Sibelius, Karelia Overture, op. 10

During Sibelius' lifetime, the province of Karelia served as a locus of Finnish language, art, and culture, particularly in opposition to the Russian political machine. Sibelius became enthralled with the grassroots Finnish-language movement and wrote the Karelia Suite and Overture as odes to the ethos of Finnish folk music.

Chris Pilsner, Light in the Ocean

From the composer: "A Light in the Ocean is a pure reflection of the wonders of life across our planet.  As I composed the music, I consistently envisioned the beauty and spectacle of stepping into nature and seeing the flourish of life around me.  And this is no more exemplified than in the underwater expanse of the ocean. A Light in the Ocean was commissioned by Wes Kenney and the Fort Collins Symphony Orchestra in memory of Melanie Valente in 2019."

Xavier Montsalvatge, Cinco canciones negras 
with Gwendolyn Alfred, soprano

In this evocative song cycle, 20th century Catalan composer Xavier Montsalvatge shines a light on the mistreatment of Black men and women in Spanish colonies and the disintegration of Cuban culture after the Spanish-American War. By illuminating this gross dehumanization, Montsalvatge and the poets with whom he collaborated sought to give voice to the oppressed and unheard colonial minorities.

Margaret Bonds, The Montgomery Variations (1964)

On September 15, 1963, four young black girls were killed in Sunday school when the Sixteenth Street Baptist Church in Birmingham, Alabama, was bombed. Following her visit to Montgomery, Alabama, Margaret Bonds wrote a set of freestyle variations based on the Negro Spiritual "I Want Jesus To Walk With Me." Over the course of seven movements, Bonds takes us on a journey that begins with the Montgomery Bus Boycott (1955-6), climaxes with the Birmingham church bombing eight years later, and then looks ahead to the future. From the editor: "The Montgomery Variations [are] a retrospective musical reflection on the events of the civil-rights movement over the previous decade, their divine mandate, and the moral imperative they imposed for continued work in the struggle for freedom." 

Quinn Mason, Inspiration! Festive Overture

From the composer: "This is a piece that is dedicated to the power of inspiration, and the will to inspire. The composition begins with a flourish—much like the spark of an idea—and erupts into joyous interplay from all sections of the orchestra. The middle section is more of a reflection of the first section, soulful and profound in nature and the rest of the piece is in high spirits, inspired by that which came before it."

Léon Boëllmann, Variations symphoniques, Op. 23 
with Laura Ospina, cello

Although French Romantic composer Léon Boëllmann was known primarily for his compositions for organ, his Variations symphoniques was performed often by contemporary cellists during his lifetime. Then, after World War II, the piece mysteriously disappeared from cellists' repertoires. Luckily, a new generation of cellists has rediscovered this masterpiece and its rich sonorities, virtuosic demands, and unique form.

Gustav Holst, The Planets (excerpts)

Experience the majesty and wonder of the cosmos through the lens of Gustav Holst's epic work. Made up of vignettes inspired by astrology and early 20th-century scientific advances, this work takes the listener on a journey through the moods and characters that abound on the final frontier.

Maria Grenfell, Fanfare for a City

From the composer: "Fanfare for a City begins with a brief opening brass chorale hinting at things to come, a fanfare with a sense of excitement and jubilation culminating in a return to the opening chorale written in Bach style that would never have been written by Bach.  Fanfare for a City was commissioned by the Symphony Australia for the Adelaide Symphony Orchestra’s 2001 fanfare series, celebrating 100 years of Federation in Australia."

Alexander Glazunov, Alto Saxophone Concerto
with Roy Allen, saxophone

As the saxophone was still relatively novel in the orchestra world during his lifetime, Alexander Glazunov became fascinated with the new timbre and color this instrument had to offer. By scoring his saxophone concerto with string accompaniment, Glazunov heightens the lyricism and sonorous quality of this jazz icon.

Antonín Dvořák, Symphony No. 9 in E minor ("New World")

Once Johannes Brahms gave the work of Antonín Dvořák's his stamp of approval, the young Czech composer quickly rose to international fame. That fame took him across the sea to North America, where he traveled throughout the United States, from the East Coast to the Midwest. While here, he became captivated by Native American music and African-American spirituals. Dvořák said, "I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them." So when the New York Philharmonic commissioned his newest symphony in 1893,  Dvořák quoted "Swing Low, Sweet Chariot," incorporated characteristics of the Native American melodies he studied, and musically represented the wide open prairie landscapes of Iowa, where he completed this beloved work.