Musicians

First Violin

Yvette Kraft***

Kingston Ho**

Jason Moon

Hyeon Hong

Ray Ushikubo

Christy Kim

Duncan McDougall

Wenlan Jackson

Ethan Mayer

Sophia Ayer

Ellen Zhou

Hayeon Suh

Rebecca Beato

Kate Lee

Amelia Sze

Wei-Lin Chen

Second Violin

Lucy Yu-Wen Lu*

Zi Yang Low

Bianna Bell

Kaia Selden

Rachael Kim

Kailey Yun

Dawid Kasprzak

Rachel Gardner

Adriel Sloss

Ari Han

Eunice Lee

Esme Arias-Kim

Steven Lu

Stephanie Ho

Viola

Zechariah Mo*

Yuri Santos

Yi Chia Chen

Lan Cao

Hope Hyink

Tom Mantel

Valeria Serrano

Grace van der Sloot

Diana Nazarenko

Samuel Tatsuki

Hehe Qi

Jenny Sung‡

Cello

Sanga Yang*

Yejin Hong

Benett Tsai

Tessa Nysetvold

Jiahe Zhang

Sieun Park

Hannah Jeong

Amelia Zitoun

Serge Kalinovsky

Keina Satoh

Bass

Zachary Marzulli*

Michael Banks

Chloe Yu

Bryan Bailey

Gabriel Rodriguez Martinez

Isabella Drumm

Alan Wang‡

Jules Levy‡

Flute

Eric Bergeman 2

Dabeen Kim 1

Reina Shim 3

Piccolo

Dabeen Kim

Reina Shim

Oboe

Jini Baik 2

David Kwon 1

Luca Ortolani 3

English Horn

David Kwon

Luca Ortolani

Clarinet

Bence Bubreg

Minkyung Chu 2

Pablo López Ortega

Javier Morales-Martinez

Elad Navon 1

Andrea Caputo 3

E-flat Clarinet

Javier Morales-Martinez

Bass Clarinet

Pablo López Ortega

Bassoon

Nate Centa 1

Jordan Farber 2

Xavion Patterson 3

Shenghao Wang

Hank Yin

Saxophone

Rachel Wolz*‡

Joseph David Spence‡

Isaac López‡

Horn

Gabriella Sá 2

David Holtgrewe 1

Graham Lovely 3

Aurora Kuo

Hayden Joyce

Trumpet

Anna SeokYoung Ahn 1 2

Sean Alexander

Michael Remish 3

Trombone

Han Yun (Jonathan) Liang 1

Minjae Kim 2 3

Bass Trombone

Caden Wolfe

Tuba

Seth Carter*

Timpani

Jeremy D. Sreejayan*

Percussion

Lisandro Atencio

Peyton Esraelian

Edric Salazar*

Tennison Watts

Harp

Yun Chai Lee*

Celesta

Emily Wu*

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Caitlyn Chenault | Orchestra Librarian

Chris Cho | Orchestra Manager

David Mencos | Stage Manager

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KEY

*** Concertmaster

** Assistant Concertmaster

* Principal

1 = Principal, Dvořák

2 = Principal, Ravel

3 = Principal, Gershwin

‡ = Guest Musician

Program Note

The Colburn Orchestra includes some of the finest conservatory-trained musicians in the world. These students demonstrate a mastery that bodes well for the future of classical music. Already, many of the Colburn alumni populate world-class ensembles around the globe. What a thrill it is to experience them here, as they’re about to launch their careers. Pay special attention to the soloists, who are also Colburn students. They are the cream of the crop, and some day you might say, “I heard them here first.”

The Soraya is proud to provide “firsts” throughout its programs, in all genres and performance disciplines, and we are especially proud of our partnerships with other Los Angeles institutions in doing so.

