Season 48
1999-2000
Music Director Spotlight: Leo Eylar
“Silicon Valley’s Super-Conductor”
In March 2000, the Palo Alto Weekly featured a deep dive into the life of our Music Director, Leo Eylar, aptly titling the piece "Silicon Valley’s Super-Conductor." The article captured a portrait of a man whose influence on the California Youth Symphony went far beyond the conductor’s podium.
A Renaissance Man in Music
While our students knew him as the leader of the orchestra, the community discovered a true "Renaissance man." At age 41, Eylar was not only a conductor but also a Pulitzer Prize-nominated composer whose works had been performed from Carnegie Hall to Western Europe. His creative spirit was often sparked by other arts; during the 1999–2000 season, he was busy composing a large-scale orchestral work inspired by the paintings of Paul Klee.
Beyond the music world, Eylar’s curiosity knew no bounds. An amateur astronomer, he often traveled to the dark skies of Death Valley to observe celestial events. He was also an adventurer who had recently spent a month hiking through Switzerland and held a certification in sailing. This wide range of interests brought a unique, intellectual depth to his teaching, inspiring students to see the connection between music, science, and the world around them.
A Mutual Love Affair
Since his first concert with CYS in November 1990, Eylar’s relationship with the orchestra has been described as a "mutual love affair." Though he frequently guest-conducted professional ensembles like the San Jose Symphony, he found a special kind of joy in working with young musicians. He noted that while professional groups require less rehearsal, the process of helping students master a difficult piece over several weeks was a far more rewarding experience.
The Real Reason for Living
Perhaps the most touching part of the feature was Eylar’s personal philosophy on success and education. He shared a belief that has become a guiding principle for CYS:
"Worth in life is not what one earns materially or great professional success achieved, but should be measured by the extent to which one is able to have a beneficial effect on others. That is the real reason for living."
As we look back at Season 48, we recognize that our students gained more than just musical skills under Maestro Eylar’s direction. They learned the value of curiosity, the importance of hard work, and the impact of giving back to the community.
Summer 1999 Redwood Camp
November 1999 Concert
November 1999 concerts set a high artistic bar for the millennium year, featuring a demanding program that spanned from the jazz-influenced Americana of Gershwin to the dramatic intensity of Prokofiev. Under the direction of Leo Eylar, the California Youth Symphony presented this program twice: first at the Flint Center in Cupertino on November 7, and again at the San Mateo Performing Arts Center on November 21.
The first half of the concert opened with George Gershwin’s Porgy and Bess - A Symphonic Portrait, arranged by Robert Russell Bennett. This piece provided a lush, melodic start to the season, weaving together the beloved themes of the 1935 opera into a cohesive orchestral suite. The spotlight then shifted to the exceptional young talent within the orchestra’s ranks, featuring violinist Kyoko Kaneda as the soloist for Henri Vieuxtemps’ Concerto No. 5 in A Minor. Kaneda’s performance of this technically formidable work—moving through the rigorous Allegro non troppo, the lyrical Adagio, and the spirited Allegro con fuoco—was a testament to the high caliber of musicianship CYS continues to foster.
Following the intermission, the orchestra tackled one of the most evocative scores of the 20th century: excerpts from Serge Prokofiev’s Romeo and Juliet. The selection took the audience through the narrative arc of Shakespeare’s tragedy, beginning with the rhythmic power of "Montagues and Capulets" and the lightness of "Juliet the Young Girl." The suite continued with the solemnity of "Friar Lawrence," the playful "Masks," and the romantic "Balcony Scene," before concluding with the driving, chaotic energy of "Tybalt’s Death." This ambitious program not only demonstrated the orchestra’s versatility but also served as a powerful introduction to a season that would eventually take these young musicians across the Atlantic.
