Dallastown Area
High School
Orchestra and
String Ensemble
David Diehl, Conductor
Sunday, April 24, 7pm
Program
String Ensemble
Alleluia and Fugue – for string orchestra . . . . . . . . . . . . . . . . . . Alan Hovhaness
Senior Spotlight
Passacaglia Duo for Violin and Viola . . . . . . . . . . . . . . . . . . . . . Johan Halvorsen
Alexander Kim Violin
Aaron Ward Viola
Full Orchestra
Masquerade Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aram Khachaturian
String Orchestra
Coriolan Overture opus 62 . . . . . . . . . . . . . . . . . . . . . . . . . Ludwig van Beethoven
Full Orchestra
Die Fledermaus Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johann Strauss
String Orchestra
(The Dallastown) Blue-Fire Fiddler . . . . . . . . . . . . . . . . . . . . . Soon Hee Newbold
Full Orchestra
Downton Abbey – The Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Douglas Wagner
String Orchestra
Final Ascent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tim Shackelton
Full Orchestra
Piano Concerto in A Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edvard Grieg
Ziyue Zhang Piano
Rhapsody in Blue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Gershwin
Alexander Pinkerton Piano
arranged by Brubaker
Program Notes
The notes for today’s concert have been written by orchestra level 4 students.
Rachel Daudlin, Grade 12
Alan Hovhaness’ Alleluia and Fugue is a (somewhat rare) performance of an American
composer’s music for Dallastown’s Orchestra. Alan Hovhaness is of Armenian descent, but
he was born and raised in Massachusetts. He wrote his first composition, inspired by a
piece of Franz Schubert’s, at the age of 4 years old. Alleluia and Fugue was published in
1941, and is considered a “companion piece” to Psalm and Fugue. In the first movement,
the violins share a melody played in two different octaves. This melody is bookended by rich
chord progressions that are created by dividing each section into further parts. The second
movement features the cellos, who are also divided into two distinct melodies. Alleluia and
Fugue is defined by its rich chords and dynamic changes. Mr. Diehl and the String Ensemble
have enjoyed learning this piece to bring it to Dallastown’s stage.
Aaron Ward, Grade 12
Tonight’s senior spotlight features Alexander Kim and Aaron Ward, Concertmaster and
Principal Viola of the Dallastown Area High School Orchestra. The Passacaglia is a famous
piece composed for violin and viola published by Norwegian composer Johan Halvorsen in
1894 and based on the finale movement from the harpsichord suite in G minor composed by
Handel. The common essence of the passacaglia is short, chord progression repeated over
as a foundation for a series variations. Halvorsen was a celebrated violinist, conductor and
composer who is remembered today primarily for his brilliant “extrapolation” of Handel’s
passacaglia for ensembles of two stringed instruments. The “theme” is composed of brief
four-measure sequences of eight chords with thrilling variations in a wild ride of harmonies.
The result is a mesmerizing and ambitious dialogue between two musicians through their
respective instruments.
Danny Godstrey, Grade 12
The Waltz from Masquerade is thrilling, this Russian up tempo waltz is in an A B A form. The
A part incorporates contrasts between very loud, full sound, and light, energetic runs all in a
minor key that makes the piece seem rather sinister. The B part has more of a pompous and
comical feel and is played accentuating major harmonies and scales. The piece was very
fun to learn and put together and easily gets stuck in your head!
Alexis Hale, Grade 12
The Coriolan Overture opus 62, composed by Ludwig van Beethoven, debuted in Vienna
in 1802. The piece was played with Heinrich Joseph von Collin’s play, Coriolan. The C
minor key of the piece was used to foreshadow the problems and internal conflicts that
the protagonist of the play experiences within his own conscience. The varying dynamics,
tempos, and melodies were also used to audibly illustrate the conflict within the protagonist;
these factors also made the piece an outstanding example of composition within the
Romantic era. Further, the fiery chords and frenzied harmonies are used to create high
tensioned emotions for viewers of the play and listeners as a high-strung battle scene
wages on stage.
Hunter Jones, Grade 11
The Die Fledermaus Overture was composed by Johann Strauss of Austria. This overture is a
part of the Die Fledermaus Operetta. Translated to mean “The Bat” the operetta has become
popular worldwide. It premiered on April 5th 1874 in the Theater an der Wien in Vienna. It
has been in performance there ever since. Its popularity spreads widely as is has been
performed in Germany, France, Britain, Denmark, Ukraine, Australia, Austria, and the United
States. The popularity has led to 19 worldwide film adaptations. In the story, characters of
the operetta attend a prince’s ball. The one character Falke is dressed as a bat, hence the
title. His friend Einstein leaves him drunk and in costume for public ridicule causing Falke to
seek revenge for “the Fledermaus.” The sound of the bat can be heard through the piece
with the overlying oboe lines and bouncing melodies. Per critic reviews, “The overture to Die
Fledermaus tempts the listener with sweet melody, bouncy rhythms, and thrilling scoring that
hints at the mistaken identity, gala ball, and humorous plot twists [of the operetta] to come.”