Gratefully,

Thor Steingraber

Executive and Artistic Director,

Younes and Soraya Nazarian Center for the Performing Arts

About the Program

Antonín Dvořák (1841-1904)

Symphony No. 8 in G major, Op. 88 (1889)

Duration: approximately 37 minutes

by Ellen Zhou, violinist in the Bachelor of Music program of the Colburn Conservatory of Music

Antonín Dvořák was one of the great composers of the Romantic era, celebrated for his contribution to the popularization of Czech national music, as well as his numerous contributions to the classical music canon. Born in a small village in Bohemia (now the Czech Republic), Dvořák rose to international fame through his chamber, symphonic, and solo compositions. His music is deeply infused with Czech nationalism, often drawing upon the folk melodies, rhythms, and dance forms of his homeland.

Composed in 1889, Dvořák’s Symphony No. 8 stands out against the more dramatic Seventh Symphony and the widely popular Ninth (From the New World). It is a work of soaring melodies and masterful lyricism, brimming with folk influences, dance-like rhythms, and pastoral scenes. Departing from the Beethovenian symphonic tradition, Dvořák’s Symphony No. 8 embraces a more fluid and episodic structure, forgoing the strict sonata form in favor of continuous thematic transformation. He approaches his thematic development more freely, favoring variation over rigorous thematic argument, and incorporates folk-inspired melodies that give the work a distinctly Bohemian character.

The first movement begins with a soft, contemplative theme in the cellos, an unusual choice that immediately sets the work apart from his others, which typically begin in a more lively, densely scored fashion. This opening idea, with its almost melancholic character, gives way to a bright, fanfare-like flute melody that serves as the principal theme. The movement unfolds in an organic fashion rather than following a rigid sonata form, and instead of a traditional development section, Dvořák presents a series of variations, creating a sense of constant renewal. The orchestration is vibrant, with striking contrasts between delicate woodwind passages and robust brass fanfares. The movement closes with a triumphant and exuberant restatement of its primary ideas, exemplifying Dvořák’s mastery of the symphony.

In stark contrast to the opening movement, the second movement features a solemn and richly harmonized theme introduced by the strings, bringing forth an atmosphere of introspection as Dvořák paints a nocturnal landscape with woodwinds weaving delicate countermelodies around the somber theme. The movement progresses through a series of contrasting episodes — some tender and lyrical, others darkly dramatic. Dvořák’s deep connection to nature is evident here, as the music often suggests rustling leaves or distant bird calls. The movement concludes in a hushed, mysterious manner, allowing for a moment of quiet reflection.

Marked allegretto grazioso, the third movement embodies a graceful waltz in a distinctly Bohemian character. Unlike a traditional minuet or scherzo, this movement is more fluid and songlike. The lilting dance is periodically interrupted by a more animated, rustic trio section, which exudes a spontaneous, improvisatory feel, as if recalling village musicians playing at a festival. Dvořák concludes the movement with a brisk coda, a swirl of energy that swoops the listener swiftly to the final movement.

The symphony’s finale is a thrilling set of variations built around a bold, declarative theme introduced by the trumpets. This structure, reminiscent of the finale of Beethoven’s Eroica, showcases Dvořák’s skill in melodic development—the variations range from playful to regal, incorporating a rustic episode featuring a solo flute, lively brass outbursts, and passages of full orchestral grandeur. The movement builds toward an exhilarating climax, culminating in a jubilant, resounding conclusion of celebration.

Dvořák’s Symphony No. 8 is a testament to the composer’s Czech heritage and innovative compositional style. Its unique formal structure, rich orchestration, and vibrant, folk-inspired melodies make it one of the most distinctive symphonies of the late 19th century. This symphony captures the essence of Dvořák’s musical voice — one rooted in Bohemian traditions yet universal in its emotional depth and compositional ingenuity.

