The Evergreen Philharmonic Orchestra website has moved.

Please visit one of the following for current information:

Evergreen Philharmonic main website

Student/Parent Information website

 

The information below is for reference only.


The Full Symphonic Orchestra of the Issaquah School District, Issaquah, Washington, USA

The Evergreen Philharmonic has been active since 1988 and has been an audition-only orchestra since 1991. It has performed in diverse places such as the Washington State Ferries, the University of Washington, the University of British Columbia, Disneyland, the University of Southern California, Boston, Carnegie Hall, Paris, and London and Peterborough (England). The Evergreen Philharmonic is open by audition to any string, wind, or percussion player in the Issaquah School District in grades 9 through 12.

 

Ticket Information

It is easy to underestimate the expenses involved with a successful high-school orchestra. Besides the obvious outlays for instrument repair and studio recording, the orchestra also incurs costs for venue rental, instrument transport, music acquisition, and scholarships. In addition, incidental charges such as telephone and printing contribute to overall expenditures.

It is necessary to raise money to offset these expenses. Charging admission to the concerts constitutes the major source of fund-raising for the year. We have found this to be a particularly successful approach, because it avoids consuming the musicians' time with activities such as candy sales and car washes.

Notes:

A ticket for the Winter Concerts is good for both evenings.

Admission to Swingin' in Vienna includes coffee, punch, and dessert.

All tickets, including season passes, can be purchased at the door on the night of a concert. However, advance reservations are strongly recommended for Swingin' in Vienna, a semi-formal event featuring dancing to the live music of the Evergreen Philharmonic and the Issaquah High Jazz Ensemble.

CD Recordings. The Evergreen Philharmonic produces a set of CDs at the end of each school year. These CDs can be ordered through your orchestra director, or from the ticket sellers at most concerts during the year. Also, see the CD Order form under Forms.

Please contact your orchestra director for more information, reservations, and ticket and CD purchases.

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Schedule of All Events for the 2011–2012 School Year

Rehearsals, performances, meetings, trips, and other dates to remember


Events in {braces} are optional


January

Fri 6 — Full rehearsal
Mon 9 — Wind rehearsal (3:15-4:30)
Fri 13 — Full rehearsal
Sat 14 — Swingin' in Vienna, Issaquah HS
Fri 27 — Full rehearsal
{ Sat 28 — Eastshore Solo/Ensemble Contest, TBD }

February 2012

Fri 3 — Full rehearsal
Fri 10 — Full rehearsal

February 2012 – continued

Mon 27 — Wind rehearsal (3:15-4:30)

March 2012

Fri 2 — Full rehearsal
Wed 7 — Full rehearsal
Thu 8 — Eastshore Orchestra I Festival, Mercer Island HS
Fri 16 — Full rehearsal
Mon 19 — Wind rehearsal (3:15-4:30)
Fri 23 — Full rehearsal
Fri 30 — Full rehearsal

April 2012

Mon 2 — Full rehearsal
Thu 5 — Full rehearsal with Masterworks chorus (3:15-5:15)
Fri 6 — Spring deadline for receipt of auditions (3:30)
Mon 16 — Full rehearsal with Masterworks chorus (3:15-5:15)
Fri 20 — Full rehearsal, Instrumental Room
{ Fri 27 — State Ensemble Contest, CWU, Ellensburg (all day) }
{ Sat 28 — State Solo Contest, CWU, Ellensburg (all day) }
Mon 30 — Full rehearsal (3:15-5:15)

May 2012

Wed 2 — Full rehearsal
Fri 4 — Masterworks recording session, Issaquah HS (3:00-9:00)
Sat 5 — Masterworks Concert, Issaquah HS (7:30)
Mon 7 — Wind rehearsal (3:15-4:30)
Fri 11 — Full rehearsal
Fri 18 — Full rehearsal
Mon 21 — Wind rehearsal (3:15-4:30)
Wed 23 — Full rehearsal
Wed 30 — Full rehearsal

June 2012

Fri 1 — Full rehearsal
Sat 2 — Concerto Concert, Issaquah HS
Fri 8 — Full rehearsal
Sat 9 — Season Finale, Issaquah HS
Wed 13 — CD recording (FINAL EXAM), Issaquah HS (3:15-9:00)
Thu 14 — CD recording (FINAL EXAM), Issaquah HS (3:15-9:00)

Chamber Music Curriculum Calendar 2011 – 2012

(other events to be scheduled soon)


Selected chamber performances:
{ Sat 4 Feb — "Kegger" [root beer floats], Issaquah HS Black Box Theatre, 7:30 PM }


 


Information Packet for the 2011–2012 School Year

For Our New Members

There is a different philosophy at work in the orchestra at the high-school level. It is not the same kind of class as it was in middle school. In middle school, it was possible to be successful and even get an "A" if you were always in the right place at the right time. Attendance counted for a great deal, and orchestra was a class where all levels of musicianship were welcomed, as long as standards of attendance, attitude, and effort were maintained. Those standards are still expected, but added is the very important standard of musical expertise or accomplishment. The following are examples of things that are different in the high school orchestra classes, as opposed to middle school orchestra.

Practice. Everyone is expected to practice. We learn music at a much faster pace than in middle school. It is not acceptable to use only rehearsal time to learn the music.

Lessons. Private lessons, while not required, are highly recommended. Our time in orchestra includes some instruction on the techniques of playing, but orchestra is not a group lesson class. Most of the time is spent working on the music that we perform. The demands of this music, and the level of playing required, mean that every student needs the technical help that is only available through private lessons.

Uniform. Participation in the orchestra requires a performing uniform. You must acquire a tuxedo or a black dress for the school year. The tuxedo purchase may or may not include a dress shirt, black tie, and cummerbund, which you must provide if not included. You must also purchase black dress shoes (closed toes) and black socks or panty hose. See the Tuxedo Order form or the Women's Dress Code under Forms. If the cost of the uniform items causes financial hardship, there are resources available for such a situation; please see your director privately.

Transport. Students are required to make their own arrangements for transporting instruments and music to and from all local rehearsals and concerts. The director cannot take anybody's instrument or other items. When we travel together, we make arrangements for transporting instruments, but each student must still assume the primary responsibility for their own instrument and music folder.

Equipment. In addition to instrument supplies and a music stand, every student needs access to a metronome and a recording device. These are necessary for the playing tests.

Tests. The grading scale reflects a heavy emphasis on playing tests. The level of a student's individual musicianship, and how much time they spend practicing, is the most important aspect of their grade.

