z 1 x Dear Friends and Family, Good evening, and welcome to the Davenport Pops Orchestra’s March concert! As Co-Presidents of the orchestra, we thank you for coming and hope you enjoy “DPops Finds Love”. 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 flm 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.weebly.com or check out our Facebook page, Davenport Pops Orchestra. 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] z 1 x

the

Davenport Pops Orchestra presents

DPops Finds Love Saturday, March 4th, 8:00 pm Battell Chapel

LOVE MOODS: A BRUNO MARS MEDLEY Bruno Mars // arr. Cady van Assendelft SY ‘19, Rita Rangchaikul MC ‘17 BRAAAWWWMMM: A HANS ZIMMER MEDLEY Hans Zimmer // arr. Bettina Cheung SM ‘16, Kevin Nguyen ES ‘16 & Linus Lu DC ‘19 TANGLED: SUITE for ORCHESTRA Alan Menken // arr. Haohang Xu DC ‘17, Will Chang DC ‘17, Allen Chang SY ‘19 THE PHANTOM of the OPERA: A LOVE STORY Andrew Lloyd Webber // arr. Michael Wang JE ‘17

NOTES ON THE PROGRAM Based around love and only 18 days after Valentine’s Day, this concert represents a rare breed among DPops themes that is both coherent and somewhat timely (but stay tuned for our winter themed concert in late April!). We first embark on a jazzy exploration of modern love with a medley of various Bruno Mars works. You’ll Treasure the emotional tunes of one of the most prominent pop artists of the past decade as he sings about When [he] Was Your Man. Even if you haven’t heard his music before, you’ll enjoy it Just The Way You Are as we make the 24K Magic happen...ok I’ll stop now. Next comes a medley of works by the illustrious German film composer Hans Zimmer, a man known equally for his blockbuster movie scores and his eccentric personality. The love connection lies with Interstellar, in which Matthew McConaughey’s love for his daughter Murph occupies the whole 5th dimension and extends through all of space and time, even though his love for his son Tom barely extends 30 minutes into the movie (he ultimately flies into a black hole to get in touch with Murph, but doesn’t even so much as call Tom at any point after his 15th birthday). Enjoy the ethereal extraterrestrial organ lines as well as the blaring trombones of Inception, the dramatic horns in The Dark Knight, and the jovial strings in The Little Prince. After a brief conductor switch, we visit a typical Grimm fairy tale with the trademark Disney twist. Join Rapunzel and Flynn throughout their medieval adventures in Tangled, filled with sweeping vocal melodies and pop-y tones. The famed composer Alan Menken (The Little Mermaid, Pocahontas, Hercules) returned to Disney for this one, this time with a little stylish Irish twang. We close our love story through a trip back to 1980s Broadway glory, with a medley of songs from The Phantom of the Opera both arranged and conducted by Michael Wang. Some say Battell is haunted with its own phantom, so keep an eye out – you might just actually see him.

Concert Notes by Harry Kane

LOVE MOODS: A BRUNO MARS MEDLEY Follow the journey of a filthy rich playboy named “Bruno Mars” on his path to find love. This socialite loves to throw parties and ends up taking his gang on a private jet to Vegas one weekend. There, he unleashes his wild self, adorned head to toe with 24K Magic as the night starts to heat up by the poolside with this “synth-heavy” funk, disco number. He’s having the time of his life as he sings “so many pretty girls around me and they waking up the rocket!” When suddenly, to his horror, his girlfriend walks in. Bruno takes one look at her and realizes that he really screwed up this time. Heartbroken from seeing him succumb to his “player” habits once again, she decides to leave him. Bruno is left devastated. Every day he spends without her makes him realize how much she means to him. He reflects on himself, determined to become a better man for her. One day, Bruno decides to go and apologize. He wants to prove to her that he is now a changed man. However, upon arriving at her house, he sees her “dancing with another man”. He drops the flowers in his hand and walks away, thinking of how he could have treated her better (When I Was Your Man) in this incredibly vulnerable and soulful ballad. Then, from a distance, Bruno hears someone calling his name. He turns around and surely she’s standing there, holding the flowers he dropped. They look at each other and reach a mutual understanding. She knows that he really changed for her. He knows that she still loves him too, and not that other guy. In a euphoric moment, Bruno breaks the silence by being his playful, flirty self (Treasure) in this fun and funky disco R&B track that makes her laugh. She then replies, voicing her insecurities and how she isn’t as pretty as the other girls he hangs out with, to which he tells her “girl, you’re amazing” (Just The Way You Are)… Program notes by Rita Rangchaikul BRAAAWWWMMM: A HANS ZIMMER MEDLEY This medley is affectionately named for the heavy brass blasts featured in the score for Inception which became ubiquitous across movie trailers as well as subsequently earning an iconic place in DPops YouTube history. Alongside this intense drama, we sought to exhibit the vast emotional range of Hans Zimmer’s work, from the brooding undercurrents of The Dark Knight to the childlike innocence of The Little Prince. We begin with the ethereal and delicate theme “Flying Drone”