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Maurice Ravel (1875-1937)

Concerto in G Major for piano and orchestra G major (1929-1931)

Duration: approximately 21 minutes

by Yvette Kraft, violinist in the Bachelor of Music program of the Colburn Conservatory of Music

Should a concerto primarily show off the solo instrument or integrate it into the larger orchestral sound? Maurice Ravel thought the former in composing his Piano Concerto in G major. In the composer’s own words, “a concerto can be gay and brilliant and need not try to be profound or strive after dramatic effects. It has been said of some of the great classic composers that their concertos were written not for but against the piano, and I think this is perfectly correct.” Making an obvious dig at composers like Brahms, Ravel wanted instead to evoke the overt soloistic concerto values of classical composers like Mozart. To this end, he created a work of virtuosity that synthesizes a motley of idioms, from the classical concerto proportion to the Basque melodic elements to the overt American jazz outbursts, all while remaining a “divertissement” that primarily showcases the piano.

In the first movement, marked allegramente (cheerfully), this manifests in the iconic whip-crack opening, sending the piccolo into a sparkling melody that sets a jaunty, American tone. Ravel contrasts this with a lyrical theme in the English horn that hearkens to the composer’s Basque roots. After a fantasia-like section ending in an intricate piano cadenza, a brief reprise of the first theme brings the movement to an energetic close. Despite Ravel’s commitment to keep the tone virtuosic, the adagio assai second movement contains one of the most heartfelt melodies the composer ever wrote. He commented, “that flowing phrase! How I worked over it bar by bar! It nearly killed me!” In typical Ravel fashion, the winds gracefully take over the melody, ending with the piano providing tranquil accompaniment to the English horn. The last movement, marked presto, is an overt dynamic whirlwind, a virtuosic display for both piano and orchestra, with dazzling passagework in the piano and jazzy fanfares in the brass. After “blue notes” recall the first movement, the concerto comes to a breathless conclusion ending in the abrupt thump of the bass drum, giving a sudden answer to the concerto’s startling beginning.

Ravel toured North America in 1927 and 1928 as a pianist and conductor and was profoundly influenced by the jazz he experienced there; the inspiration from both Gershwin and the tour is evident in the concerto heard today. It was Ravel’s intention to premiere the concerto as soloist, but instead, the composer conducted the premiere with Margurite Long, the dedicatee, at the piano. Both the performance and work received high praise and Long would go on to perform the G major piano concerto in more than 20 European cities. However, by the time Ravel finished this concerto, many of his friends had already noticed some signs of mental deterioration. Premiered in January 1932, the G major concerto proved to be the last of the composer’s major works, before a car accident later that year exacerbated his existing cerebral issues, functionally ending Ravel’s artistic output, save some fragments of a movie score. A plethora of causes and diseases have been posited, but whatever the illness, it took Ravel’s life in December 1937. Until then, however, he was still able to preserve most or all his auditory imagery and could hear music in his head. Perhaps he was imagining a work by Mozart, or the bright energy of Gershwin, or the nostalgic melody from the second movement of this concerto, a tune so personal and yet so resonant with anyone fortunate to hear it.

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George Gershwin (1898-1937)

“An American in Paris” (1928)

Duration: approximately 20 minutes

by Jason Moon, violinist in the artist diploma program of the Colburn Conservatory of Music

Paris in the 1920s was in many ways the cultural center of the world, attracting the likes of F. Scott Fitzgerald, Gertrude Stein, and Pablo Picasso. Among the convergence of brilliant minds along the Seine was none other than George Gershwin, a young and ambitious American composer with a background in Broadway musicals and fresh off the success of his genre-defying Rhapsody in Blue. Gershwin wished to further hone his craft and applied to study composition with Nadia Boulanger and Maurice Ravel, but both rejected him as a student, though not due to any lack of skill. Struck by his uniquely Tin Pan Alley- and jazz-influenced compositional voice, Boulanger felt she had nothing to teach Gershwin, fearing that rigorous classical study would only be detrimental to his style. Likewise, Ravel famously told him, “Why be a second-rate Ravel when you can be a first-rate Gershwin?” Heeding their advice, Gershwin continued to compose in his own distinctive style, leaving behind the legacy of a composer who was truly one of one.