Lilian Liang, Grade 11
Blue-Fire Fiddler is an energetic, exciting and fun piece. This fast and furious fiddling piece
sounds much harder than it really is. Riffs, finger patterns and bowings are very idiomatic
and lend themselves to fast playing. The composer, Soon Hee Newbold, is Korean American
and an award winning composer, conductor, musician, and actress. Soon Hee started playing
piano when she was 5, and violin when she was 7. She has performed at places like Carnegie
Hall and Tanglewood. Fun fact: She has worked in entertainment for Walt Disney World!
Jamie Manganti, Grade 12
Downton Abbey: The Suite, originally written by John Lunn & Chamber Orchestra of
London for the original British-American historical period drama series, was arranged by
Douglas E. Wagner for full orchestra performances. The show depicts the lives of a fictional
aristocratic family living in the post-Edwardian era and how their lives have been impacted
by great events in history. Wagner, the arranger, is an internationally recognized composer
and arranger who has published over 2,500 music titles, including this arrangement of a
television series theme, since 1973.
Alexander Pinkerton, Grade 12
The title Final Accent was inspired by a trip the composer took to Alaska where he toured
Denali National Park. Shackleton heard the stories of climbers who would challenge the
mountain some were successful and some were not. The most harrowing part of the climb
can be the final accent to the top. This is a decision climbers need to make bad timing can
be fatal. The climbers of the mountain often speak of the peaceful and ethereal mystique
that is part of Denali. The mountain seems to draw the full range of human emotions from
ones soul as the climb progresses. Shackleton’s music captures the sense of urgency and
conflict that often exists within the people that climb the mountain. As well as a feeling of
ethereal elation that is such an essential part of the Denali climbing experience.
Caroline Wolfe, Grade 11
Grieg’s piano concerto in A minor is Edvard Grieg’s only piano concerto. It is one of his
greatest works, as well as one of the most adored piano concertos of all time. In this
concert, only the first movement, written in sonata-allegro form, will be performed. A timpani
roll introduces the piano as it makes its dramatic entry with a grandiose run that makes this
movement the most famous of the three. This segues into the main theme, introduced by
the oboe. The theme consists of two contrasting ideas: one rhythmic and one lyrical. After
the theme is introduced by the orchestra, the piano repeats it and pushes the exposition
along by introducing a sinister, dance-like melody. The piano and oboe play a small duet
together; and the cellos introduce a more mellow melody, which is repeated again by the
piano. The theme returns to the piano and bassoon, and the exposition peaks to a climax as
the chords build tension and the tempo pushes. The tension breaks upon the introduction of
the development section. This transition music provides the feeling of longing and climaxes
with a resounding trumpet call speaks of anguish and woe. The flute and horn pick up the
main theme—both the rhythmic and the lyrical halves of the theme—however, this time
the whole theme is played legato, which creates an eerie mood. The strings and piano pick
up the theme as it begins to float in and out of minor. The development builds in intensity
as fragments of the theme explode out of the piano and the brass. The oboe transitions
into the recapitulation by softening the theme again. The recapitulation seamlessly begins
as the piano reintroduces the theme exactly as written in the exposition; and the theme is
repeated again, this time by the orchestra. The dance is played again as well, followed by a
piano-oboe duet, followed by the same beautiful cello melody as before. The piano repeats
this melody with some added flourish. A triplet phrase brings the music to a frenzy and the
piano plays more runs that then conclude with pounding chords. The strings repeat the main
theme in this same maddened style, and an unresolved chord leads into the cadenza. This
beautiful and technically-challenging cadenza is followed by the coda. The the strings play a
lush and passionate rendition of the theme, until the oboe introduces an impish melody that
invites the piano to join in once again. The movement closes with the same piano statement
with which it opens. With the great intensity of emotions this piece of music expresses
throughout, it becomes evident as to why it is so deeply loved by many.
Ziyue Zhang, Grade 11
25 year-old George Gershwin composed Rhapsody in Blue for a highly publicized concert
in 1924 at New York’s Aeolian Hall. Only a month earlier did Gershwin learn that he was on
the program after reading about it in The New York Tribune. Without sufficient time to create
a full-scale concerto, he instead composed a free-form rhapsody to meet the deadline.
Combining American elements of ragtime and jazz with post-Romantic classicism, Rhapsody
in Blue enjoyed instant success as an uniquely American voice in the classical repertoire.