Class Expectations

  • Orchestra members will be on time to class, be set up, and have instruments tuned and music ready when the director is ready to begin the rehearsal.
  • Orchestra members who rent a school district instrument will have the responsibility (along with their parents) for the upkeep of that instrument, including arranging for repair and paying for any damage or costs beyond normal wear. The rental fee is currently $50 per instrument per semester ($100 per school year).
  • Orchestra members will attend all after-school rehearsals, concerts, and trips. They are responsible for keeping rehearsal and concert dates on their families' calendars at home to avoid conflicts.
  • Performances are the ultimate goal of the orchestra, and each member is expected to be in attendance with their music and instrument, wearing the proper attire (complete uniform, unless the director indicates that other clothes are appropriate). This is part of the student's grade.
  • Every orchestra member will maintain a music folder. A one-inch black three-ring binder is provided for this purpose. This makes it possible to hold music when we play outdoors, and the color is suitable for the stage. Please use dividers so the music can be organized. Folders will be collected and graded periodically to check that music is being correctly marked during rehearsals.
  • Orchestra members will have a pencil ready in rehearsal at all times. Pencils should be kept in the music folder or instrument case.
  • It is not reasonable to expect the director to transport students' instruments or other articles. Orchestra members must make their own arrangements to get their instruments to rehearsals and concerts, and then back to school afterwards. In some cases, another student might be using a school-owned instrument in another class, so it is necessary to make sure the instrument is back in time for that student's next rehearsal.
  • The daily orchestra class is a rehearsal, and orchestra members are expected to exhibit behavior which would be acceptable in a professional orchestra rehearsal.
  • Attendance Policy

    Attendance at all rehearsals and concerts is mandatory. The points you receive for participating are part of your grade. If there is an emergency situation and you have received permission to miss a rehearsal or concert, you will have an opportunity to make up some of the points lost. Please realize that it is impossible to duplicate the experience of a rehearsal or concert, so only 80% of the points lost can be made up.

    You will be allowed to make up points only if your director has prior knowledge that you cannot be there, and the reason is either personal illness or a family emergency. If you become ill prior to a concert, have a parent call so that adjustments can be made. This is important to your stand partner, your section, and the entire orchestra. You will certainly be missed, but if we can plan ahead, we can minimize the impact on everyone else. In the event of illness or emergency, please call your director right away. See the Faculty listing for phone numbers.

    If you have a prior commitment (family vacation, award ceremony, athletic contest, etc.), you must give 10 days notice of your intended absence. At that time a decision will be made as to whether any of the points can be made up. Do not ask to make up points that are lost due to poor planning or inattention to the calendar.

    Obviously, situations will arise that cannot be anticipated by any attendance policy. We are all busy, involved people, and that is good. If a situation comes up that needs further discussion or consideration, please make arrangements with your director to talk about the problem in advance. Concerts are more successful if there is as much consistency as we can manage between rehearsals and performances. However, we are human, and while trying to adhere to a consistent and fair attendance policy, there must be a way to accommodate unusual or emergency situations. These can be dealt with if we communicate fully as far in advance as possible.

    The possible reductions in your grade for a single rehearsal are as follows. "Late" is relative to the moment when tuning begins. At that time you should be in your seat, with your instrument and music, and ready to tune.

    1 - 10 minutes late 10% off
    11 - 20 minutes late 20% off
    Over 20 minutes late 40% off
    Not having your music 15% off
    MUSIC REPLACEMENT FEE -- $1.00 PER PAGE
    MUSIC BINDER REPLACEMENT FEE -- $10.00

    Grading Scale and Weighting

    The grading scale is a demanding one. Standards are high in this elective course, and both reliable attendance and consistent improvement are necessary to achieve a high grade.

    GRADING SCALE
    95% - 100% A
    92% - 94% A–
    88% - 91% B+
    85% - 87% B
    82% - 84% B–
    79% - 81% C+
    76% - 78% C
    74% - 75% C–
    71% - 73% D+
    68% - 70% D
    65% - 67% D–
      0% - 64% F
    GRADE WEIGHTING
    Performances 25%
    Class rehearsals 15%
    Playing tests 25%
    District rehearsals 20%
    Forms and paperwork 5%
    Semester exam 10%
    (Extra credit up to 3%)

    Notes:

    Extra credit is accepted only if all assignments are turned in. It is not a substitute for assigned work.

    Grading is by semester. The quarter grade reflects progress only to that point in the grading period.

    The grading scale and weighting can be different for the other high-school orchestras. See their individual pages.

    Commitment Expectations

    For a successful orchestra program, there must be a high level of commitment from the director, from the parents, and from the student.

    From the director: You should expect your director to be dedicated to making the orchestra program (grades 5 through 12) and the high-school orchestras the finest that we can make them. We all want the program to continue to be regarded as one of the best in the five-state northwest area, providing a top-quality orchestral experience for students of all talent levels. For the high-school orchestras, this means the directors will constantly be pushing themselves and the students to higher and higher levels of musical achievement.

    From the parents: It is important to realize what is being asked of your children. The director cannot be effective as a teacher if your child regards this as a frivolous activity. This does not mean that a student cannot have other commitments. We all have other interests and obligations, and they are all important. What you are being asked is that for for the hours that belong to orchestra, you will support your student's efforts in practice, rehearsal, performance, and when applicable, travel obligations. If any of these commitments are a problem, especially the performance and travel time, please talk to your director as soon as possible.

    For everyone to meet their commitments, we must have a whole team. If financial restraints are a problem, please talk to your director privately. We have a method of handling these matters in a confidential manner.

    From the student: The student's commitment is twofold. First, the hours that belong to orchestra in practice, rehearsal, performance, and travel are extrememly important, and students must come prepared to make them as productive as possible. Practice time is scheduled by each individual and cannot be neglected. Students need to fit practice time into their schedule so it is consistent and productive.

    The second part of the student's commitment regards communication. There will be conflicts that arise in regard to rehearsal times, especially after school. It is imperative that you communicate these problems to your director far in advance, preferably both verbally and in writing. Please look over the Schedule of All Events carefully, and make arrangements to talk about any problems right away.

    Awards and Recognition

    Since the orchestra program is district wide, there are some differences in how student achievement is honored at the end of the year. Some awards are unique to the orchestra program, while some are unique to each high school.

    Orchestra awards: In each orchestra class, there is a Director's Award, a Most Achieved Award, and a Most Inspirational Award for each high school. In addition, it is possible to earn an activity letter for orchestra in each high school.