His earlier large-scale orchestral compositions — Rhapsody in Blue and Concerto in F — received a warm reception from the public, yet a tepid reaction from critics, many of whom were hesitant to praise new compositions that strayed so far from the classical music tradition. Despite the mixed response and inspired by the urban sounds he heard during his time in Paris, Gershwin set out to compose another orchestral work — this time not centered around the piano — for a commission from the New York Philharmonic. The final product was “An American in Paris,” a tone poem that showcases Gershwin’s signature affinity for the blues as well as orchestration techniques that he learned from studying the scores of the French composers he so admired — namely Ravel and members of Les Six. Utilizing several saxophones and Parisian taxi horns that he bought on his way back to New York, Gershwin described this work as a “rhapsodic ballet” and “the most modern music I have yet attempted.”

Though rhapsodic and free in nature, the overall structure of “An American in Paris” can be described as a loose A-B-A form. In the opening A section, Gershwin uses the violins and oboes to present the spry main walking theme, providing a highly colorful Broadway-esque backdrop to the Parisian scene. The theme is based on a melodic fragment Gershwin sketched during his time in Paris, which he labeled “Very Parisienne.” One can almost see a tourist ambling along the Left Bank in this upbeat and highly evocative setting, the urban soundscape accentuated by actual taxi horns.

The B section — marked andante ma con ritmo deciso — displays Gershwin’s mastery of the harmony and rhythmic nature of the blues style and speaks to the American part of “An American in Paris.” After indulging in a few drinks, the American tourist is overwhelmed by a wave of homesickness, and Gershwin describes the harmony of this section as “more intense and simple than in the previous pages.” He gives the blues section a distinctly American sound by featuring solos in the trumpet, violin, and saxophone ensemble.

The music gradually picks up in tempo and in spirit, as the American slowly awakens from his homesick and drunken stupor and is once again immersed in the lively Parisian soundscape. Gershwin achieves this imagery by overlaying the main blues theme with the walking theme from the A section, stretching out the tempo to allow for a lush, quintessentially American big band climax that humorously juxtaposes violin and tuba solos. The expansive and indulgent coda is ultimately a grand and uplifting celebration of the inspiration the composer drew from his Parisian excursions. “An American in Paris” is indeed Gershwin at his most original and evocative, and there is little wonder that the work was adapted into the wildly successful 1951 musical film of the same name starring Gene Kelly and Leslie Caron.

About Us

The Younes and Soraya Nazarian Center for the Performing Arts is an award-winning, 1,700-seat theater that opened in 2011 and was designed by HGA Architects and Engineers. In 2017, a transformative gift by Younes and Soraya Nazarian dubbed the venue The Soraya (formerly the Valley Performing Arts Center). A vibrant performance program has served to establish The Soraya as the intellectual and cultural heart of the San Fernando Valley and its 1.8 million residents, and further establish The Soraya as one of the top arts companies in Southern California.

The Soraya’s 2024-25 Season boldly advances the immersive sound of big orchestras; the free flow of jazz; an array of dance; and a cultural bounty drawn from the well of world traditions. The Soraya continues its vigorous commitment to innovating, excelling, and amplifying access by offering a wide variety of performances that reflect LA’s many distinctive communities and featuring new and original work from the Los Angeles region as well as artists from around the world.

Located on the vibrant campus of the California State University, Northridge, The Soraya and the Mike Curb College of Arts, Media, and Communication share an integral link that enhances student opportunities in the arts and performing arts. This partnership fosters academic opportunity and artistic excellence, elevating the talents of CSUN’s students.

A $5 million contribution from record producer and former California Lieutenant Governor Mike Curb was pivotal in ensuring The Soraya was completed and opened in 2011. For his founding support and in acknowledgment of the integral relationship between the Mike Curb College and The Soraya, Curb is recognized as one of The Soraya’s Cornerstone Benefactors. The relationship between The Soraya and the Mike Curb College continues to grow, with robust offerings for students through master classes, student tickets, concerts of student ensembles, and students appearing alongside renowned artists, such as Wynton Marsalis, Aida Cuevas, and Martha Graham Dance Company.