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The Symphony No. 1 (Liliuokalani) is dedicated to and inspired by the memory of Queen Liliuokalani of Hawaii.

First Movement:

Through a celebration of the Polynesian people and their history, we reflect upon the life of the Queen. The voice of time talks to us about centuries of a collective memory, and simultaneously parallels Queen Liliuokalani's avatars. The volcano (birth) with woodwinds, brass and percussion is followed by the strings in a canon of double voices (the awakening). A "chant" is heard. (first theme) The percussion instruments are the pulse of the people and also the child's first heart beat. The drama of life has begun. A solo French Horn's motif (the call of destiny) leads to a transition (the struggle) and to the second theme (the promise of a bright future, a land of magic). In the development (allegro molto vivace), these themes and motifs are interwoven, expanded and juxtaposed. The tempo of the struggle becomes more frenetic. The recapitulation of the first movement is an extension of the earlier material. The accumulation of motifs, the intensity of dynamic contrasts, the extreme textures of orchestral colors, and the rhythmic accents are like tidal waves that threaten the dangerous journey. Slowly the storm begins to subside. The harp and woodwinds through variations on elements of the exposition bring a feeling of anticipation, "the call," that grows into a recurrence of the second theme. This statement is bigger, more lush, and more awesome. This is the theme of "Hawaii," the hope of the people, the love of Liliuokalani. The first movement ends with a reprise of the introduction, now with the strings in contrary motion, as if time were flowing backward toward the birth of the volcano.

Second Movement:

The 00-o'aa, the royal bird from Kauai, and is known not only for the beauty of its feathers, but also because it gives voice to one of the most unusually melodic songs in nature. Here a metaphor is established: The bird (flute solo) is caged, and the Queen (harp and strings) is imprisoned in the Iolani Palace. A theme of 11 pathos" (English horn, oboe) against a pulse of timpani and low strings conveys the tragic comparison. A second section (reminiscenses of happier times, memories of youth) follows, giving the Queen the strength and resolve to uphold her convictions ("endurance" theme - trumpet, strings). However, she is resigned to face her predicament- her solitude, her sadness ("pathos" recapitulation). The movement ends with the flute solo, as if life would be flying away from the 00 bird.

Third Movement:

A rhythmic figure by cellos and basses announces the "winds of change." People from other lands with different traditions and cultures arrive at the Hawaiian Islands. A clash of civilizations; a contrast of traditional values, are the roots of the conflict which became the Queen Liliuokalani's fate. The first section of this movement is Rondo (a succession of themes by the brass, the violins, the horns, the percussion, the piano, celesta, and woodwinds) which becomes a Passacaglia based on an eighteenth century Scottish hymn: "Martyrs." Monophonic in nature, exposed first by the strings, then the brass; the third time by piccolo, flutes, piano, and finally by solo horn - it is always juxtaposed with the different elements of the Rondo. This procedure serves the purpose of enhancing the conflict. Piano, harp, celesta, marimba, vibraphone and woodwinds against the strings; timpani, bongoes, congas, tenor drums, violas, cellos and basses against the brass; strings in four-part harmony against the piano and high woodwinds - and cellos, basses, bass clarinet and bassoon against the solo horn. A short transition takes us back to the recapitulation of the Rondo. Finally, the culmination is reached at the Coda by rhythmic condensation of the Rondo's material which accentuates the urgency and tension of the historic events. Fourth Movement: Horns and brass imitate the conch shell calls of the Hawaiian monarchs at the opening of the fourth movement. Musical time echoes the passing of time in history but the musicians are masters of past, present and future, the" chant" of the first movement returns after a beautiful introduction of four-part harmony sung by eight cellos.

Queen Lili'uokalani was also a noted composer whose songs are still popular not only in Hawaii but allover the world, Schifrin takes her early song "Nani Na Pua Koolau". This song is related not only to flowers, but to children as the flowers of the Hawaiian people, and the revered Queen cared and worked unfailingly for her children. The theme is first heard as if springing from an old music box, and develops to the rich sound of bells, produced not only by these, but by all the symphonic instruments, the development includes a set of five variations, where the orchestra is divided in chamber music-like groups that explore all the hidden possibilities of this simple and charming tune. A remainder of the "Hawaii" theme from the first movement brings back the Nani Na Pua Koolau sung by a children's choir that walks into stage from all the angles of the concert hall. The Symphony brings back all the positive themes: Polynesian chant, Hawaii, endurance as a statement of affirmation and hope before a majestic reprise of Lili'uokalani's composition ending with the children's chorus singing "Aloha". The children were the love of the Queen and are the future of Hawaii.

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