000000000000000 Dear Friends and Family, Good evening, and welcome to the Davenport Pops Orchestra’s Family Weekend concert! As Co-Presidents of the orchestra, we thank you for coming and hope you enjoy “DPops Summons the Heroes!”. Founded by a group of undergraduates in 2005, the Davenport Pops Orchestra (affectionately known as DPops) brings together Yale musicians who love playing popular music. As Yale’s premier pops orchestra, we specialize in film scores, Broadway hits, popular classical works, hip-hop charts, and more. Our repertoire ranges from original film scores to dynamic student arrangements. We strive to present a diverse repertoire that offers something for every audience member. For more information about our orchestra, please visit our website: www.dpops.com or check out our Facebook page, Davenport Pops Orchestra. Also, feel free to email us with any further questions and comments. On behalf of the Davenport Pops Orchestra, we welcome you to our concert. We are especially grateful to all those in the audience who continually come out to support us and share our love for pops music! Cordially, Kate Feinerman (BR ’19) Pong Trairatvorakul (ES’18) The Davenport Pops Orchestra Co-Presidents [email protected] [email protected] 000000000000000

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Davenport Pops Orchestra presents

DPops Summons the Heroes Friday, October 7th, 9:15pm Davenport Dining Hall

Summon The Heroes Theme From the 1996 Olympic Games --------------------------------------------------- John Williams Go the Distance: A Mulan & Hercules Medley ------- Alan Menken, Matthew Wilder & Jerry Goldsmith arr. Tim Laciano BR ‘15 Pops 1779 --------------------------------------------------- Various Artists arr. Chenyu Ma SY ’19 Peer Gynt Suite No. 1 --------------------------------------------------- Edvard Grieg Adventures on Earth: from E.T. --------------------------------------------------- John Williams

Notes on the Program In tonight’s concert, we celebrate heroes of all realms and origins, heroism of all forms and sizes, and most importantly, the music that brings our heroes to life. We open with the title piece of our concert, John Williams’ Summon the Heroes, a brilliant anthem for the 1996 Atlanta Summer Olympics. Deviating from his usual oeuvre of film scores with this third work in a series of short pieces composed for the Olympics, Williams brings us to the joyous opening ceremonies of the games, where we express our pride and wonder at the herculean feats accomplished by athletes around the world. There’s no lack of heroic feats in our next piece, a medley of our favorite songs from Hercules and Mulan. Heroes from two vastly different worlds, both nonetheless go the distance on their respective journeys to find their identity and bring honor to their families--while singing all the way. Defeating the Huns and performing godly acts of strength aren’t the only ways to leave a legacy, a fact brought to center stage in our new medley of world-changing pops songs. Featuring revolutionary hits anywhere from John Lennon’s “Imagine” to Macklemore and Ryan Lewis’s “Same Love” to the classic Christian-hymn-turned-ubiquitousmelody, “Amazing Grace,” this arrangement wastes no time getting down to business to convince you of the geniuses who have left behind their mark. Singing and dancing are encouraged. From there, we turn to an even more unconventional protagonist with two whimsical movements from Edvard Grieg’s Peer Gynt suite. Originally composed to company a five-act allegorical drama by Henrik Ibsen, its namesake character is a Norwegian peasant anti-hero who adventures through life as a bride-kidnapper, outlaw, hermit, Moroccan businessman, Egyptologist, and troll. Intrigued yet? We conclude our concert with music from E.T. the Extra Terrestrial, a timeless film about the homeward journey of an alien stranded on Earth and the bravery of the boy who helps him there--heroism which transcends species and intergalactic distances which is truly something to call home about. Concert Notes by Haohang Xu

