Program Notes

SINFONIETTA, OP. 1 by Benjamin Britten

Benjamin Britten (1913–1976) stands as one of the most significant British composers of the 20th century. Known for his operas, orchestral music, and vocal works, Britten had a unique ability to blend emotional depth with clarity and craftsmanship. From an early age, he displayed extraordinary musical talent, composing prolifically throughout his youth. He later gained international acclaim for works such as Peter Grimes, War Requiem, and The Young Person’s Guide to the Orchestra.

Composed in 1932 when Britten was just 18 and still a student at the Royal College of Music, the Sinfonietta, Op. 1, is officially his first published work. Though a youthful composition, it already reveals his mature voice, marked by sharp wit, precision, and a keen sense of structure. Britten dedicated the piece to his teacher Frank Bridge, who had a profound influence on his development as a composer.

The Sinfonietta was originally written for a chamber ensemble of ten players but was later revised in a version for small orchestra. It premiered in London in 1933 and was met with admiration for its polish, originality, and emotional range—especially impressive coming from such a young composer. The piece helped establish Britten’s early reputation as a major emerging talent.The work unfolds in three movements. The first, Poco presto ed agitato, opens with nervous energy and tight rhythmic interplay, showcasing Britten’s flair for dramatic contrast and textural clarity. The second movement, Variations, explores a series of moods with graceful transitions, balancing lyricism and tension. The final movement, Tarantella, is a whirlwind of motion—playful and dark by turns—ending the piece with a burst of youthful exuberance and compositional confidence.

Britten’s Sinfonietta is more than just a promising student work—it’s a fully realized chamber piece that foreshadows the brilliant, expressive voice that would define his later career. It’s a thrilling glimpse into the early genius of a composer who would reshape British music for generations to come.

ÁNGEL MESTIZO by Teresa Carreño

Juan Pablo Contreras (b. 1987, Guadalajara, Mexico) is a three-time Latin GRAMMY®-nominated composer and conductor who masterfully blends Western classical and Mexican folk music into a vibrant and contemporary soundscape. His works have been performed by over 60 major orchestras worldwide, including the Los Angeles Philharmonic and the National Symphony Orchestra. Contreras is celebrated as the first Mexican-born composer to sign a record deal with Universal Music and has been honored with numerous awards, such as the 2023 Vilcek Prize for Creative Promise in Music.

Composed in 2013, Ángel Mestizo is a concerto for harp and chamber orchestra that narrates the harp's journey from Spain to Mexico during the Spanish conquest and its transformation into a quintessential Mexican folk instrument. The piece won the 2014 Arturo Márquez Composition Contest and premiered in December 2014 at the Centro Cultural Roberto Cantoral in Mexico City.

The concerto unfolds in four movements:

‍La Conquista (The Conquest): Depicts the onset of the Spanish conquest, characterized by sounds reminiscent of gunshots and galloping horses.
‍Veracruz: Illustrates the harp's arrival in the port city of Veracruz, marking its introduction to Mexican culture.
‍Cadenza Criolla: A solo harp cadenza that weaves thematic elements from previous movements, symbolizing the harp's evolution from a European instrument to a staple of Mexican folk music.
‍Son Jarocho: Celebrates the mestizo culture with a festive theme introduced by a solo violin, culminating in an uplifting finale that honors the fusion of Spanish and indigenous influences.

Ángel Mestizo has been acclaimed for its rhythmic richness and colorful orchestration. Critics have praised Contreras's ability to intertwine historical narrative with musical innovation, creating a work that resonates with both classical and contemporary audiences.

Through Ángel Mestizo, Contreras offers a compelling musical journey that reflects Mexico's complex cultural heritage, showcasing the harp's transformation and its enduring significance in Mexican music.

APPALACHIAN SPRING SUITE by Aaron Copland

Aaron Copland (1900–1990) is often hailed as the voice of American classical music. Born in Brooklyn to a Russian Jewish family, Copland studied in Paris with Nadia Boulanger before returning to the U.S., where he developed a distinctly American sound—open, spacious, and deeply evocative of the country’s landscapes and spirit. Through works like Fanfare for the Common Man, Rodeo, and Appalachian Spring, Copland created a musical language that felt both fresh and familiar, balancing simplicity with sophistication.

‍Appalachian Spring was originally composed in 1944 as a ballet for choreographer Martha Graham. Commissioned by the Library of Congress and premiered at the Coolidge Auditorium in Washington, D.C., the ballet tells the story of a young pioneer couple starting a new life in the American frontier. Copland later adapted the music into two concert suites—one for full orchestra and one for the original chamber ensemble of 13 instruments.

The chamber version, performed by just a small group of winds, strings, and piano, captures the intimacy and clarity of the original ballet. Without the full sweep of orchestral forces, this version emphasizes the purity and transparency of Copland’s writing, bringing the music’s gentle optimism and quiet strength into sharper focus.

The suite unfolds in a series of contrasting sections, from calm reflection to lively celebration. One of its most iconic moments is the set of variations on the Shaker tune “Simple Gifts,” which Copland transforms into a graceful and deeply moving centerpiece. Rather than using grand gestures, Copland builds emotional resonance through space, quiet textures, and clear melodic lines.

‍Appalachian Spring was an immediate success, winning the Pulitzer Prize for Music in 1945 and cementing Copland’s reputation as the composer who best captured the American experience in sound. The 13-instrument suite remains a beloved version, praised for its delicate beauty and directness. Whether heard with or without its ballet context, the music stands as a timeless celebration of hope, simplicity, and new beginnings.

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