    Issaquah High School awards: There is a Fine Arts Dessert in June to honor all those students in the fine arts department who were involved in co-curricular music activities. This involves letter recipients and participation awards for those students involved with the school musical. In addition, the orchestra program is involved with departmental awards, such as the Arion Medallion and the NSOA, and these are presented at the Senior Honors and Awards ceremony and at the Spring Concert.

    Liberty High School awards: In addition to its own awards, the orchestra program is involved with the departmental awards, including the Medallion Award and the Distinguished Scholar Awards. These are presented at the Senior Awards ceremony.

    Skyline High School awards: The Performing Arts department presents certificates and Medallion awards to selected seniors. The Skyline Symphony has a Senior Conductor award that is voted on by the orchestra members.

    Tours, Retreats, and Field Trips

    There are some performance goals that can only be achieved by taking the orchestra to perform in another city, state, or country. These performances are just as important a part of the orchestra experience as concerts that are given at school, and it is expected that all orchestra members will take part. These activities are also part of the grade that each student receives. If a student cannot participate due to an unavoidable conflict, an alternate assignment will be made, typically a research paper. Please understand that such an assignment is not meant to be punitive, but since the performances missed would have been a significant part of the grade, then the alternative assignment must be as well. Arrangements for alternate assignments must be made well in advance.

    It should be understood that orchestra membership does involve some travel and some expense. For the 2011–2012 school year, there is currently no travel planned, so there is no estimated cost at this time.

    Our orchestra program has come to be regarded by adjudicators as one of the top five programs in the state of Washington. You are joining a prestigious organization that strives hard to always improve and achieve even more each year.

    In order to maintain the excellent reputation that we enjoy, we would not want to travel and perform unless we could do our best, and that involves having everybody there. It is like an athletic team in the sense that the whole orchestra must rely on each musician to play their part, and that requires everyone's participation. All local performances during the year are required. By law, field trips cannot be mandatory, but obviously the success of the organization depends upon participation.

    Signing the Parent Signature Form indicates that you are aware of these expectations and will support your child's participation in these activities.

    Private Instruction and Music Supplies

    Please see your orchestra director for names of private teachers of your instrument. Any name you are given does not constitute certification or recommendation by either the Issaquah School District or the orchestra program.

    For music vendors that sell and rent sheet music, instruments, and other music supplies, please consult the Useful Web sites at the end of this Web page. We have had experience with the stores listed there, and with how they relate to students and parents. If a store does not appear on the list, it is because it is too far away for the services it offers, we have had numerous complaints about its service, or it is new and we have not heard about it. Nonetheless, the inclusion of a store in the list is not to be taken as a recommendation of any kind, either by the Issaquah School District or by the orchestra program.

    ISSAQUAH SCHOOL DISTRICT DISCLAIMER
    The attached list of individual(s)/agencies is being provided as an informational item for your convenience. The Issaquah School District does not recommend or endorse any of these individual(s)/agencies provided on the attached and will not be held liable or responsible for any services provided by them. As such, the Issaquah School District highly recommends that you conduct your own research and investigation and exercise due diligence before selecting any of these individual(s)/agencies for services.

    Student Transportation Policy for Day Trips

    The following policy is coordinated with the music departments of the high schools, and is in accordance with the policy that comes to us from the district administration.

    Field trips of over 10 miles or more than two hours duration:

    1. Students must travel ONLY on school-sponsored transportation.
    2. With prior permission from both instructor and principal, students can travel with a parent or parents.
    3. No student is allowed to travel with other students or other parents, or to drive themself.

    Field trips within 10 miles and of two hours duration or less:

    1. Students must use school-sponsored transportation if it is provided.
    2. Students can provide their own transportation with prior instructor approval, provided the appropriate permission and liability forms are completed and turned in.

    Special Information for Other High-School Orchestras

    The foregoing information applies generally to the Greenwood Symphony, Patriot Philharmonic, and Skyline Symphony . Potential areas of difference are the schedule, grading, uniforms, and travel. Below are links to information specific to these orchestras.

    Issaquah HS: Greenwood Symphony
    Liberty HS: Patriot Philharmonic
    Skyline HS: Skyline Symphony

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    Forms to be Signed and Returned

    The following forms are required for your participation in the orchestra program. They must be filled out completely and readably, and turned in personally to your director no later than the

    Deadline for Receipt of Forms: Wednesday 8 September 2011, 3:30 PM

    Click a form name to display that form. If you can print the form from your browser, you can fill out that copy and turn it in. If you are unable to print a form, you can obtain a printed copy from your orchestra director.

    You can submit the Registration form electronically. If you have trouble doing this, you can fill it out by hand and turn it in with your other forms.

    You might use the Trip Permission form several times during a school year. When you bring it up, select a field trip and supply your personal information, then click the button to generate the combined permission forms automatically. Please print the combined forms, sign them, and turn them in to your director. If you have trouble with the automatic form generation, you can request the traditional forms from your director and fill them out by hand.

    Registration Medical Emergency Fall Retreat
     
    Parent's Signature Parent Volunteer Women's Dress Code

    Filling out, signing, and returning all these forms constitutes part of your grade. Please be sure that every entry has been completed and is clearly readable.

    Form Blocking. Since the Registration and Permission forms are automated, your browser might offer to block them "from showing active content that could access your computer". These forms do not access your computer and do not threaten your security. Click the bar just above the form and choose "Allow Blocked Content...", then answer "Yes" to the security warning. As always, if you have any problems loading or completing these forms, you can obtain them from your director, fill them out by hand, and turn them in with your other forms.

    The following forms are optional depending on your circumstances. Please fill out the ones that apply to you and turn them in to your director.

    Instrument Rental CD Order

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    Auditions for the Evergreen Philharmonic

    Membership in the Evergreen Philharmonic is by audition only. All returning members are required to re-audition every year. Auditions are normally open twice a year, as follows:

    Spring Audition. This is the general audition for the next school year, for all returning members and for anyone wishing to be considered for the following year. The deadline is normally the first Friday of April.
    Mid-Year Audition. This is the audition for the second semester, primarily for filling positions that might still be open (for example oboe, brass, harp, viola, contrabass). The deadline is normally the first Friday of December.

    Note that these deadlines are subject to modification, so always check the current deadline notice below.

    Be sure to follow the instructions for recording and submitting. If you do not, your audition could be invalidated.

