UW Symphony Orchestra with Concerto Competition Winners

David Alexander Rahbee leads the UW Symphony in a program of concerto excerpts by York Bowen, Keiko Abe, and Camille Saint-Saëns, performed with winners of the 2024-25 School of Music Concerto Competitions--Flora Cummings, viola; Kaisho Barnhill, marimba; and Sandy Huang, piano. Also on the program, works by Mikhail Glinka, Richard Wagner, and Giuseppe Verdi.

Program

Program Notes

Mikhail Glinka was among the first Russian composers of classical music to achieve significant recognition within his homeland. He played a foundational role in shaping a distinctly Russian musical identity and exerted considerable influence on the later group of nationalist composers known as "The Mighty Five." These composers looked to Glinka’s work as a model in their pursuit of a cohesive Russian sound grounded in folk themes and traditions. Like Giuseppe Verdi, Glinka traveled to Milan in search of artistic inspiration. It was there that he began composing seriously, though he eventually returned to Russia, driven by a desire to create a Russian operatic tradition comparable to the Italian models established by Bellini and Donizetti.

One of Glinka’s most significant contributions to this effort was his opera Ruslan and Lyudmila, based on a narrative by the celebrated Russian poet Alexander Pushkin. The opera stands out for its innovative incorporation of Russian folk melodies and themes, which helped lay the groundwork for a national operatic style.

The overture to Ruslan and Lyudmila exemplifies Glinka’s dynamic and nationalistic musical voice. Eschewing the conventional slow introduction typical of the period, the overture launches immediately into a spirited motto for brass, winds, and timpani, underpinned by rapid string passages that propel the music forward with remarkable vitality. The energetic opening is briefly contrasted by a lyrical theme introduced by the violas and cellos and later expanded by the violins, showcasing Glinka’s gift for melodic invention. The interplay and development of these themes culminate in a vigorous coda, bringing the overture to a jubilant and exhilarating conclusion. The piece’s Rossini-like energy, fused with a distinctly Russian sense of exuberance and heroism, makes it an enduring and emblematic work in the orchestral repertoire.
-Mica Weiland 

York Bowen was a beloved English composer and pianist who gained fame at a young age for his stunning and evocative compositions - many of which were piano concertos that he premiered himself. He studied, and eventually became a professor at the Royal Academy of Music, working and playing alongside many other well-known musicians of the day such as violinist Fritz Kreisler, and conductor Henry Wood. Bowen was also a lifetime friend and musical partner to the virtuoso violist Lionel Tertis and wrote a number of works for solo viola as a result. His Viola Concerto in C minor was one of his most popular works during his lifetime, and was written when Bowen was only 22. Like most of his other works for the instrument, it was dedicated to Tertis, and premiered by him in 1908 at the Wigmore Hall in London, to much acclaim from the audience and music critics alike. However, following the devastation of World War I, Bowen’s music fell into obscurity, as his clearly romantic style no longer resonated with the weary and grieving nation. It was not until the late 1980s that his music once again came prominently into the light of the concert stage. Bowen’s Viola Concerto has since become a recognized standard of viola repertoire, one that offers a memorable encounter with the charisma and majesty of an often-overlooked instrument.
-Flora Cummings

Keiko Abe is a Japanese marimbist, composer, and educator. As one of the world’s leading forces in marimba playing, Abe has expanded the technique of playing, and has been a powerful impetus for the development of marimba literature. Many of her works are now considered to be part of the core repertoire for marimbists and percussionists. In the early 1970s, Abe collaborated with the Yamaha Corporation to expand the range of the marimba from four octaves to five, which is now the standard size instrument for marimbists. Abe currently serves as the Professor of Marimba at the Toho Gakuen School of Music in Tokyo and she continues to compose and tour as a marimbist globally. In 1995, Abe composed Prism Rhapsody, for Solo Marimba and Wind Ensemble, publishing an iteration for symphony orchestra the following year. Considered to be one of the standard marimba concertos, Prism Rhapsody is an energetic work that features fast two-mallet passages, six-mallet technique, and a flourishing cadenza that allows the performer to highlight the virtuosic nature of the piece. Prism Rhapsody is one of the most distinguished works in the marimba literature and holds its place as a standard among the marimba concerto repertoire.
-Kaisho Barnhill

Camille Saint-Saëns lived a life as expansive as his music. He was not only a virtuoso pianist and composer, but also a scholar and a traveler, continually searching for something beyond the familiar. During his travels to Egypt in 1896, he composed his Piano Concerto No. 5 in F Major, Op. 103, often known as The Egyptian. 

This concerto wanders, dreams, and leaps. It begins with a warm, simple theme that gradually builds, drawing the listener into a world of flowing runs and smooth, lyrical passages. This is followed by a slower, more melancholic subject, reminiscent of the Andante sostenuto movement of Saint-Saëns’ Second Piano Concerto. His writing feels liberating—long, soaring lines rise and fall like waves, guiding each theme before resolving to a gentle, reflective coda. 

