CULVER CITY SYMPHONY ORCHESTRA
America PLUS!
Sunday, January 25, 2026
PROGRAM
Aaron Copland (1900-1990): An Outdoor Overture (1938)
Samuel Barber (1910-1981): Violin Concerto, Op. 14 (1939)
I. Allegro
II. Andante
III. Presto in moto perpetuo
INTERMISSION
Johannes Brahms (1833-1897): Symphony No. 3 in F major, Op. 90 (1883)
I. Allegro con brio
II. Andante
III. Poco allegretto
IV. Allegro — Un poco sostenuto
(Program subject to change)
America PLUS!
Sunday, January 25, 2026
PROGRAM
Aaron Copland (1900-1990): An Outdoor Overture (1938)
Samuel Barber (1910-1981): Violin Concerto, Op. 14 (1939)
I. Allegro
II. Andante
III. Presto in moto perpetuo
INTERMISSION
Johannes Brahms (1833-1897): Symphony No. 3 in F major, Op. 90 (1883)
I. Allegro con brio
II. Andante
III. Poco allegretto
IV. Allegro — Un poco sostenuto
(Program subject to change)
Esme Arias-Kim is a nineteen year old violinist born and raised in Chicago. At age ten, she made her solo orchestral debut with the Oistrakh Symphony and has continued to make solo performances with orchestras including the Chicago Symphony Orchestra, MinnesotaOrchestra, Vancouver Symphony Orchestra, Buffalo Philharmonic Orchestra, Civic Orchestra of Chicago, Western Michigan University Symphony, Fairbanks Symphony Orchestra, Southern California Philharmonic, New Philharmonic, Chicago Arts Orchestra, Kishwaukee Symphony Orchestra, Sinfonia da Camera, Fox Valley Orchestra, Ottawa Chamber Orchestra, Midwest Young Artists Symphony Orchestra, Lincolnwood Chamber Orchestra, Accademia d’Archi Arrigoni Orchestra, as well as solo recitals at Weill Recital Hall at Carnegie Hall, Peninsula Music Festival in Door County WI, Chicago Cultural Center, 92Y New York, and Musikferien at Starnberger See in Germany. Her radio and television appearances include a recital on Chicago’s classical radio station WFMT’s “Introductions” and NPR’s “From the Top” as well as a televised appearance on KGW 8, Portland, Oregon.
Most recently, Esme was named a semifinalist in Cedille Record’s Emerging Artists Competition, the winner of the Crain-Maling Foundation Chicago Symphony Orchestra Young Artists Competition, the Silver Medalist of the 2023 Stulberg International String Competition, and the Gold Medalist of Vancouver Symphony Orchestra’s 29th Annual Young Artist Competition. Her other first place accolades include first prize in the Sphinx Competition, Southern California Philharmonic, Walgreens National, International Young Artist, Arthur D. Montzka, Musicians Club of Women, Enkor International, New York International Artist Association, and DePaul Concerto Festival competitions.
Esme is currently studying at the Colburn Conservatory with Robert Lipsett and previously studied with Almita Vamos and Betty Haag-Kuhnke. She has had masterclasses and lessons with artists including Itzhak Perlman, Hilary Hahn, Midori Goto, Julia Fischer, Ian Swensen, Vadim Gluzman, Kirill Troussov, Noah Bendix-Balgley, Paul Huang, Fabiola Kim, Grigory Kalinovsky, Mihaela Martin, Ilya Kaler, PhilipSetzer, as well as the Borromeo Quartet and the Cavani Quartet. Esme plays on an 1866 Vuillaume violin, generously on loan from the Geeting Family.
Most recently, Esme was named a semifinalist in Cedille Record’s Emerging Artists Competition, the winner of the Crain-Maling Foundation Chicago Symphony Orchestra Young Artists Competition, the Silver Medalist of the 2023 Stulberg International String Competition, and the Gold Medalist of Vancouver Symphony Orchestra’s 29th Annual Young Artist Competition. Her other first place accolades include first prize in the Sphinx Competition, Southern California Philharmonic, Walgreens National, International Young Artist, Arthur D. Montzka, Musicians Club of Women, Enkor International, New York International Artist Association, and DePaul Concerto Festival competitions.
Esme is currently studying at the Colburn Conservatory with Robert Lipsett and previously studied with Almita Vamos and Betty Haag-Kuhnke. She has had masterclasses and lessons with artists including Itzhak Perlman, Hilary Hahn, Midori Goto, Julia Fischer, Ian Swensen, Vadim Gluzman, Kirill Troussov, Noah Bendix-Balgley, Paul Huang, Fabiola Kim, Grigory Kalinovsky, Mihaela Martin, Ilya Kaler, PhilipSetzer, as well as the Borromeo Quartet and the Cavani Quartet. Esme plays on an 1866 Vuillaume violin, generously on loan from the Geeting Family.