    Submission

    Starting with the 2011-2012 school year, ALL auditions must be submitted via the external Web site at EVERGREEN Philharmonic. Video auditions are greatly preferred. While audio-only submissions are still being accepted, they are at a disadvantage. In auditions for a section with limited seats, if two or more submissions are very close, priority will go to the video auditions.

    The next audition deadline is Friday 2 December 2011 at 3:30 PM.

    Audition materials

    The Washington Music Educators Association (WMEA) publishes audition information for the annual All-State Orchestra and the biennial All-Northwest Orchestra. This information includes a specification of the audition materials — the book to use (when appropriate), the passages to play, and the tempi at which to play them. The Evergreen Philharmonic uses the same materials for its auditions. This means you need to prepare only one set of materials for multiple submissions.

    Note that these materials can change from year to year, so you should check them every time you are planning to audition. However, for Evergreen Philharmonic auditions, either the current year's or the previous year's materials are acceptable.

    Note also that the published information only specifies the music selections, but does not provide them. You must have access to the appropriate book so you can play the passages. But before purchasing it, ask your orchestra or band director if a copy is available.

    To download a PDF file of the audition information, click the link that applies to your instrument (you need Adobe Acrobat Reader 5.0 or later to view it):

    Strings, Harp Woodwinds, Brass, Percussion

    Note:

    The audition information might show as a blank or partial screen. If this happens, the following procedure might help on most browsers. RIGHT click on the troublesome link, choose "Save Target As...", and save the file on your local disk. We recommend that you leave the file name unchanged, but select the local folder where you want to store it. Then you should be able to display and print the saved file directly from wherever you stored it.

    If you are still unable to view or print your audition information, you can obtain a printed copy from your orchestra director. If there are no materials specified for your instrument (such as keyboards), see your director for instructions.

    The following links provide some of the music selections for the current year. See the preceding Note if you have trouble accessing them.

    Flute (2012)
    Oboe (2012)
    Clarinet (2012)
    Bassoon (2012)
    Horn (2012)
    Trumpet (2012)
    Trombone (2012)
    Tuba (2012)
    Percussion (2012)
    Harp (2012)
    Violin (2012)
    Viola (2012)
    'Cello (2012)
    Bass (2012)

    All-State and All-Northwest auditions

    In the spring of odd-numbered years, both the All-State and All-Northwest honor groups meet. For such years, the Washington Music Educators Association (WMEA) uses the audition information specified by the Music Educators National Conference (MENC). You can audition for both groups, and for the Evergreen Philharmonic, using the same materials, although you must make a separate submission for each audition.

    In the spring of even-numbered years, only the All-State honor groups meet, and WMEA itself specifies the audition information for these years. Again, you can use the same materials for your Evergreen Philharmonic audition. Note that, although you can record your own Evergreen Philharmonic audition, your All-State and All-Northwest auditions must be recorded by your music teacher.

    Recording instructions

    See the instructions at EVERGREEN Philharmonic for the acceptable file formats and the required personal information.

    Tips for preparing your audition

    The following points and suggestions might be helpful:

    Anonymity. In many cases, the Evergreen Philharmonic director doesn't know you and has never seen or heard you play. Your audition will be the only input available for deciding whether you can be accepted. You owe it to yourself to make your submission a showcase of your very best playing.

    Legibility. If the information you provide on the label cannot be clearly read or deciphered, there is no way to identify you, or to contact you with the results of your audition. This produces the same outcome as if you had never submitted an audition. Take the time to be sure all your information is legible — without a magnifying glass.

    Retakes. Listen carefully to each selection after you have recorded it, and make sure it is up to your highest standards. Don't hesitate to re-record one or more selections if you think you can improve them. Of course, submit only the best take of each selection.

    Medium. Sometimes a qualified student is rejected because poor quality of the medium or the recording renders the audition unacceptable. While you don't need to engage a recording studio, or meet professional standards, you should choose a new medium of high quality, and the recording should be clean enough that it doesn't obscure the good aspects of your playing. If you're not confident of your equipment or your ability to operate it to your advantage, by all means get someone to help you record.

    Mechanics. Before recording your selections in earnest, do some short test takes to determine the best physical setup for recording. In general, a larger room (such as a living room) is preferable to a smaller one, and some sound-deadening surfaces (carpet, curtains, cushions) are helpful in reducing echo. Position the microphone five feet or so from your instrument, and set the bass and treble controls to normal (medium) levels. If available, use manual settings (volume, treble, bass) in preference to automatic settings. Stereo recording is recommended but not required. When you listen to the test takes, make sure the recording volume level is reasonable and there is no distortion of your sound.

    Qualities. The major considerations for acceptance are:

  • Intonation. Every note should be at the correct pitch. While this might seem obvious, it is the most common cause for auditions to be rejected.
  • Accuracy. Get the metronome beat firmly in your ear before you turn it off, and follow the beat without variation. Play every rhythm exactly as written, and don't leave any notes out. Pay close attention to the articulation, and make sure you take the indicated repeats.
  • Tone. Strive for a tone quality that is centered, round, warm, and supported. Avoid shrill, blaring, piercing, unfocused, and nasal sounds. Think of blending in with an orchestra. Band members, think of a concert band tone, rather than marching or jazz band.
  • Instructions. Sometimes there are a large number of auditions for a section with few open positions (for example flute or violin). Such auditions can be quite competitive, and there might be "close calls" requiring a choice between submissions of essentially equal caliber. In such cases, preference must be given to submissions that most carefully follow the instructions. Your attention to detail is a valuable indicator of your future success.

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    Benefits of a Music Program

    Music is a science.
    It is exact and specific, and it demands precision.

    Music is mathematical.
    It is based on subdivisions and fractions which must be worked out instantaneously, not on paper.

    Music is a foreign language.
    Most of the terms are in Italian, German, and French, and musical notation is a semantically complete non-English system of symbols.

    Music is history.
    It reflects the time and environment of its creation, often the country and the social or political feeling.

    Music is physical education.
    It is strenuous, and it requires coordination of fingers, hands, arms, lips, diaphragm, and back muscles, which must respond instantly to the ear and the mind.

    Most of all, music is art.
    It allows a human being to take these dry techniques and use them to create emotion.

    Music develops insight and demands research.

    Studying music enhances ...

  • discipline
  • self-confidence and self-esteem
  • poise
  • goal setting and goal reaching
  • creativity
  • memory skills
  • Research indicates music students ...