This piece unfolds like a voyage, rich with beautiful melodies, shimmering scales, and rippling arpeggios. For pianists with smaller hands, Saint-Saëns’ use of rapid scale passages in place of heavy, dense octaves is especially appreciated. The contrast between moments of tranquility and turbulence throughout the movement reflects its sea-bound spirit. To play this piece is to momentarily step into Saint-Saëns’ world—chasing the same wonder and wilderness that once captivated him.
-Sandy Huang

Richard Wagner stands as one of the most influential figures in the history of Western music. His operas occupy a central position in the operatic canon and continue to be performed regularly on international stages. Lohengrin, one of Wagner’s most ethereal operatic works, is based on the medieval German legend of the Knight of the Swan. The opera explores themes of chivalry, spiritual purity, and betrayal, setting ideals of transcendence and moral integrity in opposition to the corrupting forces of earthly ambition and deceit.

The Prelude to Act III of Lohengrin exemplifies Wagner’s orchestral brilliance and his capacity to evoke mood through dynamic instrumentation. This spirited prelude precedes the wedding scene of the opera’s protagonists and is followed by the well-known "Bridal Chorus." The music bursts forth with triumphant energy, featuring a radiant brass theme propelled by a rapid flurry of strings. Wagner’s skillful orchestration imbues the piece with a sense of joyous momentum, creating an atmosphere of festivity that effectively prepares the audience for the celebratory scenes that follow. The prelude’s exuberance and rhythmic vitality serve not only as a musical highlight but also as a dramatic counterbalance to the opera’s deeper themes of moral conflict and tragic destiny.
-Mica Weiland

Giuseppe Verdi was born in 1813 in a small town in the province of Parma, Italy, into a family of modest means. His early exposure to music came through his role as an altar boy, where he demonstrated both aptitude and enthusiasm for playing the organ. This initial musical engagement laid the foundation for his later development as a composer. Verdi eventually moved to Milan, where he worked as a rehearsal director and continuo player. It was during this formative period in Milan that he found inspiration to begin composing opera.

Verdi is widely recognized for transforming Italian Romantic opera by intensifying its dramatic power through a heightened focus on narrative and character development. He employed the musical score not merely as accompaniment, but as a dynamic vehicle for emotional expression, effectively aligning music and drama.

The dramatic potency of La Forza del Destino is evident from the outset, particularly in its orchestral overture. The work opens with six striking brass chords that immediately establish an atmosphere of ominous tension. This is followed by a turbulent theme that encapsulates the sense of inescapable fate looming over the opera’s protagonists. The so-called "fate" motif recurs throughout the overture, either as a dominant musical idea or as a somber counterpoint to the more lyrical themes associated with the characters. Even when not subtle, Verdi’s orchestration remains compelling; his ability to imbue purely instrumental passages with theatrical intensity is a testament to his unique compositional voice
-Mica Weiland

Biographies

Sunny Xia

Recognized for her innate musicality, compelling presence, and technical precision, conductor Sunny Xuecong Xia’s ability to forge an immediate and captivating connection with orchestras and singers alike has led to engagements around the globe. Xia joined the Seattle Symphony at the beginning of the 2022/2023 season as Douglas F. King Assistant Conductor and was quickly promoted to Associate Conductor. Recent and upcoming engagements include the San Diego Symphony, Phoenix Symphony, Tucson Symphony, Olympia Symphony, and Chandler Opera Theater. 
In the 2023/2024 season, Xia led the Seattle Symphony in over a dozen programs featuring soloists such as Conrad Tao, Noah Geller, and Mahani Teave. Highlights include the world premiere of Composer-in-Residence, Angelique Poteat’s Dear Humanity for Youth Chorus and Orchestra, a work that harnesses the power of 50 voices and full orchestra to confront climate change, the Celebrate Asia program with violinist Kerson Leong, and the Merriman-Ross Family Young Composers Workshop Concert that featured 10 world premieres. She served as Tan Dun’s assistant during the composer’s acclaimed residency presenting his six-Act oratorio, Buddha Passion. Xia has additionally served as Cover Conductor at the St. Louis Symphony Orchestra under Dame Jane Glover and James Gaffigan. 
Equally at home in the opera pit, Xia recently led a production of La bohème with the Chandler Opera Company to great success. She has previously served as assistant conductor for productions of Così fan tutte, Hänsel und Gretel, Die Zauberflöte, The Juniper Tree, Le Rossignol, and L’Enfant et les Sortilèges, among others. A dynamic interpreter of contemporary music, Xia has over a dozen world premieres under her credit. In 2022, Xia was named a Conducting Fellow at the Cabrillo Festival of Contemporary Music where she made her festival debut leading the world premiere of Marc Migó Cortés' Dumka. Recent performances have featured works by Gabriella Smith, Angelique Poteat, Samuel Adams, Jerod Tate, Juhi Bansal, Gabriela Ortiz, and Tan Dun. She has previously led the Cleveland Institute of Music New Music Ensemble in series such as the Cleveland NEOSonicFest and CIM New Music Series. 
Xia holds a dual master’s degree in Conducting and Violin Performance from the Cleveland Institute of Music and a doctoral degree from Arizona State University. At the Seattle Symphony, she is mentored by Ludovic Morlot and Xian Zhang. For three summers, she attended the Monteux School and Music Festival as a Kurt & Torj Wray Conducting Scholar. An accomplished violinist, she performed as a soloist with orchestras in China and Australia, including the symphony orchestras of Harbin, Zheijiang, Hunan and Guangxi, and the Concertante Ensemble. While attending Cleveland Institute of music, she has served as concertmaster of the CIM Orchestra. Her principal mentors include Michael Jinbo, Jeffery Meyer, Tito Muñoz, Jan Mark Sloman, and Carl Topilow.
Originally from Guangzhou, China, Xia relocated to Sydney, Australia at the age of 14 on a scholarship from the Australian String Academy that allowed her to further her violin studies with Peter Shi-xiang Zhang and Charmian Gadd. A talented basketball athlete, she competed in the New South Wales Metro Junior League before focusing primarily on her musical pursuits. When not performing or enjoying a pick-up game, she can be found reading, hiking, or learning languages. She speaks Cantonese, English, Mandarin, and Teochew, and is improving upon her French, German, and Italian.