As one listens to this piece, an image of New York City instantly comes to mind. Imagine as
the city is slowly being build from the ground up, the rowdy inhabitants moving in with their
bustling cars, the exciting nightlife of Broadway, and finally the couple as they walk around
beautiful Central Park. All the while, a wind “blues” by, narrating the scene. Rhapsody in
Blue is now a memory engrained with the classic cartoons of Tom and Jerry or Fantasia,
an integral part of childhood memories. Please enjoy as the orchestra performs a genuine
“American” piece.
Our Musicians
Violin 1
Alexander Kim (1, 2, 3, 4)
Tamer El-Maghrabi (1, 2, 3, 4)
Isabelle Myers (1, 2, 4)
Jamie Manganti (1, 4)
Danny Godstrey (4)
Megan Stager (1, 4)
Rebecca Rehrey (1, 4)
Kristine Dadufalza (1, 4)
Lydia Fimmano (4)
Keyra Swope (1, 4)
Anna Howie (4)
Necla Kara (4)
Danielle Schoeppner (4)
Sam Betz
Bailey Groff
Briana Smeltzer
Ellen Beechey (4, 6)
Lilian Liang (1, 6)
Danni Dubois
Charlotte Weinstein
Violin 2
Caroline Wolfe (1, 2, 4)
Rachael Daudelin (4)
Danielle Gemperline (1, 4)
Megan Myers
Marlena Dunnett
Yunchul Son
Raelene Copello
Kaitlyn Rock
Madeline Hartman
Sarah Leader
Haley Smith
Ivy Chen
Alasaro Lucas
Eion Hackett
Madison Butler
Krystal Martin
Paul Lipinski
Mary Emami
Isabella Brandt
David Bell
Shaleen Arora
Samantha Palughi
Jada Reisinger
Megan Staats
Isabelle Mumma
Viola
Aaron Ward (4)
Jordan Widowson (1, 2, 3 ,4)
AJ Hale (4)
Hannah Moose (4)
Morgan Kistler
Chloe Hale (4)
Haley Ahr (4)
Laura Willis
Anna Herr
Cello
Olivia Myers (1, 2, 4)
Ziyue Zhang (1, 2, 4)
Josiah Ilyes (1, 2, 4)
Aaron Scofield (1, 4)
Benjamin Ward 2, 4
Vincent Villani 5
Sarah Stager (1, 4)
Michael Shi (1)
Tom Dias
Julia Boyle
Andrew Trembly (1)
Yael Eiben
McKenna Cottrell
Rebecca Schweitzer
Kelley Granholm
John Hodge
Neilly Ndjee
Meg Cramer
Bass
Hunter Jones (1, 4)
Stosh Beeler (4)
Braedon Ranck
Jason Morrison
Tyler Baxley
Alexander Pinkerton
Robert Ross
Oboe
Eva Wolfe (1)
Tessa Richard
Flute
Raahi Modi (1)
Emily Girouard
Emily Urbaniak
Alyssa Magness
Clarinet
Alyssa Kenney (1)
Rachel Silberstein (1)
Rebecca Deller (1)
Vignya Dontu
French Horn
Ryan Menchey
Christina Baker
William Wyatt
Trumpet
Mike Oppedisano (1)
Stephen Trauffer
Donovan Trauger
Trombone
Steven Astrachan (1)
Ryan Shuey (1, 2)
Yvonne Jackson
Tuba
Adam Mtimet (1)
Percussion
Evan Lentz (6)
Christopher Godfrey (1, 6)
Trevor Trout (6)
1York Youth Symphony Member. Dallastown makes up 40% of the
Youth Symphony Membership
2PMEA District Orchestra (Host-Lampeter-Strausburg High School)
3PMEA Central Region Orchestra (Host Bucknell University)
4String Ensemble
5FAME For The Advancement of Music Education
6First Capital Drumline
Concert Etiquette
As a courtesy to other audience members...
Please refrain from talking and entering or leaving the auditorium while a
group is performing!
Please turn off all cell phones and pagers before the performance begins.
Thank you for extending these small courtesies to others!
Acknowledgments
A special thanks to the following:
• Dr. Ronald
Dyer, Superintendent
• Dr. Joshua Doll, Assistant Superintendent
• Dr. Kevin Duckworth, Principal
• Mr. Keith Downs, Assistant Principal
• Mr. Zachary Fletcher, Assistant Principal
• Mrs. Misty Wilson, Assistant Principal
•D
ASD school board, and faculty for their continued support of music
education in our schools.
• Mr. Justin Buer
• Dallastown Custodial Staff
•P
arents and friends who support all of the artistic endeavors of the
Dallastown music staff and students.
• The Music Boosters Association
• John Eiben for designing the program