Special Event Spotlight: Benefit Pops Concert (January 2000)
A pivotal moment of the season occurred on the evening of Friday, January 28, 2000, in Palo Alto. To support the significant costs of the upcoming European tour and recording sessions, CYS hosted a Benefit Pops Concert that drew together local music lovers and patrons. The program was a vibrant celebration of the American musical vernacular, featuring the "Symphonic Dances" from Leonard Bernstein’s West Side Story, Richard Rodgers’ Slaughter on Tenth Avenue, and Robert Russell Bennett’s symphonic arrangement of Gershwin’s Porgy and Bess. This "All-American" repertoire was specifically chosen to represent the energy and heritage of the United States as the orchestra prepared to represent the Bay Area on the international stage.
A Historic Collaboration with Hans Boepple
The centerpiece of the evening was a rare and historic appearance by the distinguished pianist Hans Boepple. At the time the Chair of the Music Department at Santa Clara University, Professor Boepple joined CYS as a guest soloist to tackle George Gershwin’s Rhapsody in Blue. The performance was particularly significant as it marked the first time in thirty-four years that Boepple had performed this cornerstone of American music in public. In an interview with the San Mateo County Times, Boepple described the work as a tricky but beautiful fusion of American jazz and 19th-century European romanticism. His participation was a profound gesture of support for the next generation of performers; he praised CYS as "the ultimate honors orchestra," noting that many of his own college students had risen through the symphony’s ranks.
Preserving our Musical Heritage
The success of the Benefit Pops Concert ensured that our students could participate in a life-changing cultural exchange in Europe, where they shared the American masterworks rehearsed during this season with international audiences. Today, we look back at Season 48 as a period of immense growth and artistic maturity. We invite our alumni from the class of 2000 and the patrons who attended this benefit to share their memories and photographs from this era. By preserving these stories, we continue to honor the legacy of excellence that has defined the California Youth Symphony for over seven decades.
March 2000 Concert
The momentum of Season 48 continued into the spring of 2000 with a series of powerful performances that further showcased the technical depth of the orchestra. The second major concert set of the season took place on Sunday, March 12, at the Flint Center in Cupertino, followed by a repeat performance on March 19 at the San Mateo Performing Arts Center. Under the direction of Leo Eylar, the program opened with the grand, heroic sweeps of Richard Wagner’s Rienzi Overture, setting a majestic tone for the afternoon.
The highlight of the first half was Edvard Grieg’s Piano Concerto in A Minor, Op. 16, featuring the exceptionally gifted pianist Katherine Lee. As noted in the San Francisco Examiner, Lee’s appearance was highly anticipated by the Bay Area music community. Her interpretation of the Grieg concerto—a work famous for its dramatic opening flourishes and lyrical, folk-inspired melodies—demonstrated a sophisticated emotional range that captivated the audience through the virtuosic Allegro molto moderato and the serene Adagio.
Following the intermission, the symphony shifted toward more rhythmic and evocative 20th-century repertoire. The orchestra performed Leonard Bernstein’s Symphonic Dances from West Side Story, a work that demands incredible precision and "swing" from a youth ensemble, followed by the lush and exotic Polovetsian Dances by Alexander Borodin. This selection of high-energy, dance-centric works served as a perfect showcase for the orchestra's sectional cohesion and rhythmic vitality.
Beyond the 'Youth' Label: The Triumphant May Concerts, 2000
As we approached the end of the 48th Season, the California Youth Symphony presented its "Third Concert" series in May 2000. These performances took place on May 14 at the Flint Center in Cupertino and May 21 at the San Mateo Performing Arts Center. This concert set was particularly significant as it featured the final local performances of our graduating seniors before the orchestra’s landmark tour to Switzerland and Germany.
The Concert Program: A Bold Modern Selection
Under the direction of Leo Eylar, the orchestra tackled a sophisticated and demanding program that highlighted 20th-century masterworks. The program opened with William Schuman’s "New England Triptych," a powerful work that captured the American spirit. Following the intermission, the orchestra performed the spirited "Portsmouth Point Overture" by William Walton and Claude Debussy’s impressionistic masterpiece, "La Mer." This ambitious selection demonstrated the orchestra's ability to handle complex textures and emotional depth, ranging from the rhythmic intensity of Walton to the lush, swelling seascapes of Debussy.