Flora Cummings is a third-year undergraduate double majoring in Viola Performance and Wildlife Conservation at the University of Washington, where she studies with Professor Melia Watras and holds the Milton Katims Viola Scholarship. She began violin lessons at age six with Laura Martin, before studying viola with Dr. Alessandra Barrett, and violin with Dr. Sarah Pizzichemi. Flora was the runner-up in the North Corner Chamber Orchestra’s 2020 concerto competition, and placed first in the Washington State Solo Viola Competition in 2022. She joined the Seattle Collaborative Orchestra in high school and was a soloist with the ensemble her senior year. Flora is an avid chamber music player and loves to play Scottish fiddle music - playing with her family band and performing at the 2018 “More Music@the Moore” showcase for young talent. In 2024 she won the prestigious Silver Pendant singing competition for Scottish Gaelic learners at the Royal National Mòd in Oban, Scotland. She received top marks in both music and Gaelic, earning her a chance to sing for broadcast on BBC television, as well as live on BBC Radio nan Gàidheal. Flora plays on a 2017 viola by Portland maker David Van Zandt.

Kaisho Barnhill is a third-year undergraduate student at the University of Washington pursuing degrees in Music Education and Psychology. A member of the UW Symphony Orchestra’s percussion section, Kaisho's musical journey began with piano lessons at a young age. He transitioned to percussion in high school, drawn to the excitement of marching band. While percussion remains his primary instrument, he continues to play piano for enjoyment and occasional performances. In addition to being an active performer, Kaisho enjoys composing concert music. He is honored for his first orchestral work, Monday Mornings, to have been selected as the Seattle Festival Orchestra’s call for scores winner in 2024. Kaisho primarily writes for symphony orchestra but has dabbled in composing for chamber ensembles, percussion ensemble, and solo piano. He studies composition and conducting with local composer and music director of Harmonia Orchestra and Chorus, Mr. William White. As part of his degree, Kaisho is currently student teaching at Lakeview Elementary School in Kirkland, WA, where he works with students grades two through five. He loves working with young students and encouraging them in their musical journeys. Kaisho is pursuing a career as a music teacher and is looking forward to an exciting future in the field of music education.

Sandy Huang is a senior undergraduate student of Dr. Robin McCabe at the University of Washington. She previously studied with international pianist Michi Hirata North and Seattle-based concert pianist Joan Schoepflin. As a winner of the 2023 UW Concerto Competition (Keyboard Division), she performed with Philharmonia Northwest. Sandy has earned top prizes at competitions including the Northwest Chopin Festival and Northwest Bach Festival. At age ten, she made her orchestral debut in Taipei performing Mozart’s Piano Concerto No. 20, K. 466. In 2018, she performed Grieg’s Piano Concerto in A minor with the UW Campus Philharmonia Orchestra as the winner of the High School Concerto Competition. In 2019, she performed Beethoven’s "Emperor" Concerto with both Taipei’s orchestra and the Evergreen Philharmonic Orchestra and also won the Sammamish Symphony Youth Concerto Competition. Sandy was invited to attend the UW Seattle Piano Institute at age nine and later performed at the 2019 UW Benefit Concert. In addition to majoring in music, she is minoring in data science and serves as a research team leader for the UW Medicine Neonatal Nutrition Database Project. After graduation, she plans to take a gap year to continue research and clinical work before applying to medical school.