Program

Tanz (Dance) from Romantic Suite
Franz Schreker (1878-1934)

Trumpet Concerto 
Aleksandr Grigori Arutiunian (1920-2012)

Ryan Darke, Trumpet

Symphony No. 5 in E Minor, Op. 64
Piotr Ilyich Tchaikovsky (1840-1893)
     1. Andante - Allegro con anima
     2. Andante cantabile con alcuna licenza
     3. Valse: Allegro moderato
     4. Finale: Andante maestoso - Allegro vivace

“Dance” from Romantic Suite, Op. 14
Franz Schreker

Born: March 23, 1878, Monaco
Died: March 21, 1934, Berlin 
Written: 1900-1902
Premiered: 1903, 1910
Approximate Duration: 7 minutes
Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (cymbals, triangle), strings

After World War I, Austrian composer Franz Schreker composed operas, conducted, and directed the prestigious Berlin Music Academy, where he taught Paul Hindemith and influenced Alban Berg.  Drawing from late romantic composers like Tchaikovsky, Strauss, and Wagner, Schreker also found inspiration in the many changing colors and moods of Impressionism.  He, along with Richard Strauss and Arnold Schoenberg, sought to “modernize” late Romantic music with unexpected harmonies, extravagant orchestration, and non-traditional programmatic structures.  His operas were very popular and occasionally scandalous.  In the 1920s, he was second only to Richard Strauss in the number of performances of his operas in Germany.  

However, by the mid 1920s, Schreker’s romantic style was considered “old-fashioned.”  Audiences that survived through World War I preferred the acerbic style of composers like Kurt Weill and Paul Hindemith.  Rising antisemitism in the 1930s further threatened his career.  In 1933, Hitler added him to the list of “Degenerate” composers, a list including modernists, Marxists, and Jews.  Although Schreker, of Jewish descent, found himself in illustrious company on that list, with Schoenberg, Mendelssohn, and Mahler, he was unable to work or have his music performed.  He died soon after, and his musical reputation, which had yet to reach beyond German-speaking countries, fell into oblivion.  Schreker was all but forgotten, but a small number of conductors, scholars, and orchestras have been re-discovering music by Schreker and his colleagues, including Josef Marx and Franz Schmidt.  A few record companies have started to record and publish this neglected but remarkable music.

Schreker wrote his Romantic Suite, one of his few instrumental works, not long after his graduation from the Vienna Conservatory.  The youthful piece is grounded in Schreker’s nineteenth century musical heritage and draws a lot of inspiration from Tchaikovsky. However, its harmonies show the innovation of his mature musical language.  It is colorful and full of variety.  The music is light and cheerful, portraying the optimism that was pervasive at the beginning of the twentieth century.  The Tanz (Dance), the suite’s final movement, is fast and triumphant, with a full, noble sound fitting for the finale of a big symphony. 

To watch a video of Johannes conducting his university orchestra playing the Schreker, click here.

Concerto for Trumpet and Orchestra in A-flat Major
Alexander Arutiunian

Born: September 23, 1920, Yerevan, Armenia
Died: March 28, 2012, Yerevan, Armenia
Written: 1950
Approximate Duration: 17 minutes
Instrumentation: 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 24 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle), harp, strings

Alexander Arutiunian was born in Armenia and pursued his early studies there.  After traveling to Moscow to study composition, he returned to Armenia and served first as the Music Director of the Royal Philharmonic Society, and later, the Music Director of the Armenian Philharmonic Orchestra.  He was given the “People’s Artist of the USSR” award in 1970 for his artistic efforts, which included the incorporation of melodic, harmonic, and rhythmic characteristics of Armenian folk music into his orchestral works, like fellow Armenian Aram Khachaturian.  He also showcased his heritage by incorporating the flavor of folk minstrel improvisations.

Arutunian’s trumpet concerto was his sixth major composition and the only one of his pieces that is regularly played in the United States. It was written in 1950 for the renowned trumpet player Timofei Dokschitzer, who immigrated to the United States and brought the concerto with him. An energetic powerhouse of eastern European lyricism and harmonic textures, Arutunian’s trumpet concerto has become one of the standard works for trumpet with orchestra and is a favorite with soloists due to its soulful melodies, eastern European folk language, and flashy technique. 