  • gain better employment
  • excel in academic subjects
  • respect others' achievements
  • demonstrate leadership skills
  • develop social strengths
  • achieve better concentration
  • function better under stress
  • Washington [State] Roundtable goals prepared for by music study:

  • Understand democratic living and be aware of diversity.
  • Have self-management skills and assess one's own performance accurately.
  • Be able to work with others as part of a team.
  • Express ideas through the arts.
  • Utilize creativity and imagination in solving problems.
  • Express and interpret ideas in a language other than English.
  • Professions and Careers in Music

    Performance
    Teaching — School and Private
    Composition and Arranging
    Music Therapy
    Technical — Recording and Broadcasting
    Business — Producing and Promotion

    Research results

    Middle school and high school students who participated in instrumental music scored significantly higher than their non-band peers in standardized tests.
    — University of Sarasota/East Texas State University

    Young children with developed rhythm skills perform better academically in early school years. Findings of a recent study showed that there was a significant difference in the academic achievement of students classified according to rhythmic competency.
    — University of Central Florida

    The world's top academic countries place a high value on music education. Hungary, the Netherlands, and Japan stand atop worldwide science achievement and have strong commitment to music education.
    — International Association for the Evaluation of Educational Achievement (1988)

    Music partipants received more academic honors and awards than non-music students. Also, the percentage of music participants receiving AS, AS/BS, and BS degrees was higher than the percentage of non-music participants receiving those degrees.
    — National Educational Longitudinal Study (1988)

    Music training helps under-achievers. Half of the classes became "test arts" groups, receiving ongoing music and visual arts training. In kindergarten, this group had lagged behind in scholastic performance. After seven months, the students were given a standardized test.
    — Nature (1996)

    The nation's top business executives agree that arts education programs can help repair weaknesses in American education and better prepare workers for the 21st century.
    — Business Week (1996)

    Piano students are better equipped to comprehend mathematical and scientific concepts.
    — Neurological Research (1997)

    A ten-year study, tracking more than 25,000 students, shows that music-making improves test scores. Regardless of socioeconomic background, music-making students get higher marks in standardized tests than those who had no music involvement.
    — UCLA (1997)

    Pattern recognition and mental representation scores improved significantly for students given piano instruction over a three-year period. Also, self-esteem and musical skills measures improved for the students given piano instruction.
    — McGill University (1998)

    College-age musicians are emotionally healthier than their non-musician counterparts. They were given three tests, measuring performance anxiety, emotional concerns, and alcohol related problems.
    — Houston Chronicle (1998)

    Students who were exposed to the music-based lessons scored a full 100 percent higher on fractions tests than those who learned in the conventional manner.
    — Neurological Research (1999)

    Music study can help kids understand advanced math concepts. A grasp of proportional math and fractions is a prerequisite to math at high levels, and children who do not master these areas cannot understand more advanced math critical to high-tech fields.
    — Neurological Research (1999)

    High school students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on the math portion than students with no coursework/experience in the arts.
    — Music Educators National Conference (2001)

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    History of the Issaquah District Orchestra Program

    Program Year School Year Highlights and Milestones Students Schools Grades District Enrollment
    (Pre) 1979–1983 Taught orchestra in 1 elementary school. Lobbied for district-wide orchestra program. 125 1 5–6 6,962–7,346
    1 1983–1984 Started district program in 6 elementary schools with 2 part-time teachers. 36 6 5 6,889
    2 1984–1985 Both teachers now full-time. Added 3 middle schools. 63 students/teacher. 126 9 5–6 6,788
    3 1985–1986 94 students/teacher. 188 9 5–7 6,797
    4 1986–1987 Added 2nd class in each of 3 middle schools. 131 students/teacher. 263 9 5–8 6,954
    5 1987–1988 New class in each of 2 high schools. Now consistently starting about 250 5th graders each year. 157 students/teacher. 314 11 5–9 7,030
    6 1988–1989 Added 3rd teacher part-time. Combined middle-school orchestras into one. Combined high-school orchestras into one. Establishment of Evergreen Philharmonic. First Baroque Festival. First parents' organization (ISDOPA). 160 students/teacher. 401 12 5–10 7,392
    7 1989–1990 Added 2nd orchestra in each high school. First performance on Washington State Ferries. 2 players chosen for All-State Orchestra. 177 students/teacher. 442 12 5–11 7,992
    8 1990–1991 First graduation of 8-year orchestra students. First performance of a major work in original form. First trip to Canada (Victoria and Vancouver). 4 players chosen for All-Northwest Orchestra. 204 students/teacher. 510 12 5–12 8,306
    9 1991–1992 Added 4th teacher part-time. Establishment of two levels of high-school orchestras. Conversion of Evergreen Philharmonic to audition-only. First trip to southern California (Disneyland and USC). String quartet went to Sunndal, Norway (sister city to Issaquah). 5 players chosen for All-State Orchestra. 191 students/teacher. 573 13 5–12 8,775
    10 1992–1993 Added 5th teacher part-time, 3rd and 4th now full-time. Return trip to Canada (University of British Columbia). 3 players chosen for All-Northwest Orchestra. 138 students/teacher. 622 14 5–12 9,439
    11 1993–1994 5th teacher now full-time. Return trips to both southern California and Canada. 5 players chosen for All-State Orchestra. 137 students/teacher. 685 15 5–12 9,768
    12 1994–1995 First CD produced. Return trip to Canada. 3 players chosen for All-Northwest Orchestra. 167 students/teacher. 836 16 5–12 10,360
    13 1995–1996 Tried lottery to limit 5th grade class sizes. Return trips to both southern California and Canada. 5 players chosen for All-State Orchestra. 174 students/teacher. 872 16 5–12 10,684
    14 1996–1997 Abandoned 5th grade class lottery as ineffective and iniquitous. 184 students/teacher. 922 17 5–12 11,207
    15 1997–1998 Added 6th teacher full-time. Return trip to southern California. 163 students/teacher. 975 18 5–12 12,026
    16 1998–1999 First Swingin' in Vienna. 1 player chosen for All-Northwest Orchestra, 4 chosen for All-State Orchestra. 167 students/teacher. 1000 18 5–12 12,734
    17 1999–2000 Added 7th teacher full-time. Return trip to southern California. 10 players chosen for All-State Orchestra. 164 students/teacher. 1146 18 5–12 12,967
    18 2000–2001 Added 8th teacher part-time. First chamber music curriculum. First Evergreen Philharmonic Web site. 3 players chosen for All-Northwest Orchestra, 10 chosen for All-State Orchestra. 164 students/teacher. 1229 19 5–12 13,321
    19 2001–2002 8th teacher now full-time. Return trip to southern California. 11 players chosen for All-State Orchestra. 164 students/teacher. 1310 19 5–12 13,629
    20 2002–2003 First trip to London. 3 players chosen for All-Northwest Orchestra, 8 chosen for All-State Orchestra. 168 students/teacher. 1340 19 5–12 13,804
    21 2003–2004 5th grade program moved to before school day. 3 orchestra teachers left district. Return trip to southern California. 10 players chosen for All-State Orchestra. 136 students/teacher. 682 7 6–12 14,113
    22 2004–2005 5th grade program still before school day but taught in middle schools. First Concerto Concert. 6 players chosen for All-Northwest Orchestra, 8 chosen for All-State Orchestra. 140 students/teacher. 702 20 5–12 14,438
    23 2005–2006 First Strings for Kids. Return trip to southern California. 10 players chosen for All-State Orchestra. 136 students/teacher. 682 21 5–12 14,860
    24 2006–2007 Return trip to London, First trip to Paris. First award of Niles Family Evergreen Scholarship. 2 players chosen for All-Northwest Orchestra, 4 chosen for All-State Orchestra. 145 students/teacher. 726 22 5–12 15,150
    25 2007–2008 4 players chosen for All-State Orchestra. 162 students/teacher. 812 22 5–12 15,340
    26 2008–2009 Build-out of Skyline HS and rebuild of Issaquah HS begun. 4 players chosen for All-Northwest Orchestra, 4 chosen for All-State Orchestra. 164 students/teacher. 819 22 5–12 15,480
    27 2009–2010 2 players chosen for All-State Orchestra. 181 students/teacher. 905 22 5–12 15,810
    28 2010–2011 Build-out of Skyline HS and rebuild of Issaquah HS completed. Pacific Cascade changed from freshman campus to middle school. Baroque Festival renamed Masterworks Concert. 6 players chosen for All-Northwest Orchestra . 184 students/teacher. 919 23 5–12 16,832
    29 2011–2012 PAC at Issaquah HS opened.  

