features bold brass fanfares, sharp rhythmic patterns, and a driving, syncopated beat, conjuring vivid images of lively dancing, Western landscapes, and the camaraderie of the rodeo.

In terms of musical style, Hoe-Down captures the essence of American folk music with its use of simple, folk-like melodies and wide-open harmonies, all infused with Copland's signature sound. The movement is rooted in folk traditions but elevated with orchestral richness and rhythmic complexity, creating a piece that is both accessible and sophisticated.

Beyond the concert hall, Hoe-Down has entered popular culture as one of the most recognizable pieces of American classical music. Its infectious tune has been featured in numerous films, commercials, and television shows. Most notably, it was famously used in the theme song for the Beef. It's What's for Dinner campaign, where its lively, upbeat energy perfectly captured the essence of American agriculture and the spirit of the West. Additionally, Hoe-Down has appeared in films such as The Right Stuff and is often associated with the imagery of the American frontier and rural life.

Hoe-Down remains a staple of American orchestral repertoire, and its vibrant energy and unmistakable Americana make it a beloved piece both within classical music circles and in popular culture.

Copland received numerous awards and honors throughout his career, including the Pulitzer Prize for Music and the Presidential Medal of Freedom.

Beneath the Canopy
CAIT NISHIMURA (b. 1991)

Program notes from the composer:

“I’ve always cherished any time spent in the forest. While the mighty and majestic treetops are what I’m drawn to first, I’ve come to enjoy observing and investigating the environment that exists beneath the canopy. It is here where many birds, animals, and insects make their homes; where mushrooms and mosses magically appear; and where visitors to the forest leave footprints on trails.

Beneath the Canopy is a hopeful, uplifting, and energetic piece for concert band that is meant to evoke a walk through the woods. The layers of melodies and harmonies throughout the piece represent the various levels of the forest, from the ground to the understory and up to the canopy. The colours and textures within the ensemble depict the flora, fauna, and funga of the forest.”

Fields of Clover
RANDALL STANDRIDGE (b. 1976)

Randall Standridge's Fields of Clover is an original composition crafted in the style of Irish folk music, though it is not based on any pre-existing tune. Notably, Standridge composed the main melody at the age of 14 and revisited it years later during a composition lesson, where it was suggested that the tune would make a great band piece. The work was premiered in 2000 by the Arkansas State University Symphonic Band.

Throughout the piece, listeners are treated to lush harmonies and flowing melodies that evoke the imagery of rolling green hills and the tranquil beauty of the Irish countryside. The composition builds from its intimate opening to a more expansive and dynamic conclusion, providing both performers and audiences with a rich and evocative musical experience. The sweeping phrases and simple harmonies invoke the green landscapes of Ireland.

“Waltz No. 2” from Suite for Variety Stage Orchestra
DMITRI SHOSTAKOVICH (1906–1975)

Dmitri Shostakovich (1906–1975) was one of the most significant composers of the 20th century, known for his ability to navigate the turbulent political landscape of Soviet Russia. His career was marked by both extraordinary acclaim and dangerous scrutiny, as he was often forced to toe the line between artistic integrity and the oppressive demands of the Soviet regime.

Waltz No. 2 is part of Shostakovich’s Suite for Variety Stage Orchestra, composed in 1934, during a time when the composer faced increasing pressure from the Soviet government. The 1930s were a period of great political tension in the Soviet Union, particularly under Joseph Stalin’s rule. Shostakovich, whose music had often been the target of censure for its modernist tendencies, had to carefully balance artistic expression with the party’s expectations for “acceptable” music.

The Suite for Variety Stage Orchestra, including Waltz No. 2, was written for the stage—an effort by Shostakovich to comply with the state’s demand for more “accessible” music for mass entertainment. Though the suite was created for light orchestral purposes, it contains the composer’s trademark wit and complexity, even within its simpler, more popular style. The Waltz No. 2 in particular stands out as one of Shostakovich’s most enduring and beloved pieces. With its smooth, sweeping melodies and rhythmic elegance, it exudes an air of sophistication while maintaining a lighthearted, almost playful quality. Yet, beneath the surface charm, there are hints of the composer’s characteristic irony, reflecting the tension Shostakovich often felt in his relationship with the authorities.

