August 28th Virtual Benefit Concert Program | NYO 4 Youth

Virtual Benefit Concert Program August 28th, 2021 | 5 PM EST

Program Huapango..............................................José Pablo Moncayo, arr. Henri Yoon Bryan Kim, Violin Ashley Park, Viola Henri Yoon, Cello Kira Wang, Cello Claire Kho, Oboe Tienne Yu, Piano

5. Masks (from Romeo and Juliet).......................................Sergei Prokofiev Violin Bryan Kim Dylan Hamme Tienne Yu Samuel Igbo Yuli Choi Erica Liu Arianna Greggs Catherine Thai Claire Yoo Dante Jordan Hannah Kim Luis Muñoz

Viola Daniel Castorena Ingrid Nordberg Ray Zhang Cello Henri Yoon Elora Kares Double Bass Bianca Wilson Harp Leila Hudson

Flute Amy Hwang Sasha Hitachi

French Horn Connor Cowart

Piccolo Fernando Perez

Trumpet James McAffrey Michael Arizmendi

Clarinet Mira Kim

Trombone Naomi Wharry

Bass Clarinet Christian Léon

Percussion Glenn Choe Gabriel Hsieh

Oboe Ben Price Izaiah Cheeran

Moon River..................................................Henry Mancini, arr. Henri Yoon City of Stars.................................................Justin Hurwitz, arr. Henri Yoon Bryan Kim, Violin Celina Chen, Cello Tienne Yu, Piano

Phantom of the Opera for Cello Quartet....................Andrew Lloyd Webber Richard Stilgoek, Matthew Averyt, Cello arr. Wuiyeon Kim Irene Lee, Cello Kira Wang, Cello Henri Yoon, Cello

Moonlight Serenade...................................................................Glenn Miller Christian Léon Clarinet, Trumpet, Trombone, Alto & Tenor Saxophone

Oblivion..................................................................................Astor Piazzolla Catherine Thai, Violin Ingrid Nordberg, Viola Celina Chen, Cello Abigail Kim, Oboe

Swan Lake................................Pyotr Ilyich Tchaikovsky, arr. Wuiyeon Kim Dylan Hamme, Violin Tienne Yu, Violin & Piano

Violin Duo №2.........................................................................Reinhold Glière Erica Liu, Violin Yuli Choi, Violin

Theme from “Love Story”................................Francis Lai, arr. Wuiyeon Kim Ben Price, Oboe Abigail Kim, Oboe Tienne Yu, Piano

Aprés un Rêve..................................................Gabriel Fauré, arr. Henri Yoon Henri Yoon, Cello Abigail Kim, Oboe Tienne Yu, Piano

Träumerei (“Dreaming”).....................Robert Schumann, arr. Wuiyeon Kim Catherine Thai, Violin Ray Zhang, Viola Karina Wugang, Piano

Over the Rainbow..........................................Harold Arlen, arr. Wuiyeon Kim Bryan Kim, Violin Henri Yoon, Cello Tienne Yu, Piano

Umoja: The First Day of Kwanzaa..........................................Valerie Coleman Amy Hwang, Flute Ben Price, Oboe Benjamin Eubanks, Clarinet Xayvion Davidson, Bassoon Christian Léon, French Horn

Donations will improve the accessibility of music resources for young musicians across the country.

Visit tinyurl.com/nyo4youthdonate to contribute!

Program Notes 5. Masks (from Romeo and Juliet) - Sergei Prokofiev Imagine you’re at the theater watching Romeo and Juliet. The fifth act is wrapping up; you wince as Romeo mistakes Juliet for dead and reaches for the poison. But, suddenly, Friar Lawrence barges in, saving Romeo and waking Juliet—the star-crossed lovers get up and dance triumphantly off the stage.

In the original version of his 1935 Shakespeare-based ballet, Sergei Prokofiev opted for this unusual ending. Doing so set a lighter tone for the work; much of its music is playful and airy.

