UW Symphony Orchestra with UW Choirs

David Alexander Rahbee leads the UW Symphony and combined UW Choirs in a program of works by Haydn, Schumann, and Ravel. Centerpiece of the program is "The Haydn Experience II,” an  “imaginary symphony" of music by Joseph Haydn, designed by David A. Rahbee. 

Program

The Haydn Experience II: Music by Franz Joseph Haydn (1732-1809) and Michael Haydn (1737-1806)
designed by David A. Rahbee after an original concept by Sir Simon Rattle

L’isola disabitata (Deserted Island) Overture
Mvt 4: Andante–Presto, from Symphony No. 72, D major
March for the Royal Society of Musicians
Mvt 2: Andante, from Symphony No. 38, C major, Echo
Der Furchtsame (The Fearful) [vocal canon]
Storm from The Seasons
Mvt 2; Finale: Fugato, from Symphony No. 28, C major (Michael Haydn)
Liebe der Kunst (Love of Art) [vocal canon]
Mvt 4: Allegro assai, from Symphony No. 90, C major

Nachtlied, Op.108: Robert Schumann (1810-1856)

Daphnis et Chloé: Suite No.2: Maurice Ravel (1875-1937) 
Lever du jour 
Pantomime 
Danse générale 

(in celebration of Ravel’s 150th birthday) 

Program Notes

Franz Joseph Haydn (1732-1809); Michael Haydn (1737-1806): The Haydn Experience II

(Music by Franz Joseph, and Michael Haydn. Constructed by David A. Rahbee, based on an original idea by Sir Simon Rattle.)

Several years ago, when I learned that conductor Sir Simon Rattle, who I admire and respect greatly, would present a concert of an “Imaginary Symphony” made up of many different movements and sections of works by Joseph Haydn, I was skeptical. Rattle has indeed been one the most important and inspirational musicians I have learned from and followed closely since the late 1990s; however I thought this was, quite frankly, a strange idea. After experiencing the performance, though, I realized how GREAT the idea actually is. I realized that both musicians and audiences need to experience Haydn in this way- presenting the wide ranging and varied music of this composer, whose legacy has always been undisputed, but whose music remains largely unfamiliar. It gives us a perspective and a chance to appreciate this music with a wider lens and more intensely, rather than hearing one of his pieces an under-rehearsed overture. Rattle said, “Joseph Haydn is like an iceberg,” and that the average concert-goer is familiar with only a small percentage of his total output. At that performance, Sir Simon asked the audience to hold the applause till the end. On the contrary, I actually would encourage the audience to clap between movements - if and when you truly feel motivated to do so - and not just because of a pause in the music, or silence and or because one feels obliged. I set out to create the "Haydn Experience" in 2018, my own version of this “Imaginary Symphony”, inspired by Rattle, but also adding other elements and tailoring it to also provide important opportunities for our orchestra members. I have created a totally new one for this performance. The result will hopefully provide performers and audiences with an experience that helps them recognize and appreciate the genius of Haydn’s music, its uncommon fusion of popular and noble styles, its humor and originality, and above all, in my opinion, honest and direct expressiveness. He confidently said “Meine Sprache versteht Man durch die ganze Welt” (People understand my language all around the world.); it is my hope that this experience will leave you in full accordance!
—David A. Rahbee

Robert Schumann (1810-1856): Nachtlied, Op. 108 (1848)

Robert Schumann’s Nachtlied, Op. 108, for eight-part chorus and orchestra, gently guides the listener into the serene, dreamlike realm of sleep. Composed in 1849, over the course of just a week, this work is set to a poem by Friedrich Hebbel that explores the theme of death, starting its journey with fear, and ending with acceptance. The piece opens with haunting mystery, as a short, fragmented motif is obsessively repeated, drawing the listener into a world of quiet unease. In its final moments, a delicate descending pizzicato line fades away like a fleeting ghost, and the clarinet emerges as a wistful, reflective voice, adding to the sense of introspective calm. —Mica Weiland

Maurice Ravel (1875-1937): Daphnis et Chloé Suite no. 2 (comp. 1909-1912)

Maurice Ravel, a renowned French composer, pianist, and conductor, is often considered a central figure in the Impressionist movement—though he himself rejected this label. His music is celebrated for its intricate orchestration and innovative approach to musical form. Known for his genre-defying compositional style, Ravel seamlessly utilized elements of Baroque, Classical, folk, and jazz music in his works. As a prolific composer, he created a vast body of work, including symphonic pieces, concertos, chamber music, and the ballet Daphnis et Chloé. This hour-long ballet is Ravel’s longest composition, scored for large orchestra and wordless chorus.

Set on the Greek island of Lesbos, the ballet tells the story of the shepherd Daphnis, who falls in love with the shepherdess Chloé. A rejected suitor, the cowherd Dorcon, complicates their love triangle. When pirates abduct Chloé, Daphnis is powerless to stop them. However, with the help of the nymphs of Pan and the god himself, Chloé is rescued. The ballet culminates in a stunning depiction of dawn—one of the score’s most celebrated moments—and the joyful reunion of the lovers.

The second suite, drawn from the full ballet, opens with the evocation of daybreak. The flutes and clarinets create a misty, ethereal texture, while the low strings subtly linger in the background. The music mirrors the start of the day, with birdsong and a lush melody that evokes the warmth of the rising sun. An extended flute solo then represents the moment when Daphnis and Chloé mime the story of Pan and Syrinx. The suite closes with a dramatic shift to driving rhythms and frenzied energy, symbolizing the joyous celebration and reunion of Daphnis and Chloé.
—Mica Weiland

Biographies