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    Repertoire

    Selections played in past concert performances

    Tomaso ALBINONI (1671-1751) Adagio in G minor for Organ and String Orchestra — 1999
    Stephen ANDERSON (1984- ) Dancing Toothpicks — 2001
    "Happy Waltz in A" — 2000
    Waltz of the Root Beer and Piano — 2002
    Johann Christian BACH (1735-1782) Concerto in C minor for "Bass Viola" — 1993, 1998
    Johann Sebastian BACH (1685-1750) Matthäuspassion (St Matthew Passion) — 2003
    Wachet auf (Awake; Cantata #140) — 2001
    "Brandenburg" Concerto #5 in D — 2007
    "Brandenburg" Concerto #6 in B flat — 1999, 2002
    Chorale Prelude from Wachet auf (Awake; Cantata #140) — 1992, 1993
    "Double" Concerto in D minor for 2 Violins — 1994
    "Little" Fugue in G minor — 1990
    Suite #3 in D for Orchestra — 1999
    Violin Concerto in A minor — 1998, 2009
    Violin Concerto in E — 1993
    Ludwig van BEETHOVEN (1770-1827) Piano Concerto "#1" in C — 1998
    Piano Concerto #5 in E flat ("Emperor") — 2006
    Overture to Egmont — 1999
    Symphony #1 in C — 1988
    Symphony #5 in C minor — 1997
    Symphony #6 in F ("Pastoral") — 2004
    Violin Concerto in D — 2006
    Robert Russell BENNETT (1894-1981) Victory at Sea — 2010
    Georges BIZET (1838-1875) Farandole from L'Arlésienne — 1998
    L'amour est un oiseau rebelle (Habañera) from Carmen — 2002, 2006
    Les toréadors from Carmen — 2005, 2006
    Votre toast, je peux vous le rendre (Toreador Song) from Carmen — 2007
    Suite #1 from Carmen — 1994, 1995, 1997
    Suite #1 from L'Arlésienne — 2001
    Suite #2 from L'Arlésienne — 1996
    Ernest BLOCH (1880-1959) Concerto Grosso #1 in D minor — 2004
    Luigi BOCCHERINI (1743-1805) 'Cello Concerto in B flat — 1992, 1999
    Aleksandr BORODIN (1833-1887) Polovtsian Dances from Prince Igor — 1993, 1994, 1996, 2002, 2010
    V sryednyei Azii (In [the Steppes of] Central Asia) — 2004
    Symphony #2 in B minor — 2008, 2009
    Giovanni BOTTESINI (1821-1889) Tutto il mondo for Voice, Contrabass, and Pianoforte — 2005
    Une bouche aimée for Voice, Contrabass, and Pianoforte — 2005
    Contrabass Concerto in F sharp minor — 2003
    Johannes BRAHMS (1833-1897) Akademische Festouvertüre (Academic Festival Overture) — 1995
    Ungarische Tanz (Hungarian Dance) #5 in F# minor — 2006, 2010
    Tragische Ouvertüre (Tragic Overture) — 2006
    "Double" Concerto in A minor for Violin and 'Cello — 2009
    Symphony #1 in C minor — 1992, 2003, 2004, 2005
    Symphony #2 in D — 2006
    Symphony #3 in F — 2000
    Bryan BROCHU (1987- ) Zenith — 2004
    Gordon BROWN (1942- ) Alla Barocca — 1995
    Evergreen Waltz — 1993, 2002, 2003, 2007, 2009
    Grande Valse Viennoise — 2008–2011
    Invocation on Psalm 148 — 1999, 2007
    Memorial — 2001
    Salish Polka — 2011
    Max BRUCH (1838-1920) Romanze in F for Viola and Orchestra — 1998, 2002
    Violin Concerto in G minor — 1995, 2004, 2008
    Frédéric François CHOPIN (1810-1849) Piano Concerto "#1" in E minor — 2010
    Aaron COPLAND (1900-1990) Fanfare for the Common Man — 2008
    Hoe-Down from Rodeo — 2006
    Arcangelo CORELLI (1653-1713) Concerto grosso #7 in D — 2002
    Concerto grosso #8 in G minor — 1996
    Paul CRESTON (1906-1985) Concertino for Marimba — 2008
    Achille-Claude DEBUSSY (1862-1918) Danses sacrée et profane — 2004
    Maurice DURUFLÉ (1902-1986) Requiem — 2010
    Antonín DVOŘÁK (1841-1904) Karneval (Carnival) Overture — 1997
    Legenda (Legend) #6 in C sharp minor — 2002
    Měsíčku na nebi hlubokém (Song to the Moon) from Rusalka — 2002, 2005
    Polednice (Noon Witch) — 2008
    Slovanský tanec (Slavonic Dance) #2 (Set 1) in E minor (Dumka) — 2000
    Slovanský tanec (Slavonic Dance) #4 (Set 1) in F (Sousedska) — 1992
    'Cello Concerto in B minor — 2002, 2008
    Serenade in E for Strings — 2007
    Symphony #5 (#9) in E minor ("From the New World") — 2007
    Edward ELGAR (1857-1934) Chanson de matin (Morning Song) — 2001
    'Cello Concerto in E minor — 2001, 2006
    "Pomp and Circumstance Military Marches" #1 in D — 2009
    Serenade in E minor for String Orchestra — 1999
    Three Bavarian Dances — 1996
    Gabriel FAURÉ (1845-1924) Masques et bergamasques — 2003
    Pavane — 1992–1994
    Requiem — 1992, 1997, 2001, 2005, 2010
    Elegy for 'Cello and Orchestra — 1994
    Sicilienne from Pelléas et Mélisande — 1996, 1998
    Suite from Pelléas et Mélisande — 1995