However, the ballet’s composition coincided with a turbulent period in Russian history. During the violent cultural repression of Stalin’s Great Purge, Prokofiev was forced to make numerous revisions to his score. This included dropping his fairytale ending in favor of Shakespeare’s more gruesome original.

Still, Prokofiev’s music retains its effervescent quality. Today we are presenting “Masks,” the fifth movement from the first of the three Romeo and Juliet ballet suites. As its title suggests, it depicts the disguised arrival of Romeo and the Montagues at the Capulet ball. Listen for the almost cartoonish sense of mischief that defines this selection. The movement opens with a hushed, rhythmic introduction by percussion and clarinet—perhaps resembling cautious footsteps.

Moonlight Serenade - Glenn Miller Moonlight Serenade is a jazz band piece composed by Glenn Miller that became an immediate phenomenon when released in May 1939 as an instrumental arrangement, though it had been adopted and performed as Miller's signature tune as early as 1938 before it was given the name.

Theme from “Love Story” - Francis Lai Behind the haze of jovial youth and love comes inevitable hardship and turmoil. (“Where Do I Begin?”), the theme from “Love Story” was written in 1970 by Francis Lai and was introduced as an instrumental theme in the 1970 romantic drama, Love Story. This theme draws upon a wrought love, tied by time.

The film follows the rich Oliver Barrett IV attending Harvard College, who soon meets Jennifer “Jenny” Cavilleri, a quick-witted yet poor student of classical music. Despite their differences financially and in their future outlook, they fall quickly in love.

Together, they leave their past lives towards a future filled with boundless love and happiness. However, that happiness is cut short by Jenny’s terminal illness – cancer.

The piece follows a melancholic and yearning theme passed back and forth between the two oboes, following the two voices of longing lovers. Struck by the sudden deadline of their relationship, they are unsure of how to go on. In questioning how to grasp reality, time has run out and their love story has come to a close.

Aprés un Rêve - Gabriel Fauré Perhaps one of the most famous cello pieces ever written, “Après un Rêve”, or “After a Dream”, is one of three pieces Gabriel Faure wrote and published between 1870 and 1877, collectively known as “Trois mélodies”. Or “Three Pieces”. The song was originally an old anonymous Italian poem, which Faure used as the lyrics to his piece.

The lyrics themselves describe a dream of romance with a lover, away from societal constraints and watchful eyes, away from the earth and "towards the light". However, upon awakening, the dreamer realizes their delusional nature, yet longs to return to the “mysterious night”. He begs the dreams to come back, in order that he may “glimpse unknown splendours, celestial fires” with his lover once more.

The first half of the piece is subdued, melancholy, and reminiscing as the dreamer describes the nature of his dream. There is a sudden shift in tone in the second half, becoming more intense, desperate, and emotional, when the dreamer starts to plead for his dreams to return. And it ends on a cold, empty, desolate feel, perhaps because the dreamer realizes that his lover will remain forever out of his grasp.

Träumerei (“Dreaming”) - Robert Schumann Childhood memories hold a special place in our hearts. The nostalgia of one’s upbringing makes childhood one of the most emotionally rich experiences for composers to draw from…

Robert Schumann’s work “Scenes from Childhood” consists of 13 "small, droll" pieces, each no more than a page in length. Much shorter and more melodic than his previous works, the pieces draw from the innocence and naivety of one’s childhood — a simpler time in one’s life.

Catherine Thai, Ray Zhang, and Karina Wugang will be performing movement 7, entitled “Träumerei”, or ‘Dreaming. As the world emerges from nearly 2 years of restriction, Träumerei’s beautiful melody and wistful reminiscing tone allow for reflection on what has been lost, but also consolation that better times shall come.

Donate to Save the Music Foundation at tinyurl.com/nyo4youthdonate

!

n i g

or f s k n Tha

n i n tu