Maestro’s Musings for January 25, 2026
Greetings and a very HAPPY NEW YEAR to all our dear friends and loyal supporters of YOUR Culver City Symphony. Thank you for sharing this evening with us, which we are sure you will enjoy. Three great composers and their great masterpieces, a fabulous orchestra, and a brilliant soloist - what more could one want?!? We are delighted to share this delicious evening with you.
Aaron Copland is the perfect example of American music-making from the entire previous century. An Outdoor Overture sounds like fresh air, big horizons, and a confident, comfortable stride forward. Think of Abe Lincoln, John Wayne, Robert Redford, John Williams, or Bruce Springsteen. Copland originally wrote this in 1938 for the orchestra of the High School of Music and Art in his native New York City, which explains its bustling sounds, youthful energy and straightforward optimism. This is not a typical youth orchestra piece, though; like all of Copland’s music, it is brilliantly crafted, and full of folk-like, singable melodies, and still packs a big, majestic American punch!
From boldly driving brass fanfares and jazzy rhythms to sweeping romanticism, Copland gives us his expected signature sound: unmistakably American, full of clarity and lots of big-sky kind of open space. It’s the musical equivalent of standing on a hilltop overlooking our land, hands in pockets, surveying the future and liking what you see. Politically, it is like looking at long-term positive impact of policies written of the people, by the people, and for the people. America!
*************
Last year, after a short hiatus (thanks to Covid-19) we re-launched our wonderful Parness Competition for outstanding young soloists, and were we ever THRILLED with the results! You might recall from previous years that we typically select 3 winners (and some Honorable Mentions) from 3 age groups: Junior, Intermediate, and Senior. Our senior winner is an outstanding student in her final year at the prestigious Colburn School, Esme Arias-Kim. Esme will be featured tonight in one of the most beautiful of all Violin Concertos, that by Pennsylvania-born Samuel Barber.
As you might expect from the composer of the famous Adagio for Strings, the Barber Violin Concerto starts off full of pure beauty—lush, lyrical, tender, and (as I love to describe the music of Brahms) bittersweet. The first two movements have the violin soloist “singing” long, flowing lines that seem to float effortlessly, as if the violin is quietly humming, or musing aloud. It’s romantic, intimate, and deeply expressive. But then comes…
Hold on! …the finale—and what a surprise! Instead of more dreamy lyricism and a lovely, majestic ending like the Copland we have just heard, Barber launches us into a whirlwind of perpetuum mobile - fast, furious, and nonstop motion. The soloist barely gets a second to breathe as the music races forward with dazzling brilliance. It’s a thrilling contrast: sweet and yearning poetry followed by fireworks! Elegance followed by an adrenaline rush!
*************
Brahms’s Third Symphony may be the shortest of his four, but it’s full of his confident, robust, majestic personality. Brahms was dubbed as Beethoven’s successor as a successful composer, pianist, and even conductor; indeed, his first symphony was nicknamed “Beethoven’s 10th”! His father, Johann Jakob, was a professional musician in their home orchestra in Hamburg, and was the first teacher of Johannes. In early childhood, he launched into studies in piano and composition; his first piano teacher even said the 8-yr-old “…could be such a good player, but he will not stop his never-ending composing!” Aren’t we glad he didn’t?!!?
From the very first notes of this magnificent work, you’ll hear a bold 3-note musical motto that returns throughout all 4 movements of the symphony, shaping every phrase that follows. Those 3 notes rise from F—Ab—F, which represent Brahms’ personal motto of Frei Aber Froh (Free But Happy.) This symphony is Brahms at his most personal - strong and confident on the outside, deeply reflective underneath. Following a long and difficult process to create his first two symphonies, the 3rd was joyfully and comparatively easy to complete during an idyllic summer retreat in Wiesbaden, on the Danube. Like the river’s currents, this explains the ebb and flow of the symphony: sometimes turbulent, sometimes, calmly flowing, but always moving. Even with this surging and pulling of tempo, it’s interesting to note that each of the 4 movements ends quietly and calmly.
The first movement begins joyfully and gives us the impression that this will be a lovely ride in the comfortable key of F Major. Turbulence and angst-filled moments follow before the calm ending. The second movement features some gorgeous clarinet melodies, but then there’s that questioning and unsettled ruminating again! The third movement is sort of a waltz or minuet or just a bittersweet orchestral song. Finally, rather than ending with a grand, triumphant bang, Brahms does something unexpected: he fans the flames from a smoldering F minor scurrying theme but then lets the music gently fade away - in the warm and cozy key of F Major. The final moments feel warm, peaceful, and inward-looking, like a long conversation that ends with a meaningful silence. Brahms says, “Relax, friends. We’re safe.”
*************
Please enjoy this superb selection of great symphonic music, served to you in the spectacular Robert Frost Auditorium. Let us know what you would like to hear, and YOUR hometown orchestra will try to deliver it to you! We are truly grateful for your presence and your loyal patronage and support, and we always look forward to our next meeting. See you on April 19 for “A Little Russian Romance” featuring the Junior and Intermediate winners of the Parness Competition and Tchaikovsky’s “Little Russian” Symphony No. 2.