Arutunian’s concerto is presented in a single, unbroken movement, but the piece follows a traditional concerto pattern of alternating tempos and moods.  It opens with a series of dramatic statements by the orchestra, to which the trumpet makes its equally dramatic replies.  After a few moments, the orchestra introduces the first main section of the work, which is fast and furious, frequently broken up into unexpectedly irregular rhythms.  The clarinet, singing a folk-inspired melody, introduces a slower section, next played by the trumpet.  After a restatement of the original material, a beautiful slow movement features the “big band” sound of muted trumpet playing a poetic sounding tune.  Another clarinet solo leads back to the dramatic opening theme, followed by a lengthy cadenza for the soloist, and finally a brisk ending.

To listen to a recording of Timofei Dokschitzer playing the Arutiunian concerto, click here.

Symphony No.5 in E minor, Op. 64
Peter Ilyich Tchaikovsky

Born: May 7, 1840, Votkinsk, north-eastern Russia
Died: November 6, 1893, St Petersburg
Written: 1888
Approximate Duration: 44 minutes
Instrumentation: 3 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cymbals), strings

Piotr Illych Tchaikovsky’s life was marked by turmoil and extreme sensitivity. He lost his mother at age fourteen and had to deal with the cold and hostile atmosphere of a military boarding school from age ten.  He began to study the piano at age five and showed remarkable gifts, yet his father, a mine inspector, discouraged this skill.   Young Tchaikovsky “escaped” from his harsh and brutal world, finding solace in music. At age nineteen, he took a civil service job, but became increasingly involved in musical circles across Europe. It was upon hearing Mozart’s Don Giovanni that Tchaikovsky decided to dedicate his life to music.  In 1863 he entered St. Petersburg Conservatory, and three years later became a professor of harmony at the Moscow Conservatory. 

On a deeper and more personal level, Tchaikovsky was tormented by his homosexuality, often leading him to feel depressed and insecure. He attempted a marriage in 1877 with a young student, but after nine short weeks, he attempted suicide and had a nervous breakdown.  During this time, another woman, Nadejda von Meck, entered his life as an elusive pen-pal and patron. She wished to subsidize him without ever meeting. This mysterious 14-year relationship offered Tchaikovsky peace of mind and confidence in his ability as a composer. 

Tchaikovsky had mixed feelings about his fifth symphony, as he did about many of his works, writing: “I am dreadfully anxious to prove not only to others, but also to myself, that I am not yet played out as a composer…  The beginning was difficult; now, however, inspiration seems to have come….  I have to squeeze it from my dulled brain….  It seems to me that I have not blundered, that it has turned out well.”  Ten years had passed since his fourth symphony, which Tchaikovsky had described as a journey of triumph over Fate.  Although Tchaikovsky did not provide such a descriptive program for his fifth symphony, he did leave some notes about the first movement: “Introduction: Complete resignation before Fate—the inscrutable predestination of Providence.  Allegro: Murmurs of doubt, complaints, reproaches…  Shall I throw myself in the embraces of faith??? A wonderful program, if only it can be carried out.”

The first movement opens with the clarinets in their lowest register introducing the “fate” theme.  Set to the low strings “stepping” in a moderate tempo, the distinctive theme sounds like a funeral march.  The introduction gradually subsides, coming to a suspenseful halt, then the main part of the first movement begins in a quicker tempo.  The movement, at times highly energized, and at other times yearning with sadness and emotional turmoil, ultimately vanishes in utter darkness.

The second movement presents one of Tchaikovsky’s most beautiful melodies, sung by solo horn.  Expressive melodies from a solo oboe, then clarinet lead to a contrasting central section, which builds gradually towards a climax: a restatement of the “fate” motive by the brass.  After a shocked silence and a return of the initial theme, this time in the strings, the mood is shattered again by the return of “fate,” and the movement ends with quiet, exhausted despair.

Tchaikovsky provides a graceful waltz that opens the third movement instead of the typical scherzo.  A skittish middle section intrudes temporarily before returning to the serenity of the waltz tune.  Tchaikovsky adds a coda, which includes a ghostly statement of the “fate” motive.  Here it is transformed into the triple meter of the waltz, yet reminds us that relief is not yet here.

The last movement presents the “fate” theme in a major key, now transformed into a triumphant march.  The music proceeds through melodies and moods ranging from forceful to hesitant, recalling the anxiety of the second movement.  After an extended coda, there is a surprise—the main theme of the first movement returns in the closing bars, transformed into something exultant and optimistic, as if the listener and composer have overcome the dark feelings that opened the piece; the music has come full circle and the spirit is victorious.