Although Waltz No. 2 was composed for the variety stage and is often performed as a light, charming piece, its wistful undertones and melodic richness speak to the emotional complexity of Shostakovich’s work during this period. At a time when his music was heavily scrutinized, this piece served both as a concession to Soviet expectations and as an expression of his own artistic voice—one that continually teetered between defiance and compromise.

Waltz No. 2 became immensely popular and remains one of Shostakovich’s most recognized works, embodying a moment in his career where he balanced the pressures of the political climate with the enduring beauty of his music. Its infectious rhythm, elegance, and subtle emotional depth continue to captivate audiences, making it a testament to Shostakovich’s resilience and genius.

Méphisto Masqué (Polka Fantastique)
EDMOND DÉDÉ (1827–1901)

Edmond Dédé (1827–1903) was a pioneering Creole composer and violinist from New Orleans who spent much of his career in France, where he gained recognition for his refined and expressive compositions. His music blends European classical traditions with the rhythmic vitality and melodic charm of his Louisiana heritage.

Méphisto Masqué is a striking and evocative work that showcases Dédé’s gift for dramatic storytelling through music. The title, which translates to Mephisto Masked, suggests a mysterious, possibly mischievous, portrayal of the legendary devilish figure. The piece unfolds with a spirited energy, featuring swirling melodies, lively syncopations, and a touch of theatrical flair reminiscent of the fantastical and supernatural themes popular in 19th-century Romanticism.

Dédé’s orchestration is colorful and dynamic, using rich harmonies and lively rhythms to create an atmosphere of intrigue and excitement. The work moves seamlessly between playful charm and fiery intensity, capturing the essence of a masked dance led by the enigmatic Mephisto himself.

Though not as widely known as some of his European contemporaries, Dédé’s Méphisto Masqué is a brilliant example of his artistry, offering a glimpse into the unique blend of cultures and influences that shaped his musical voice. Today, his works are being rediscovered, celebrated for their craftsmanship, and recognized for their important place in classical music history.

Selections from American Suite
ANTONÍN DVOŘÁK (1841–1904)

Composed in 1894-95 during Antonín Dvořák’s stay in the United States, the American Suite is a beautifully lyrical work that blends Czech folk influences with the rich melodic and rhythmic character of American music. Though it is less well-known than his New World Symphony or String Quartet No. 12 (American Quartet), this suite reflects Dvořák’s deep fascination with the folk melodies, spirituals, and indigenous musical elements he encountered in America.

The Andante con moto, the second movement of the suite, is an elegant and flowing piece with a warm, folk-like theme. Its gently lilting melody, presented first by the woodwinds, evokes the charm of rural landscapes, reminiscent of both Czech and American frontier influences. The music unfolds with expressive phrasing and subtle harmonic shifts, creating an atmosphere of nostalgic beauty.

The Andante is a reflective and tender movement, its simplicity belying the depth of its expressiveness. A quiet yet poignant melody sings over gentle accompaniment, evoking a sense of longing and serenity. Dvořák’s gift for lyricism shines through, as the movement unfolds with graceful, songlike phrases that suggest an intimate, heartfelt conversation.

The Allegro finale brings the suite to an energetic and lively conclusion. Marked by rhythmic vitality and dance-like momentum, the movement is infused with spirited syncopations and vibrant orchestral textures. The buoyant themes and dynamic interplay between instruments give this movement an infectious energy, reflecting Dvořák’s joy in embracing new musical landscapes.

Together, these movements capture the essence of Dvořák’s transatlantic musical journey—a fusion of Old World traditions with the fresh, openhearted spirit of America. The American Suite stands as a testament to his ability to weave diverse influences into a cohesive and deeply expressive work.

Together, these movements capture the essence of Dvořák’s transatlantic musical journey—a fusion of Old World traditions with the fresh, openhearted spirit of America. The American Suite stands as a testament to his ability to weave diverse influences into a cohesive and deeply expressive work.

The Pines of Rome (Finale)
OTTORINO RESPIGHI (1879–1936)

The finale of Ottorino Respighi’s Pines of Rome titled The Pines of the Appian Way, is a breathtaking evocation of ancient grandeur. This movement transports listeners to the misty dawn along the legendary Roman road, where spectral echoes of history rise from the stones beneath towering umbrella pines.