    Friedrich von FLOTOW (1812-1883) Overture to Martha — 2003
    Alexander GLAZUNOV (1865-1936) Violin Concerto in A minor — 2005
    Mikhail GLINKA (1804-1857) Overture to Russlan and Ludmilla — 2005, 2010
    Charles-François GOUNOD (1818-1893) Que fais-tu, blanche tourterelle? from Roméo et Juliette — 2003
    Repentir (O Divine Redeemer) — 2010
    Enrique GRANADOS Y CAMPINA (1867-1916) Intermezzo from Goyescas — 2001
    Marcel GRANDJANY (1891-1975) Aria in Classic Style — 2005
    Edvard GRIEG (1843-1907) Fra Holbergs tid (Holberg Suite) — 1991
    Piano Concerto in A minor — 1999
    George Frideric HANDEL (1685-1759) "And the Glory of the Lord" from Messiah — 1999
    Hallelujah from Messiah — 1991–2003
    Messiah — 1994
    Ombra mai fu from Serse (Xerxes) — 1999, 2004
    Concerto grosso #5 in D — 1990
    Harp Concerto in B flat — 2005
    Viola Concerto in B minor (Henri Casadesus?) — 2005
    Franz Joseph HAYDN (1732-1809) "All look up to thee, O Lord" from Die Schöpfung (The Creation) — 2009
    'Cello Concerto #1 in C — 1995
    Trumpet Concerto in E flat — 1997, 2008
    Paul HINDEMITH (1895-1963) Symphonic Metamorphosis of Themes by Carl Maria von Weber — 2007
    Trauermusik (Music of Mourning) — 2007
    Franz Anton HOFFMEISTER (1754-1812) Viola Concerto in D — 1999
    Alan HOVHANESS (1911-2000) Psalm and Fugue — 1994
    Georges HÜE (1858-1948) Fantaisie for Flute and Orchestra — 2009
    Jessica HULET (1977- ) Moving On — 1995
    Zoltán KODÁLY (1882-1967) Intermezzo from Háry János — 1994
    Erich Wolfgang KORNGOLD (1897-1957) Der Schneemann (The Snowman) — 1999
    Violin Concerto in D major — 2009
    Serge KOUSSEVITZKY (1874-1951) Valse miniature — 2004
    Fritz KREISLER (1875-1962) Liebesfreud (Love's Joy) — 1989
    Liebesleid (Love's Sorrow) — 1989
    Præludium and Allegro (in the Style of Pugnani) — 1993
    Édouard LALO (1823-1892) Symphonie espagnole — 2003
    'Cello Concerto in D minor — 2004, 2006
    Ernesto LECUONA (1895-1963) Suite from Andalucia — 1992, 1999, 2005
    Pascual MARQUINA NARRO (1873-1948) España cañi (Gypsy Spain) — 2009
    Michael MAULDIN (1947- ) Llanos (Plains) — 1989
    Catherine McMICHAEL (1954- ) Café Suite — 2002
    Felix MENDELSSOHN-BARTHOLDY (1809-1847) Die Hebriden (The Hebrides [Fingal's Cave]) Overture — 1999, 2007
    Konzertstück #1 in F minor for Basset Horn and Clarinet — 2008
    Symphony #2 in B flat ("Lobgesang [Song of Praise]") — 1999
    Symphony #3 in A minor ("Scottish") — 2005
    Violin Concerto in E minor — 2004
    Matthias Georg MONN (1717-1750) Concerto in G minor for "Bass Viola" — 1996
    Wolfgang Amadeus MOZART (1756-1791) Eine kleine Nachtmusik (A Little Serenade) — 1988
    Il mio tesoro intanto from Don Giovanni — 2006
    Durch Zärtlichkeit und Schmeicheln from Die Entführung aus dem Serail — 2008
    Là ci darem la mano from Don Giovanni — 2009
    Prendero quel brunettino from Cosi fan tutte — 1999, 2001
    Regina coeli (Queen of Heaven) — 2003
    Requiem in D minor — 1995, 1998, 2002, 2006
    Andante in C for Flute and Orchestra — 2005
    Clarinet Concerto in A — 2005
    Flute Concerto #1 in G — 1992, 2003
    Piano Concerto #20 in D minor — 1996
    Sinfonia concertante in E flat for Violin and Viola — 1992, 2000
    Symphony #29 in A — 1992
    Modeste MUSSORGSKY (1839-1881) Night on Bald Mountain — 1993, 1994, 1998, 2008
    Aaron NONIS (1978- ) The Sounds of Battle — 1994
    Tragedy, Life of a Fantasy Lord — 1996
    Jacques OFFENBACH [Jacob Eberst] (1819-1880) Elle a fui, la tourterelle from Les contes d'Hoffmann — 2003
    Belle nuit, ô nuit d'amour (Barcarolle) from Les contes d'Hoffmann — 2010
    Flor PEETERS (1903-1986) Fantasia on "Christ Has Risen" — 2009
    Sergei PROKOFIEV (1891-1953) Suite #2 from Romeo and Juliet — 1994, 1995, 2008
    Violin Concerto #1 in D — 2010
    Giacomo PUCCINI (1858-1924) O mio babbino caro from Gianni Schicchi — 2001
    Sergei RACHMANINOFF (1873-1943) Piano Concerto #1 in F sharp minor — 2009
    Piano Concerto #2 in C minor — 1992, 2004
    Piano Concerto #3 in D minor — 2010
    Maurice RAVEL (1875-1937) Pavane pour une infante défunte (Pavane for a Dead Princess) — 2000
    Nikolai RIMSKY-KORSAKOV (1844-1908) Capriccio espagnol — 1998, 2007
    Scheherazade — 2004, 2005
    Svetliy prazdnik (Bright Holiday) [Russian Easter Overture] — 2006
    Concerto in B flat major for Trombone and Military Band — 2007
    Flight of the Bumblebee from Tale of Tsar Saltan — 2009