SUMMON THE HEROES Sit back and be brought back in time to the Atlanta opening ceremonies in 1996, where this anthem to Olympic athletes composed by famed film score legend John Williams was originally premiered. With bold trumpet fanfares, lyrical melodies, and energetic marches, this piece is both as graceful as Simone Biles’ vaults and as rambunctious as Ryan Lochte’s “adventures.” We hope you enjoy this piece that celebrates the diversity and respect represented by the whole world coming together for friendly competition while being narrated by insultingly terrible TV commentary. Program Notes by Harry Kane GO THE DISTANCE: A MULAN & HERCULES MEDLEY This Disney medley features memorable tunes from two of the last films considered to be part of the “Disney Renaissance” (1989-1999), Hercules and Mulan. Hercules tells the story of the young demi-god who tries to find his place in the world. The piece begins quietly with this legendary hero’s anthem “Go the Distance,” the namesake of the arrangement and the concert. Suddenly a faster groove takes over as Hercules’ dreams become realities when he moves from “Zero to Hero.” The selections from Mulan then begin with the rousing “I’ll Make a Man Out of You” followed by the lyrical “Reflection,” highlighting Mulan’s journey as she tries to honor her family while, at the same time, being the strong woman she knows she is inside. Alan Menken and David Zippel’s “Go the Distance” was nominated for the Academy Award for Best Original Song in 1997, Jerry Goldsmith’s score for Mulan was nominated for the Academy Award for Best Original Score (Musical or Comedy) in 1998, and Matthew Wilder and David Zipper received a Golden Globe nomination for the song “Reflection.” Program Notes by Tim Laciano POPS 1779 How can music influence history? This was the driving question behind this arrangement. Indeed, music has consistently had a significant cultural and political impact in the world, and perhaps have provided the

power as catalysts for positive change in historical moments. The first song, “Strange Fruit,” performed by Billie Holiday in 1939 takes you back to the brutality and racism of the practice of lynching in the American South. With dark chords and a gloomy melody, the song became an enduring symbol of racism, cruelty and pain. Then the piece transitions into “Sunday Bloody Sunday” by Irish rock band U2. As the opening track from their 1983 album War, the song is overtly political. The militaristic drum beat and the repeating violin riffs describe the horror felt by an observer during the Bloody Sunday incident in Derry where British troops shot and killed unarmed civil rights protesters and bystanders rallying against imprisonment without trial. Widely regarded as John Lennon’s signature song, “Imagine” (1971) encourages listeners to imagine a world at peace without divisions of religion or nationality and attachment to material possessions. This song, as I arranged as a big band rock ballad, has been ranked by Rolling Stone as number three in their list of “The 500 Greatest Songs of All Time.” Moving forward half a century, we arrive at “Same Love” (2012), a song by American hip hop duo Macklemore & Ryan Lewis that talks about the issue of gay and lesbian rights. The song also features an inspirational “I can’t change” chorus sung by Mary Lambert, who was raised in the church and felt sorrowful over her inability to change and frequently apologizing to God for being a sinner. Listen to the exchange between brass and woodwinds during the chorus. You’re probably wondering at this point, why 1779? I once read that there are not many songs out there as closely paired with one religion’s beliefs and identity as “Amazing Grace,” arguably Christianity’s—and perhaps even the English language’s—most popular hymn. John Newton, who first published “Amazing Grace” in 1779, wrote the song to record his own spiritual journey from sinner to saint—or more specifically, from slave-trading sailor to minister (and eventually to influential member of Britain’s abolitionist movement). Today, “Amazing Grace” is a symbol of redemption and forgiveness. Whether you are religious or not, you can feel the power emanating from the complex harmonies. Finally, the piece unexpectedly transitions into a familiar tune, yet with a twist. As you enjoy our concert, I’ll leave this one open to your interpretations. Program Notes by Chenyu Ma

PEER GYNT SUITE NO.1 Popularized by its feature in old Bugs Bunny cartoons (among other appearances - see dedicated Wikipedia article “Grieg’s music in popular music”), the incidental music for Peer Gynt contains some of the most popular themes in classical music. Although the original play by Henrik Ibsen is rather obscure (see “Notes on the Music”), many in the audience will recognize “Morning Mood,” one of approximately two famous pieces appropriated to depict sunrises (the other being Rossini’s William Tell Overture), and “In the Hall of the Mountain King,” one of approximately two famous pieces that are literally the same thing over and over again (the other being Ravel’s Bolero). Since movements II and III are not nearly as popular, and we are a pops orchestra, they have been omitted from tonight’s program. Sorry, Edvard. Program Notes by Michael Wang ADVENTURES ON EARTH FROM E.T. This energetic concert suite by legendary composer John Williams includes some of his most beloved themes from Steven Spielberg’s critically acclaimed 1982 sci-fi film E.T. The Extra Terrestrial. The suite navigates from the fast-paced bicycle chase sequence to the tender and mysterious music that mimics the relationship between Elliot and E.T. and finally to E.T.’s final emotional departure from Earth. This film is one of the many incredibly successful collaborations between director Spielberg and composer Williams, and in fact Spielberg re-edited the final chase and farewell sequence to match the orchestra’s most dramatic and emotive performance, a take that Williams was allowed to conduct without having to worry about syncing to hit points in the film. The score earned John Williams his fourth Academy Award and has touched the hearts of audiences around the world. In his career he has garnered 48 Academy Award nominations, making him the most-nominated living person. Program Notes by Tim Laciano

