Vista Philharmonic Orchestra

Program Notes

By Maestro Bruce Hangen

With Béla Bartók‘s (1881 – 1945) Music for Strings, Percussion, Celeste (1936) one thing is abundantly clear: it is a masterpiece and a supreme example of Bartók’s mature style.  In four movements––often thought of as two pairs of slow-fast couplings––Bartók incorporates many compositional techniques that are uniquely his.  The use of the Fibonacci number series, for instance, in a motivic sequence is one example, plus structuring movements as palindromes, using the Golden Ratio, and most obviously incorporating elements of Hungarian folk song into the very essence of his melodic and harmonic style.  Besides that, Bartók has chosen for this piece a unique instrumentation of two different string orchestras divided on stage left and right, placing piano, celeste and harp front and center, with a backdrop of timpani and other percussion behind the two string orchestras.  In reading multiple analyses of this piece, one encounters such terms as cloaked mystery, chilling climax, whirling high gear, evocative night music, and no-holds-barred brilliance. The performance of this piece represents a high point in the Vista Philharmonic’s string section development.

Forward, Upward, Onward, Together (2014), Stefan Thompson (b. 1987), composer
Forward, Onward, Upward, Together is a three-movement orchestral work created to reflect the authentic Bahamian musical style—a vibrant fusion of European and African influences. Just as the black triangle in the Bahamian flag symbolizes the strength and resilience of its people, this work represents the collective spirit of the nation as it moves forward, onward, upward, and together. The Bahamas, an archipelago of over 700 islands, rocks, and cays, is rich with cultural expressions that blend the traditions of Africa and Europe into a unique sound. While many countries have had centuries to develop a nationalistic sound on traditional European instruments, younger nations like the Bahamas now seize that opportunity. With the support of orchestras and conductors who recognize the importance of this cultural representation, works like Forward, Onward, Upward, Together mark a significant moment in the evolution of Bahamian music.

“One People, United.”
The first movement takes its title from a powerful fragment of the Commonwealth of the Bahamas pledge, “one people, united in love and service.” This sentiment emphasizes that all Bahamians, regardless of their heritage—whether of African, European, or any other descent—are equally valuable in contributing to the growth and sustenance of the nation. This movement unfolds in three parts, each representing a key chapter in the building of the Bahamian nation: the journey toward independence, the struggle for majority rule, and the forging of a united identity. A central motif is drawn from “March

On, Bahamaland,” the national anthem composed by Timothy Gibson, which serves as a musical thread throughout, symbolizing the pride and resilience of the people.

Stylistically, this movement is rooted in European musical traditions, reflecting the Bahamas’ historical ties to Britain as a former colony and its current status within the Commonwealth of Nations.

The attainment of majority rule on January 10th, 1967, and independence from Britain just over five years later on July 10th 1973, were monumental milestones in Bahamian history. Majority rule marked the first time Bahamians took control of their own government, breaking the previous dominance of non-Bahamian representation. Independence followed, securing the Bahamas’ place as a sovereign nation. “One People, United” captures the spirit of these transformative years, symbolizing how the pursuit of equality and self-determination laid the foundation for the opportunities enjoyed by Bahamians today. Though small in size, the Bahamas stands mighty, welcoming, and committed to equality for all. Dedicated to my father, Steven Charles Thompson (1965-2024).

“Folk, Folk Songs, and Ring Play”
The second movement offers a musical snapshot of Cat Island in 1935. Known for its natural beauty, Cat Island is home to Mount Alvernia, the highest point in the Bahamas at 207 feet. In 1935, American ethnomusicologist Alan Lomax embarked on a series of field trips to the Bahamas, particularly to Cat Island, where he captured the songs and ring games (locally known as “ring play”) of Bahamians. His field recordings, some of the few surviving from that era, serve as invaluable sonic records of Bahamian musical history.

Lomax’s recordings, preserved in the United States’ Library of Congress, include iconic songs such as Watermelon is Spoiling, Did You See Uncle Lou When He Fall in the Well?, and There’s a Brown Girl in the Ring. These pieces help shape this movement, paying homage to the unknown generations of singers and composers whose creations continue to resonate in Bahamian culture today.

