Program

Adolphus Hailstork
(b. 1941)

Sonata da Chiesa

• Exultate
• Jubilate
• Dona Nobis Pacem
• Exultate

George Walker
(1922-2018)

Lyric for Strings

Aaron Copland
(1900-1990)

Clarinet Concerto

• Nick Thompson, clarinet

 

Intermission

Samuel Barber
(1910-1981)

Adagio for Strings

Ariel Pirotti
(b. 1980)

Inesita

Aaron Copland

Three Latin American Sketches (TIME)

• I. Estribillo
• II. Paisaje Mexicano
• III. Danza de Jalisco

This concert is graciously sponsored by Jacqueline B. Mars

Patrons are requested to silence cell phones and other electronic devices during performances.

The taking of photographs and the use of recording equipment are not allowed in this venue.

Terms and Conditions

Pan American Symphony Orchestra Personnel

*Sunday performance only

Program Notes

Adolphus Hailstork (b. 1941) – Sonata da Chiesa

Drawing inspiration from the Baroque tradition of the “church sonata,” Adolphus Hailstork’s Sonata da Chiesa is a contemporary reflection on spiritual themes through a modern musical lens. Originally written for string orchestra, the work unfolds in seven contrasting sections, blending reverence with rhythmic vitality. Hailstork, known for weaving together African American musical heritage with classical forms, imbues the piece with both solemn grace and vibrant energy, creating a soundscape that is at once grounded in history and strikingly original.

George Walker (1922–2018) – Lyric for Strings

Originally composed in 1946 as the second movement of his String Quartet No. 1, Lyric for Strings is George Walker’s most frequently performed work and a poignant tribute to his grandmother. Deeply expressive and richly textured, the piece unfolds with an emotional clarity that speaks directly to the heart. With its flowing lines and gentle intensity, Lyric for Strings honors personal memory while resonating with universal themes of love, loss, and reflection—hallmarks of Walker’s eloquent musical voice as the first African American composer to win the Pulitzer Prize for Music.

Aaron Copland (1900–1990) – Clarinet Concerto

Commissioned by jazz legend Benny Goodman in 1947, Aaron Copland’s Clarinet Concerto is a luminous blend of classical clarity and American swing. Scored for solo clarinet and a string orchestra with harp and piano, the work unfolds in two contrasting movements connected by a striking cadenza. The first is lyrical and expansive, capturing Copland’s trademark open harmonies, while the second bursts with rhythmic vitality and jazz-infused charm. With its blend of sophistication and playfulness, the concerto is a vibrant showcase of the clarinet’s expressive range and a joyful celebration of American musical spirit.

Samuel Barber (1910–1981) – Adagio for Strings

Originally composed as the second movement of Barber’s String Quartet, Adagio for Strings has become one of the most poignant and recognizable works in American classical music. Its slow, arching lines and luminous harmonies evoke deep introspection, often associated with moments of collective mourning and solemn remembrance.

Ariel Pirotti (b. 1980) – Inesita

Argentine pianist and composer Ariel Pirotti brings his deep roots in tango and contemporary classical music to Inesita, a tender and lyrical homage that radiates warmth and nostalgia. Known for his work with the Tango Orchestra of the National University of the Arts in Buenos Aires and performances across the Americas and Europe, Pirotti skillfully blends traditional Argentine rhythms with rich harmonies and expressive phrasing. Inesita is both intimate and evocative, offering a musical portrait full of grace, memory, and affection - an elegant reflection of Pirotti’s unique voice within the modern tango tradition.

Aaron Copland (1900–1990) – Three Latin American Sketches

Three Latin American Sketches is a vivid late work by Aaron Copland, one of the most influential figures in American classical music. Composed in part during a 1959 visit to Acapulco and completed in 1972, the piece reflects Copland’s enduring fascination with the rhythms, melodies, and colors of Latin America. Scored for a small orchestra with vibrant Latin percussion, each movement draws from folk material while bearing the mark of Copland’s more abstract, dissonant late style. From the syncopated energy of “Estribillo” to the serene lyricism of “Paisaje Mexicano,” and the playful vitality of “Danza de Jalisco,” the work captures a spirited yet reflective view of Latin America - filtered through the mature voice of a composer whose impact on American music was, and remains, profound.

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