Respighi’s orchestration masterfully builds from an eerie, almost hypnotic stillness—low, ominous ostinatos in the strings and the distant toll of muted trumpets—into a momentous crescendo. As the morning sun lifts the fog, we hear the rhythmic march of an unstoppable legion, the ghosts of Roman soldiers returning in triumph. With each step, the music surges forward, gaining power, until brass fanfares blaze like golden sunlight on ancient armor. The percussion’s relentless pulse and the soaring orchestral waves create a sense of inevitable victory.

In the final, breathtaking moments, Respighi unleashes one of the most triumphant climaxes in orchestral literature. An overwhelming orchestral force delivers a radiant, awe-inspiring procession—Rome’s glory, eternal and resplendent.

As the last chords reverberate, The Pines of Rome leaves us standing amidst history’s echoes, transported by Respighi’s sonic vision of a civilization that once ruled the world.

“Danse Nègre” from The African Suite
SAMUEL COLERIDGE-TAYLOR (1875–1912)

Samuel Coleridge-Taylor (1875–1912) was a pioneering British composer of African and English descent whose music blended European classical traditions with African and African American musical influences. Born in London, he studied at the Royal College of Music and quickly gained recognition for his compositions, particularly his Hiawatha Trilogy, which was immensely popular in Britain and beyond. As an advocate for Black musicians and culture, he was deeply inspired by African heritage and African American spirituals, forging a unique compositional voice that resonated across continents.

Composed in 1898, African Suite is one of Coleridge-Taylor’s early orchestral works, reflecting his fascination with African themes as well as his admiration for the Romantic style of composers like Dvořák and Grieg. The suite consists of four movements, with Danse Nègre as its lively and exuberant finale.

Danse Nègre is a spirited and rhythmically vibrant piece that showcases Coleridge-Taylor’s skill in orchestration and melodic invention. Opening with bold brass fanfares and energetic rhythms, the movement quickly establishes a sense of joyous motion. Syncopated figures, bright woodwind flourishes, and dynamic contrasts drive the piece forward, creating an atmosphere of celebration and vitality. The dance’s infectious energy, combined with rich harmonic textures, makes it one of the most captivating movements in Coleridge-Taylor’s orchestral output.

As with much of his work, Danse Nègre reflects Coleridge-Taylor’s efforts to incorporate African-inspired elements within the Western classical tradition. His music remains a testament to his remarkable talent and his role as a trailblazing figure in classical music history.

“Berceuse” and “Finale” from The Firebird Suite
IGOR STRAVINSKY (1882–1971)

The Berceuse and Finale of Igor Stravinsky’s The Firebird Suite form one of the most spellbinding and triumphant conclusions in orchestral music. Drawing from his 1910 ballet, Stravinsky’s music tells the story of a young prince, Ivan Tsarevich, who, with the help of the magical Firebird, defeats the evil sorcerer Kashchei and frees his enchanted captives.

The Berceuse (Lullaby) emerges from the ashes of battle with a hauntingly intimate bassoon solo, casting a dreamlike spell over the orchestra. Its delicate, winding melody shimmers over softly undulating strings, as Kashchei’s dark reign fades into oblivion. The hush of this nocturnal moment, rich with quiet anticipation, sets the stage for one of Stravinsky’s most glorious climaxes.

Then, almost imperceptibly, the Finale begins—a simple, noble theme in the strings, gently blossoming like the first rays of dawn. Gradually, the music gathers strength, each repetition swelling with new orchestral colors, as the theme soars higher and higher. With radiant brass fanfares, sweeping strings, and triumphant percussion, the music erupts into a breathtaking climax—a moment of pure exultation, as Ivan’s kingdom is restored, and light triumphs over darkness.

Stravinsky’s masterful orchestration and pacing make this ending an overwhelming experience, a slow-burning ascent to one of the most triumphant, resplendent finales in all of classical music.

Voices of Spring
JOHANN STRAUSS, JR. (1825–1899)

Few pieces capture the joy and renewal of spring as exuberantly as Johann Strauss Jr.’s Voices of Spring (Frühlingsstimmen) Waltz. Composed in 1883 originally as a concert waltz for soprano and orchestra, this radiant work is a celebration of nature’s awakening, filled with the lilting charm and effervescent spirit that made Strauss the undisputed “Waltz King.”