    Piano Concerto in C sharp minor — 2007
    Richard RODGERS (1902-1979) Victory at Sea — 2010
    Ney ROSAURO (1952- ) Concerto for Marimba and String Orchestra — 2009
    Gioacchino ROSSINI (1792-1868) Una voce poco fa from Il barbiere di Siviglia — 2002
    John RUTTER (1945- ) Requiem — 1996, 2000, 2004, 2008
    Joseph SAINT–GEORGES (ca 1739-1799) Sinfonia in D — 1995
    Charles-Camille SAINT–SAËNS (1835-1921) Danse bacchanale from Samson et Dalila — 2010
    Danse macabre (Poème symphonique) — 1993, 2009
    Havanaise for Violin and Orchestra — 2002
    'Cello Concerto #1 in A minor — 1996, 2000
    Symphony #3 in C ("Organ") — 2001
    Violin Concerto #3 in B minor — 2002, 2006, 2008
    Carlos SALZÉDO (1885-1961) Suite of Eight Dances — 2003
    Franz SCHUBERT (1797-1828) Der Lindenbaum from Winterreise — 2004
    Mass #2 in G — 2004, 2007
    Symphony #5 in B flat — 2002
    Symphony #8 in B minor ("Unfinished") — 1992, 2001
    Robert SCHUMANN (1810-1856) Symphony #3 in E flat ("Rhenish") — 1992
    Dmitri SHOSTAKOVICH (1906-1975) Violin Concerto #1 in A minor — 2009
    Jean SIBELIUS (1865-1957) Finlandia — 1997
    Violin Concerto in D minor — 2007
    Bedrich SMETANA (1824-1884) Vltava (The Moldau) from Má vlast (My Fatherland) — 1994, 2010
    Carl Philipp STAMITZ (1745-1801) Flute Concerto in G — 2000
    Viola Concerto #1 in D — 1996, 2004
    Johann STRAUß II (1825-1899) An der schönen blauen Donau (Blue Danube) — 2000–2011
    Frühlingsstimmen (Voices of Spring) — 1999–2011
    Kaiserwalzer (Emperor Waltzes) — 1999, 2000, 2002–2011
    Künstlerleben (Artist's Life) — 1999–2005, 2008–2011
    Mein Herr Marquis ("Laughing Song") from Die Fledermaus — 2007
    Rosen aus dem Süden (Roses from the South) — 1999–2011
    Tritsch-Tratsch (Chit-Chat) Polka — 2006–2010
    Unter Donner und Blitz (Thunder and Lightning) Polka — 2010–2011
    Richard STRAUSS (1864-1949) Horn Concerto #1 in E flat — 2001, 2003, 2005
    Pyotr Ilyich TCHAIKOVSKY (1840-1893) Capriccio italien — 2009
    Le lac des cygnes (Swan Lake) — 2003–2005
    Marche slave (Slavonic March) — 2007
    Pas de deux from Casse-noisette (Nutcracker) — 2009
    Pezzo in forma di sonatina from Serenade in C for String Orchestra — 1998
    Waltz of the Flowers from Casse-noisette (Nutcracker) — 2001–2011
    Introduction and March — 1989
    Piano Concerto #1 in B flat minor — 2008
    Suite #1 from Casse-noisette (Nutcracker) — 2009
    Symphony #6 in B minor ("Pathétique") — 2009
    Variations on a Rococo Theme for 'Cello and Orchestra — 2007
    Violin Concerto in D — 2005
    Waltz from Eugene Onegin — 1994, 2006, 2007, 2009, 2010
    Waltz from La belle au bois dormant (Sleeping Beauty) — 1995, 1999, 2000, 2002–2011
    Georg Philipp TELEMANN (1681-1767) Concerto in G for 2 Violas — 2000
    Viola Concerto in G — 2001
    Eduard TUBIN (1905-1982) Contrabass Concerto — 2006
    Ralph VAUGHAN WILLIAMS (1872-1958) Concerto in F minor for Bass Tuba — 1997, 2003
    Fantasia on a Theme of Thomas Tallis — 2001, 2008
    Fantasia on "Greensleeves" from Sir John in Love — 1991, 2000
    Giuseppe VERDI (1813-1901) Overture to La forza del destino (The Force of Destiny) — 2010
    Overture to Nabucco (Nebuchadnezzar) — 1988
    Henri François Joseph VIEUXTEMPS (1820-1881) Violin Concerto #5 in A minor ("Le Grétry") — 2010
    Heitor VILLA-LOBOS (1887-1959) Bachianas brasileiras #5 for voice and 8 'celli — 1995, 1997, 2006
    Antonio VIVALDI (1678-1741) Gloria — 1990, 1993, 2009
    Gloria in excelsis — 1999
    L'inverno (Winter) from Le quattro stagioni (The Four Seasons) — 2005
    Concerto in G minor for 2 'Celli — 1994
    Concerto in C for 2 Trumpets — 1995
    Concerto for 2 Violins — 1990
    Concerto in A minor for 2 Violins — 2000
    Concerto in D minor for 2 Violins — 2001
    Concerto in D minor for 2 Violins and 'Cello — 1997
    Concerto in E minor for 4 Violins — 1992
    Richard WAGNER (1813-1883) Overture to Die Meistersinger von Nürnberg — 2000
    Walkürenritt (Ride of the Valkyries) from Die Walküre — 2007
    Émile WALDTEUFEL (1837-1915) Les patineurs (The Skaters) — 1999–2011
    Carl Maria von WEBER (1786-1826) Andante e rondo ungarese — 2003
    Clarinet Concerto #1 in F minor — 2002
    Overture to Oberon — 2000
    Henryk WIENIAWSKI (1835-1880) Violin Concerto #2 in D minor — 2006, 2010
    John WILLIAMS (1932- ) Suite from Star Wars — 2010

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