Our Orchestra Michael Wang, Head Conductor ​Haohang Xu, Head Arranger Harry Kane, Assistant Conductor Flute Tanya Shi, principal Beatrice Brown Julia Cai Claire Huebner* Jeemin Kwon Sonia Ruiz Cady van Assendelft Cindy Yang

Alto Saxophone Chenyu Ma, principal Anthony Fraga Kevin Hu Steven Pan Alice Zhang*

Oboe Olivia Briffault, principal

Horn Derek Boyer, co-principal Abigail Cipparone, co-principal Bettina Cheung* Ally Hammer Samuel Nemiroff Sida Tang*

Clarinet Dennis Zhao, principal Emily Goldberg Alison Ho Ryan Lim Michael Wang Christopher Zhou Bass Clarinet Cameron Martel, principal The Trinh Nguyen Epic Chair Bassoon Kenny Wang, principal Bradford Case

Baritone Saxophone Alec Mukamal, principal

Trumpet ​Eli Baum, principal The Jeremy Schiffres “Not Always Right but Never in Doubt” Chair Doron Rose Trombone ​Leigh Vila, principal Charlie Urban-Mead * = on leave this concert

Piano Chi Tong, co-principal John Baxter, co-principal The Hendrik “The Wizard” Chair Percussion Katherine Soderberg, principal Kevin Ou David Zuckerman Pong Trairatvorakul The Justin Lo Founder’s Chair Violin I Jason Yang, co-concertmaster Will Chang, co-concertmaster Rita Rangchaikul, assistant concertmaster Alex Chang Allen Chang Alisha Dziarski Sarah Kim Hannah Lawrence Jeremy Tanlimco Heather Wang Violin II Gemma Hyeon, co-principal Shogun Mahadumrongkul, co-principal Nicholas Adeyi Eujin Jang ​Harry Kane Angela Liu Ryan Montesi Rachel Regan Grant Young

Viola Timothy White, co-principal Linus Lu*, co-principal Kate Feinerman The Justin Lo Founder’s Chair Jennifer Ha Jasmine Liu* Sarah Luckart Haohang Xu Cello Kevin Wei*, principal Evan Haas David Jiang Damian Kim Dean Li Megan Lim Nathan Lin Jordan Smith Rhea Teng Natalie Yang Chloe Zhou Bagpipes Connor McCann Guitar Nick Nordlund AV Team Alan Díaz-Santana Andrew Jin Annie Bui Jack Wesson Mostafa Shanta ​Wissem Gamra

Special Thanks To: Davenport College Head Richard Schottenfeld Shaffrona Phillip-Christie Dean Ryan André Brasseaux Yale U.O.C. Alumni Donors The Epic Chair Trinh Nguyen for Bass Clarinet Founder’s Chair Justin Lo & Fiance for the DPops Co-Presidents ​Not Always Right but Never in Doubt Chair Jeremy Schiffres for the First Trumpet The Wizard Chair Hendrik Kits van Heyningen for the Pianist DPops Board of Directors Presidents: Kate Feinerman BR’19 & Pong Trairatvorakul ES’18 Head Conductor: Michael Wang JE’17 Head Arranger: Haohang Xu DC’17 ​ Assistant Conductor: Harry Kane BR’18 Treasurer: Alex Chang BK’19 Orchestra Manager: Ryan Lim BK’19 Publicity Chairs: Sida Tang SY’19 & Kevin Ou CC’19 Librarians: Heather Wang BK’19 & Dennis Zhao DC’19 Davenport Liaison: Anthony Fraga DC’19 Social Chair: Sarah Luckart BR’19 Help support DPops! Donate online by visiting dpops.com and clicking “Support Us”

Davenport Pops Orchestra

Upcoming Concerts DPops December Concert Friday, December 9th, 8:00PM Battell Chapel

DPops March Concert Saturday, March 4th, 8:00PM Battell Chapel

DPops April Concert Friday, April 28th, 8:00PM Battell Chapel

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