From its shimmering, delicate opening—evoking the first light of dawn and the gentle rustle of new blossoms—the music soon unfolds into a sequence of gloriously sweeping waltz themes. Each section sparkles with graceful melodies, evoking birdsong, blooming meadows, and the carefree exuberance of a world in full bloom. The undulating dance rhythms, elegant phrasing, and seamless transitions between waltz motifs create a continuous flow of melodic enchantment, capturing the essence of Viennese musical sophistication.

Even without its original soprano line, the Voices of Spring Waltz sings with its own orchestral brilliance. Strings swirl, woodwinds chirp like birds, and the brass and percussion lend a jubilant energy to the piece’s rapturous climax. Whether performed in a concert hall or danced to in a grand ballroom, this waltz remains one of Strauss’s most enchanting and uplifting masterpieces—an ode to the eternal beauty of springtime.

Zigeunerweisen for Solo Violin and Orchestra
PABLO DE SARASATE (1844–1908)

Program notes contributed by soloist Anna Pitsavas Wakely

Zigeunerweisen (“Gypsy Airs”), op. 20 is Sarasate’s most well-known composition and was written in 1878, premiering the same year in Leipzig. Zigeunerweisen is translated to mean “the ways of the Gypsies”—a people whose musical traditions have fascinated many composers. Pablo de Sarasate was Spain’s most celebrated virtuoso violinist and composer of his time. He became acquainted with the Gypsy’s style of music and their role in the cultural and musical life of Spain and Eastern Europe.

The influence of musical elements characteristic of gypsy performers a is represented in the piece’s Moderato and virtuosic opening section by the augmented second in the melody line and rushing scales, along with syncopated rhythms and short-long rhythmic patterns, followed by technically demanding runs and ricochet bowings in the Lento, further emphasizing the improvisational quality of the Gypsy performers. Sarasate, in his highly emotional un poco più lento, unveils the tender yearning of the Gypsy temperament: a lament—the Gypsy’s song of pain of a “nation-less” existence, experienced by imprisonment and exile. From its bold opening to the tragic tone of the third movement, bursts in the fourth and final section of Sarasate’s masterpiece, riveted with rhythmic vitality of high-speed left-hand pizzicato, artificial harmonics, flying spiccato and double stops—a triumphant celebration, a song of liberation, a dance—in “the ways of the Gypsies”.

I am deeply humbled and honored to perform Sarasate’s genius violin showpiece with the Symphony Orchestra under the baton of Maestro Mandarano.

Symphonic Metamorphosis of Themes by Carl Maria von Weber
PAUL HINDEMITH (1895–1963)

Paul Hindemith’s Symphonic Metamorphosis of Themes by Carl Maria von Weber is a dazzling orchestral showpiece that transforms 19th-century melodies into a 20th-century whirlwind of color, energy, and rhythmic brilliance. Composed in 1943, the work was originally conceived as a ballet but evolved into a stand-alone orchestral suite, blending Hindemith’s modern harmonic language with Weber’s elegant themes. The result is a piece that bursts with vitality, full of inventive orchestration and dynamic contrasts.

Each of the four movements takes a different Weber theme and subjects it to Hindemith’s imaginative “metamorphosis.” The opening Allegro begins with a bold, brassy statement, setting the stage for an exuberant interplay of melodies and counterpoint. The Turandot: Scherzo follows, a playful yet exotic movement inspired by Weber’s music for a theatrical adaptation of Turandot, featuring lively percussion and intricate woodwind flourishes.

The Andantino offers a lyrical contrast, with a flowing, songlike melody passed through luminous orchestral textures. Finally, the March bursts onto the scene with unstoppable energy—bold brass fanfares, driving rhythms, and thrilling orchestral colors propel the piece to a triumphant conclusion.

Hindemith’s Symphonic Metamorphosis is a vibrant fusion of past and present, a testament to his skill in reimagining classical melodies with a modern, virtuosic touch. It remains one of his most popular and exhilarating works, a brilliant display of orchestral color and compositional ingenuity.

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