To watch a video of Tchaikovsky’s fifth symphony, click here.

Trumpeter Ryan Darke enjoys a diverse career as a performer and educator. He is currently in his 7th season as Principal Trumpet of the Los Angeles Opera Orchestra led by conductor James Conlon and as Lecturer of Trumpet at the Bob Cole Conservatory at California State University of Long Beach.

As an educator, his energy and commitment to his students is a tremendous priority and truly a passion of his. In addition to his position at CSULB, Ryan is also a Lecturer of Pedagogy (Graduate Level) at The Colburn Conservatory of Music. Previously, he was Assistant Professor of Trumpet at the University of Arizona (2015-2017), a guest lecturer at The Juilliard School, Tianjin, a studio teacher at the Orange County High School of the Performing Arts, Program Director of Brass & Trumpet at the Montecito Music Festival, a Graduate Assistant Teacher while a masters student at Rice University, and the Brass Head at his alma mater Cerritos High School.  

Throughout Ryan’s orchestral career he has played full seasons with The Baltimore Symphony Orchestra (2nd trumpet), San Diego Symphony (principal trumpet), and a year of fellowship at New World Symphony Orchestra under Michael Tilson Thomas. In addition, he has played short-term contracts with Auckland Philharmonia, The Malaysia Philharmonic, and the Stavanger Philharmonic. 

In addition, he has played with orchestras across the United States including San Francisco Symphony, Los Angeles Philharmonic, Saint Louis Symphony, Seattle Symphony, Detroit Symphony, Indianapolis Symphony, Los Angeles Master Chorale, Pacific Symphony, Hawaii Symphony, and the Mainly Mozart All-Star Orchestra in San Diego. With the Los Angeles Philharmonic, Ryan has appeared as guest principal trumpet, played in the LA Philharmonic Brass Quintet, and joined two international tours (Venezuela and Scotland).

He has enjoyed positions at summer festivals including three seasons as associate principal at the Cabrillo Festival Orchestra, in Santa Cruz. He has also played at Britt Festival Orchestra, Castleton Festival Orchestra under Lorin Maazel, two summers at the National Orchestra Institute, the Aspen Music Festival, Spoleto Festival Orchestra, Schleswig-Holstein Festival Orchestra, Bar Harbor Brass Institute, and seminars at Domaine Forget.

In addition, Ryan enjoys recording work in Los Angeles, and frequently performs at Warner Brothers, Sony, Capital Records, and Fox Studios. He can be heard on many motion pictures and television shows including The Greatest Showman, Turning Red, The Mandalorian, Mulan, The Suicide Squad, The Simpsons, Star Trek: Picard, and more.

While in Los Angeles, Ryan enjoys performing contemporary music with the modern music collective wildUp, of which he is a founding member and has appeared on several grammy nominated recordings. He also has performed in salsa bands and a fantastic world music/Brazilian band named Badaue!

Throughout his career, Ryan has worked with many of the world’s great conductors, including Gustavo Dudamel, Michael Tilson Thomas, Lorin Maazel, Kurt Masur, Marin Alsop, Louis Langree, and Esa Pekka Salonen. He also has enjoyed working closely with Christoph Eschenbach, while serving two years as principal trumpet at the Schleswig-Holstein Music Festival. While residing in Germany he was featured playing Mahler 5, among other large works during several international tours.

Ryan received his Professional Studies Certificate at The Colburn School (2013) Masters in Music Performance from Rice University (2010), and his Bachelor's Degree at the California State University Long Beach - Bob Cole Conservatory of Music (2008). His most influential instructors have been James Wilt, Tony Prisk, Rob Frear, Richard Giangiulio, Joan LaRue, and Michael Sachs.

In addition to performing, Ryan is an active teacher and mentor of young musicians. He is highly involved with the Jumpstart  program at The Colburn School, where he mentors the conservatory students while they are honing their teaching skills. He has volunteered for OrchKids through the Baltimore Symphony, Youth Orchestras of Los Angeles (YOLA) through the LA Philharmonic, and while touring with the LA Philharmonic taught a master class in Venezuela’s “El Sistema”.  Ryan was asked to speak at a lecture series for Bard College Conservatory of Music students via the Los Angeles Philharmonic.

To watch the pre-concert video, click here.