Nikolai Rimsky-Korsakov: Capriccio Espagnol, Op. 34 (1887)
A Russian composer writing Spanish music, and it works. Five short movements with no breaks: two fast dances that bookend a set of variations, then a gypsy song with solos for violin, flute, clarinet and harp, then a wild fandango to finish. Rimsky-Korsakov was famous for orchestration, which means knowing exactly which instruments to put together, and you can hear it. Viola report: lots of fast notes and pizzicato, and at one point we hold our instruments under our arms and strum them like guitars. I am not making this up.

Edvard Grieg: Piano Concerto in A minor, Op. 16, first movement (1868)
Grieg was Norwegian and he wrote this when he was still in his twenties. The opening is one of the most famous in music: a drum roll, then the piano crashes down the keyboard. Our soloist is Ruben, 16, who won the concerto competition in May against nine other people and is the nicest person to ever be that good at something. Viola report: we mostly accompany, which we are good at, and there is one gorgeous spot where we get to swell up under the piano.

Antonín Dvořák: Symphony No. 9 in E minor, From the New World, Op. 95 (1893)
Dvořák wrote it in New York, when he had come over from Bohemia to run a music conservatory there, and it was first played by the New York Philharmonic in December 1893 at Carnegie Hall. It's full of what he heard and felt in America, and also full of homesickness, I think. The slow movement has the English horn solo (Rosa!) that everybody knows. The last movement starts with the strings building up and up until the horns and trumpets blast out the big theme, and it is THE most fun thing I have ever played. Viola report: a big, beautiful part, written by a violist (see the main page). We are honored.

Hector Berlioz: Roman Carnival Overture (1844)
Berlioz made this out of music from his own opera, which didn't do well, so he recycled the good parts. Smart. There's ANOTHER big English horn solo near the beginning, so Rosa is going to have a very good year. Then it turns into a crazy Italian carnival dance that gets faster and faster. Viola report: Mrs. Simonson says the fast part is "character building." That is not a good sign.

Alexander Borodin: Polovtsian Dances from Prince Igor
From an opera Borodin worked on for years and never finished. He was a chemist by profession, a real one who did research and taught, and he wrote music in his spare time. The slow dance has a melody that sounds like the whole sky. We're playing the orchestra-only version, without the chorus. Viola report: unknown yet. We sight-read it once. It was a disaster. It will get better.

Pyotr Ilyich Tchaikovsky: Romeo and Juliet, Fantasy-Overture
Tchaikovsky revised this one twice before he was happy with it. There's the fighting music (sword fight, cymbal crashes), and then there's the love theme, which you've heard in about a hundred movies and commercials. And here is the most important fact on this entire page: the love theme is first played by the English horn and the violas. THE VIOLAS. Muted. Everybody has to be quiet so they can hear us. I have been waiting my whole life for this.

(This is Mother's Day, so bring your mom. Dr. Chiasson says it's the only concert where the audience brings flowers for themselves.)

Aaron Copland: Hoe-Down from Rodeo (1942)
American ballet music about cowboys, by a composer from Brooklyn. Everybody knows it from the beef commercials on TV. Viola report: we get to stomp, more or less. Dr. Chiasson says we can't actually stomp. We'll see.

Gustav Holst: "Mars" and "Jupiter" from The Planets (1914-1916)
Holst was English and he wrote this during World War I. "Mars, the Bringer of War" is in 5/4 time, which means five beats in a bar instead of four, which feels like walking with one shoe off. It is scary and loud and the brass love it. "Jupiter, the Bringer of Jollity" is the opposite, happy and huge, with a slow tune in the middle that's so beautiful it was turned into a hymn. Viola report: in "Mars" we play col legno, which means hitting the strings with the WOOD of the bow. Mrs. Simonson says use a cheap bow if you have one. I do not have one.

Senior Farewell
At the spring concert the seniors stand up and everybody gives them a standing ovation, and the conductor says something about each one. Adrienne, our principal violist, is a senior this year, and I am already sad about it.