Stylistically, the movement weaves together Bahamian rake and scrape, calypso, goombay, and American jazz, reflecting the rich tapestry of musical influences blossoming across the Caribbean and the southern United States during that period. Traditional orchestral instruments are joined by more “exotic” sounds like the ocean drum, used to evoke the tumbling waves at the shoreline. “Folk, Folk Songs, and Ring Play” seeks to create a vivid sonic landscape of a day in the life of a Bahamian, beginning with the peaceful sunrise accompanied only by the rhythmic lapping of the sea and the scent of salt in the air. At the seashore, the familiar melody of Watermelon is Spoiling on the Vine hums through the breeze, carried by wind instruments, with the waves serving as percussion.

As the day unfolds, a lively trip to the market is accompanied by a group of young Bahamian men singing ‘Did You See Uncle Lou When He Fell in the Well?,’ their performance enriched by the syncopated rhythms that are quintessential to Bahamian music. As evening approaches, the sounds of children playing ring play to the tune of There’s a Brown Girl in the Ring echo through the air, their laughter filling the atmosphere as they dance in a circle, with one child in the center as tradition dictates.

The day concludes in a final moment of serenity. Just before nightfall, Watermelon is Spoiling on the Vine is hummed once more, a gentle reminder of the beauty and simplicity of life on one of the most enchanting islands in the world.

“The Spirit of the People”
The final movement of this work captures the vibrant energy of a Bahamian Junkanoo parade, in the form of what is known as a “rush out” in the Bahamas (to “rush” is to actively participate in a Junkanoo parade; one can say that they “will rush” in this year’s parade or that they are “going rushin’”). Junkanoo, one of the most iconic and accessible expressions of Bahamian culture, takes place twice a year, on Boxing Day and New Year’s Day. These parades unfold on Bay Street in Nassau, where groups—large and small—representing communities from across the archipelago perform. Leading Junkanoo groups like The Saxons Superstars, The Valley Boys, Roots, One Family, and Colours, don elaborate and intricately designed handmade costumes crafted from crepe paper, cardboard, and other materials. They dance and play music for hours, starting in the early morning of the scheduled parade day.

While similar traditions exist in Belize, Jamaica, and other Caribbean nations, Bahamian Junkanoo has distinct historical roots. Some historians trace its origins to the time when enslaved Africans were allowed a day to celebrate (around Christmas time), while others connect it to African festivals where masks were worn—similar to the vibrant masks still seen in Junkanoo today. Although there are different theories about its beginnings, there is consensus that Bahamian Junkanoo has deep African roots predating the transatlantic slave trade.

Months of preparation go into Junkanoo, with group members designing costumes and rehearsing music and choreography. Their ultimate goal is to win the coveted title of best overall group, along with cash prizes. Junkanoo music is defined by its syncopated percussive rhythms, rich brassy harmonies, and triumphant trumpets leading the melodic line. While many performers are not formally trained, they display remarkable skill and stamina, delivering unforgettable performances year after year.

Junkanoo rhythms are built on repetitive ostinatos that are easy to learn, recall, and adapt to different songs within a performance. These rhythms are central to the final movement, embodying the spirit and soul of the Bahamian people. In this closing movement, “Junkanoo: The Spirit of the People,” the fusion of European and African musical traditions symbolizes the Bahamas as a nation of African descent within a European context, blending orchestral techniques and instruments from both cultures into a unique, unified sound.

Since all too often the image we have of classical music is that which was composed in Germany, Austria, and maybe somewhat in Italy, tonight’s concert represents three different approaches to unexpected, uniquely remarkable origins.  What other composer do you know, for instance, who hails from the Bahamas?  Or a composer who utilizes his native country’s remote folksong to create his own “classical” language?  Concluding tonight’s program is the music of Antonín Dvorák (1841 – 1904), a frequently performed Czech composer, friend of the great German composer Johannes Brahms.  But, Dvorák composed his Cello Concerto (1895) in New York City, likely a result of hearing the American cellist/composer Victor Herbert perform his own work just a year or two earlier.  This concerto is the ultimate cello concerto, so immediately successful that even Brahms himself said if he knew the cello could be such a great solo instrument he would have attempted a concerto himself!  While Dvorák took every opportunity in America to encourage our composers to incorporate indigenous elements of African-American and Native American music, it is thought that this concerto actually reflects a winsome longing for returning home, which he did the following year.  In the typical three movements, we are excited to feature none other than Nicholas Canellakis as soloist.  

Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation, praised as a “superb young soloist” (The New Yorker) and for being “impassioned … the audience seduced by Mr. Canellakis’s rich, alluring tone” (The New York Times).  A multifaceted artist, Canellakis has forged a unique voice combining his talents as soloist, chamber musician, curator, filmmaker, composer/arranger, and teacher. Recent concert highlights include concerto appearances with the Virginia, Albany, Delaware, Stamford, Richardson, Lansing, and Bangor Symphonies, the Erie Philharmonic, The Orchestra Now, the New Haven Symphony as Artist-in-Residence, and the American Symphony Orchestra in Carnegie Hall. He performs recitals throughout the U.S. with his longtime duo collaborator, pianist-composer Michael Stephen Brown, and recent appearances have included Lincoln Center’s Alice Tully Hall, the Four Arts in Palm Beach, New Orleans Friends of Chamber Music, the Saratoga Performing Arts Center, and Wolf Trap near Washington D.C.

Canellakis was recently appointed to the cello faculty of the prestigious Curtis Institute of Music in Philadelphia, his alma mater. Canellakis is an artist of the Chamber Music Society of Lincoln Center, with which he performs regularly in Alice Tully Hall and on tour internationally, including London’s Wigmore Hall, The Louvre in Paris, the Seoul Arts Center in Korea, and the Shanghai and Taipei National Concert Halls. He is also a regular guest artist at many of the world’s leading music festivals, including Santa Fe, Ravinia, Music@Menlo, Bard, Bridgehampton, La Jolla, Moab, Chamberfest Cleveland, and Music in the Vineyards. He was recently renewed as the artistic director of Chamber Music Sedona, in Arizona, where he has made a major impact through his dynamic programming and educational and community outreach. Canellakis’s latest album (b)romance, featuring some of his original compositions and arrangements, was released by First Hand Records in 2023 and has received over one million streams on Apple Music.

 A graduate of the Curtis Institute of Music and New England Conservatory, his teachers included Orlando Cole, Peter Wiley and Paul Katz, and he was a student of Madeleine Golz at Manhattan School of Music Pre-College. He began his Chamber Music Society of Lincoln Center career as a member of the Bowers Program (formerly CMS Two), and he has also been in residence at Carnegie Hall as a member of Ensemble Connect.

Filmmaking and acting are special interests of Canellakis. He has produced, directed, and starred in several short films and music videos, including his popular comedy web series “Conversations with Nick Canellakis.” His latest films “Thin Walls” and “My New Cello” were nominated for awards at many prominent film festivals and are currently available to stream online.

Canellakis plays on an outstanding Jean-Baptiste Vuillaume cello, from 1840.

Stefan Thompson, composer
It all started when…

Growing up, I especially enjoyed deconstructing the music that I heard: listening to it with the intent to strip it to its bare bones and discover what made it work. 

Orchestral music has always been my secret passion. I would sit for hours listening to and analyzing music from Debussy, John Williams,  Ravel, John Powell, Holst, Darin Atwater, and countless others. It was through listening to their music that I learned how music lived, thrived, blended, balanced. and how it influenced the emotions.

Writing music, be it choral pieces, an orchestral poem, or a score to a film, always gives me a different kind of satisfaction.  Those hours spent in front of my computer, piano, or a sheet of paper is where I find the most rewarding moments of my life. 

As a Bahamian and a citizen of the Caribbean community, I was heavily immersed in music from my youth. Growing up in church, I played piano and tenor sax, sang solos, and composed short arrangements for the church’s band. In elementary school, I was a part of the boys choir and was introduced to a variety of styles including classical literature and Bahamian folk music. In high school, I was a part of the band and was introduced to soca, reggae, and jazz styles by friends and classmates. After attending a Junkanoo parade for the first time and hearing the blasts of trumpets and feeling the booms of the bass and goat skin drums, I further-developed my appreciation for Bahamian cultural music. My entire childhood was littered with the music of so many different styles and genres, which led to my wanting to write my own music.

It has always been a dream of mine to take music from a variety of sources and and fuse it with orchestral music to create something different, Like people, who are the blends of their ancestors, much of the music we listen to is created by similar means: a little form here and a little from there to create something different. Something new.

I’m ALWAYS LEARNING

I am a PhD student and adjunct professor in the Screen Scoring department at New York University. As a former school teacher and church musician, I have taught and collaborated with countless musicians over the last decade. 

My goals, like my skill set, are diverse. As a film composer, I aim to collaborate with filmmakers in producing meaningful projects that will leave lasting impressions on the global community; as a concert composer, I will create new music to add to the growing list of new works by Caribbean composers; as an educator, I aspire to train and enlighten students of diverse backgrounds.