Musically yours,
Clyde
Aaron Copland is the perfect example of American music-making from the entire previous century. An Outdoor Overture sounds like fresh air, big horizons, and a confident, comfortable stride forward. Think of Abe Lincoln, John Wayne, Robert Redford, John Williams, or Bruce Springsteen. Copland originally wrote this in 1938 for the orchestra of the High School of Music and Art in his native New York City, which explains its bustling sounds, youthful energy and straightforward optimism. This is not a typical youth orchestra piece, though; like all of Copland’s music, it is brilliantly crafted, and full of folk-like, singable melodies, and still packs a big, majestic American punch!
From boldly driving brass fanfares and jazzy rhythms to sweeping romanticism, Copland gives us his expected signature sound: unmistakably American, full of clarity and lots of big-sky kind of open space. It’s the musical equivalent of standing on a hilltop overlooking our land, hands in pockets, surveying the future and liking what you see. Politically, it is like looking at long-term positive impact of policies written of the people, by the people, and for the people. America!
*************
Last year, after a short hiatus (thanks to Covid-19) we re-launched our wonderful Parness Competition for outstanding young soloists, and were we ever THRILLED with the results! You might recall from previous years that we typically select 3 winners (and some Honorable Mentions) from 3 age groups: Junior, Intermediate, and Senior. Our senior winner is an outstanding student in her final year at the prestigious Colburn School, Esme Arias-Kim. Esme will be featured tonight in one of the most beautiful of all Violin Concertos, that by Pennsylvania-born Samuel Barber.
As you might expect from the composer of the famous Adagio for Strings, the Barber Violin Concerto starts off full of pure beauty—lush, lyrical, tender, and (as I love to describe the music of Brahms) bittersweet. The first two movements have the violin soloist “singing” long, flowing lines that seem to float effortlessly, as if the violin is quietly humming, or musing aloud. It’s romantic, intimate, and deeply expressive. But then comes…
Hold on! …the finale—and what a surprise! Instead of more dreamy lyricism and a lovely, majestic ending like the Copland we have just heard, Barber launches us into a whirlwind of perpetuum mobile - fast, furious, and nonstop motion. The soloist barely gets a second to breathe as the music races forward with dazzling brilliance. It’s a thrilling contrast: sweet and yearning poetry followed by fireworks! Elegance followed by an adrenaline rush!
*************
Brahms’s Third Symphony may be the shortest of his four, but it’s full of his confident, robust, majestic personality. Brahms was dubbed as Beethoven’s successor as a successful composer, pianist, and even conductor; indeed, his first symphony was nicknamed “Beethoven’s 10th”! His father, Johann Jakob, was a professional musician in their home orchestra in Hamburg, and was the first teacher of Johannes. In early childhood, he launched into studies in piano and composition; his first piano teacher even said the 8-yr-old “…could be such a good player, but he will not stop his never-ending composing!” Aren’t we glad he didn’t?!!?
From the very first notes of this magnificent work, you’ll hear a bold 3-note musical motto that returns throughout all 4 movements of the symphony, shaping every phrase that follows. Those 3 notes rise from F—Ab—F, which represent Brahms’ personal motto of Frei Aber Froh (Free But Happy.) This symphony is Brahms at his most personal - strong and confident on the outside, deeply reflective underneath. Following a long and difficult process to create his first two symphonies, the 3rd was joyfully and comparatively easy to complete during an idyllic summer retreat in Wiesbaden, on the Danube. Like the river’s currents, this explains the ebb and flow of the symphony: sometimes turbulent, sometimes, calmly flowing, but always moving. Even with this surging and pulling of tempo, it’s interesting to note that each of the 4 movements ends quietly and calmly.
The first movement begins joyfully and gives us the impression that this will be a lovely ride in the comfortable key of F Major. Turbulence and angst-filled moments follow before the calm ending. The second movement features some gorgeous clarinet melodies, but then there’s that questioning and unsettled ruminating again! The third movement is sort of a waltz or minuet or just a bittersweet orchestral song. Finally, rather than ending with a grand, triumphant bang, Brahms does something unexpected: he fans the flames from a smoldering F minor scurrying theme but then lets the music gently fade away - in the warm and cozy key of F Major. The final moments feel warm, peaceful, and inward-looking, like a long conversation that ends with a meaningful silence. Brahms says, “Relax, friends. We’re safe.”
*************
Please enjoy this superb selection of great symphonic music, served to you in the spectacular Robert Frost Auditorium. Let us know what you would like to hear, and YOUR hometown orchestra will try to deliver it to you! We are truly grateful for your presence and your loyal patronage and support, and we always look forward to our next meeting. See you on April 19 for “A Little Russian Romance” featuring the Junior and Intermediate winners of the Parness Competition and Tchaikovsky’s “Little Russian” Symphony No. 2.
Musically yours,
Clyde