from Interstellar representing the wonder of space exploration and Cooper’s love for his daughter, Murph. However, as our intrepid travelers journey on to distant stars, they encounter the mounting urgency and larger-than-life organ line of “No Time for Caution.” The drama continues to build in Wonder Woman’s percussive theme “Is She With You?” from Batman v Superman: Dawn of Justice, slipping into Batman’s appropriately dark and moody strains of “I’m Not a Hero” from The Dark Knight. From there, we crash headlong into the high-energy percussion of the Inception chase scene “Mombasa” before slipping into the dreamy-turned-dramatic world of “Dream is Collapsing.” An interlude into the triumphantly playful “Escape” of The Little Prince is closed out by an encore from Inception. “Time” with its lush and emotional waves of melody fades to a quietly reflective duet between piano and strings. In Hans Zimmer’s words, “I do films because I like big speakers. I like hearing things on big speakers. I’m not that interested in hearing anything on my laptop speakers. […] I’m not saying this won’t work on little speakers. But this, you know. Go big or go home.” Program Notes by Bettina Cheung TANGLED: SUITE for ORCHESTRA Tangled, Walt Disney Animation Studio's 2010 retelling of Rapunzel, features a tall tower in the middle of the woods, a drop of magical sunlight, an unlikely friendship between a chameleon and a royal horse, marshmallow-shaped sky lanterns, poetic justice, and a haircut. Tonight, we put aside (most of) its (however excellent) plot to focus on its (predictably awesome) Alan Menken score. We begin with the mystical “Healing Incantation,” as sparkly as the magic it coaxes from Rapunzel’s hair. Out of a flurry of modulations, we launch into “When Will My Life Begin,” the anthem of a girl longing to be free (a sentiment midterm season may well have us echoing), followed by Mother Gothel’s signature song, “Mother Knows Best.“ Next, we hear “I’ve Got a Dream,” the boisterous soundtrack of the Snuggly Duckling Pub, and the party continues with an energetic pseudo-Irish “Kingdom Dance.” With tender harp arpeggios and a sweet flute solo, we enter the classic Menken love ballad, “I See the Light,” which swells through a series of Broadway-esque key changes before landing in the triumphant “Kingdom Celebration” and bringing our medley to a close. Program Notes by Haohang Xu

THE PHANTOM of the OPERA The most financially successful musical of all time and the longest-running show on Broadway, The Phantom of the Opera has been viewed by over 131 million people. It is not a love story in the traditional vein, but given that this work was born of Andrew Lloyd Webber’s desire to write a piece of romance, the subtitle seems apt. We begin in the first movement with a lone violin playing the “Angel of Music” theme (listen carefully, as it makes two masqueraded reprises!), together with “Masquerade” on the music box. It’s lyrical and cute, but things quickly turn dark, for the Phantom is more demon than angel (“The Phantom of the Opera”). After the title track, we introduce Christine and Carlotta on their operatic solos – “Think of Me” sets up the former’s rendezvous with Raoul, and “Prima Donna” encapsulates the entirety of the latter’s one-dimensional personality. With all the main characters in play but one, the second movement opens with Raoul, who catalyzes the chaos of the plot with a deadly love triangle (“All I Ask of You”). We receive one final lighthearted respite in the form of a “Masquerade” party, but the Phantom crashes it – and later steals Christine! The bass drum panics, the violins sweat, and then alone with the Phantom in his lair, we plunge into the depths of seduction (“The Point of No Return”). He sings Christine and Raoul’s refrain, only to poison it with a sinister end. When the orchestra plays next, Christine longs for her deceased father, either for the gladder times of the past or for the wisdom to resolve her plight (“Wishing You Were Somehow Here Again”). Without warning, this ode swells into a climactic anthem, and “The Music of the Night” ends this arrangement as it does the original, love and pain and beauty and nighttime all at once. Phantom is the most wholehearted celebration of melody that I know – melodies that are subtle, unforgettable, and enchantingly orchestrated. I had fun figuring out how to arrange the leitmotif puzzle pieces into a cohesive work, and I hope you become as captivated by Webber’s genius as I am. Program notes by Michael Wang

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 Oboe Olivia Briffault * principal 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 Bradford Case principal Lily Sands

Alto Saxophone Chenyu Ma principal Anthony Fraga Kevin Hu Steven Pan Alice Zhang Baritone Saxophone Alec Mukamal * principal Horn Derek Boyer co-principal Abigail Cipparone co-principal Bettina Cheung Sida Tang also featuring Morgan Jackson. Mary Martin, Nishwant Swami, & Brandon Wanke Trumpet ​Eli Baum principal The Jeremy Schiffres “Not Always Right but Never in Doubt” Chair Noah Montgomery Doron Rose * Trombone ​Leigh Vila principal Charlie Urban-Mead Tuba Calvin Jahnke

Piano Chi Tong co-principal John Baxter co-principal The Hendrik “The Wizard” Chair

Viola Timothy White co-principal Linus Lu co-principal Kate Feinerman The Justin Lo Founder’s Chair Jennifer Ha * Percussion Jasmine Liu Katherine Soderberg * principal Sarah Luckart Kevin Ou David Zuckerman Cello Pong Trairatvorakul Kevin Wei co-principal The Justin Lo Founder’s Chair Megan Lim co-principal Evan Haas Violin I David Jiang Jason Yang co-concertmaster Damian Kim * Will Chang co-concertmaster Dean Li * Rita Rangchaikul Nathan Lin assistant concertmaster Jordan Smith * Alex Chang Rhea Teng * Allen Chang Natalie Yang Alisha Dziarski Chloe Zhou * Sarah Kim Hannah Lawrence Bass Jeremy Tanlimco Elli Park Heather Wang * Haohang Xu Organ Georgia Smits Violin II Gemma Hyeon co-principal Guitar Shogun Mahadumrongkul Nick Nordlund co-principal Nicholas Adeyi AV Team Eujin Jang * Annie Bui ​Harry Kane Wissem Gamra Marcelina Kubica Andrew Jin Angela Liu Mostafa Shanta Ryan Montesi Jack Wesson Rachel Regan * Grant Young * on leave this concert cycle

Special Thanks To: Davenport College Head Richard Schottenfeld Shaffrona Phillip-Christie Dean Ryan André Brasseaux Yale U.O.C. Yale Chaplain's Office

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

For updates and information, follow us on YouTube and Facebook (davenportpops) and visit our website at www.dpops.weebly.com

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