Featured Soloists: A Farewell to Senior Talent
The May concerts were a showcase for two outstanding seniors who were graduating from both high school and CYS at the end of the season:
Michael Chang (Clarinet): Michael performed Carl Maria von Weber’s "Concertino for Clarinet and Orchestra, Op. 26." Critics described his performance as pleasing and technically sound, tackling one of the most popular clarinet pieces in the repertoire with grace.
Peggy Liu (Cello): Peggy performed the first movement of Shostakovich’s "Cello Concerto No. 1, Op. 107." Her performance was hailed for its technical perfection and emotional weight, showcasing the maturity of the CYS cello section which critics noted "could just about tear your heart out."
Critical Acclaim: "A Peninsula Treasure"
The media response to the May concerts was overwhelmingly positive. In a glowing review for the San Mateo County Times, critic Keith Kreitman praised the group’s professional sound, stating, "Serious music lovers who are put off from attending concerts performed by youth orchestras... are missing some great musical experiences."
Kreitman’s review emphasized that despite the "youth" label, the orchestra’s performance was top-notch, comparing the accuracy of the brass and the facility of the woodwinds to professional ensembles. He noted that Maestro Eylar’s eloquent concert comments reminded him of the great Leonard Bernstein, and he concluded by calling CYS a "Peninsula treasure" and one of the best youth orchestras in the country.
Spotlight on Percussion
Beyond the main symphonic concerts, the CYS Percussion Group, directed by Dr. Kenneth Piascik, made headlines with a free concert at Foothill College on June 3. This unique "Music Carnival" featured a wide array of instruments—from marimbas and congas to more unconventional items like dinnerware. It was a joyful celebration of rhythm that allowed individual members, like Los Altos resident Reid Phillips, to display their diverse talents and energetic performance style.
Summer 2000: The Millennium Tour to Germany and Switzerland
The 1999–2000 season reached a magnificent conclusion with an international tour to Germany and Switzerland. This journey was a major milestone for the California Youth Symphony, organized by Music Director Leo Eylar and Executive Director Jim Hogan. To fund this ambitious project, which cost nearly $300,000, the orchestra held its first-ever major "Benefit Pops" concert. As Maestro Eylar told the press at the time, he wanted the fundraiser to reflect the high artistic standards of the students, proving they were ready for the world stage.
The musical heart of the tour was the performance of Dvořák’s Cello Concerto, featuring the talented 17-year-old soloist Gilbert Hwang. Before departing, the orchestra performed a "Tour Preview" concert in Palo Alto on June 25. The program included vibrant American works like Gershwin’s Porgy and Bess alongside Wagner’s grand Rienzi Overture. These performances were designed to showcase the energy and skill of American youth musicians to their European audiences.
In Europe, the orchestra was met with high praise, with German newspapers calling CYS an "American Top Orchestra." The tour featured several historic moments, including a concert in St. Gallen and a special Fourth of July performance in Lucerne. One of the most significant events took place in Zurich on July 2, 2000. CYS joined forces with the Zurich Youth Symphony for a joint concert at the famous Tonhalle Zürich. This collaboration showed that music is a universal language that can bring people from different cultures together.
Despite the occasional challenge, such as a sudden rainstorm in Wertheim that forced an outdoor rehearsal to move indoors, the students never lost their energy. Their professionalism in these moments proved they were truly ready for the international stage. From the grand concert halls of Switzerland to the historic towns of Germany, our musicians served as wonderful ambassadors for the Bay Area. For students like Gilbert Hwang, who headed to Stanford University after the tour, this journey was a triumphant final chapter to their years with CYS and a proud start to the new century.
