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Home , Alfred Newman (composer), Bill Conti, Ernest Gold (composer), Exodus (soundtrack), Herbert Stothart, James Horner

The Sammamish ,

led by our Music Director/

Conductor R. Joseph Scott, has grown from a handful

of dedicated to

the full-sized ensemble you

will eryjoy hearing today. Founded over a decade ago R. Josph Scott as the Providence Point Now in his eighth season as Music Director and Conductor of the Sammamish Players, we have had a Symphony , R. Joseph Scott has been a vibrant force in the Northwest musical community for over 39 years. Prior to joining the Sammamish Symphony, Mr. Scott founded long commitment to the the Bellevue Philharmonic Orchestra and was their Music Director, Conductor and General Manager from 1967 - 1997. He has appeared as Guest Conductor with numerous orthwest Sammamish community. We musical ensembles, including Lyric Opera Northwest and the Bellevue Opera, and has conduct­ were incorporated in 1994 as ed world premiers of works by Alan Hovhaness, Vaclav Nelhybel and regional .

The Sammamish Symphony An accomplished instrumentalist, Maestro Scott performed as Principal Oboist and Principal Orchestra Association, a Tympanist with several regional and toured Europe twice with the Grande Ronde Symphony. He has conducted concerts featuring a diverse array of artists, including Metro­ nonprofit organization. politan Opera star Roberta Peters; violinist Pamela Frank; Broadway Tony Award winner Anna Our goals are to enrich the Maria Alberghetti; the Seattle Opera Chorus; the Empire Brass Quintet; and vocalists Maureen McGovern, Lou Rawls and . local fine arts scene, offering Mr. Scott attended the University of Oregon School of Music and studied with convenient and affordable Eugene Furst and Wolfgang Martin of the Portland Opera, Henry Holt of the Seattle Opera,

musical performances1 and Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol of the Seattle Youth Symphony. to promote involvement in the arts by the young people Orchestra Management of our community, providing Board of Directors Personnel

opportunities for learning. Joyce Cunningham Founding Director Dennis Helppie Marketing R. Joseph Scott Music Director & Conductor Dennis Calvin Librarian We serve Sammamish and Myrl Venter President Jonathan Feil Asst. Lib.-brass the surrounding communities Mark Wiseman Vice President Daniel Halsey Asst. L1b.-\'1olins Jim White Treasurer Andy Hill Asst. Lib.-low strings by making great orchestral Cathy Grindle Secretary Shannon Nelson Asst. Lib.-woodwinds Miranda Thorpe Director at large Cail Ratley Concert readily accessible to all Dennis Helppie Director at large Miranda Thorpe Crams Andy Hill Director at large Linda Wiseman Comest residents, and by increasing Jonathan Feil Director at large Mark Wiseman Web master the public's musical literacy Cheryl Pflug Honorary Board Member David Irons Honorary Board Member through educational Janet Barry Honorary Board Member Skip Rowley Honorary Board Member programs and performances

byJocal musicians.

f";,he1 Sammamish Symphony Orchestra would like to thank Ivory Lei11i er for her ~ donation ofphotography used in the SSO season brochure and progra rover! 2 yro!Jram Sammamish Symphony Orchestra R. Joseph Scott, Music Director and Conductor

Sunday June 10, 2007 2:00 P.M. Eastlake Performing Arts Theater Music From the Silver Screen

Alfred Newman 20th Century Fox Fanfare - Tara's Theme from Gone With the Wind Selections from The Wizard of Oz Mancini Memories Breakfast at Tiffany's - Baby Elephant Walk Fanfare - The Lost World: Richard Markowitz The Wild Wild West Arr. Calvin Custer Themes from , 007

Intermission

Arr. Scott Selfon Warner Brothers Fanfare - John Williams Prelude & March from Supennan Scott Selfon Film Music Suite Searching for Gold A Noble Death The Final Assault Henry Mancini The White Dawn Summer of' 4 2 Blockbusters Arr. Ian Polster That's Entertainment, A Salute to MGM

Steinway provided by Sherman Clay, Bellevue, Washington Please no audio/video recording or flash photography. 3 yrogram notes ___ highly successful Jurassic Park ( 1993 ), the score was inten­ tionally taken in a darker, Sammamish Symphony Orchestra grittier direction to accom­ pany the film 's darker tones presents of dinosaurs flourishing "in the wild" and being brought A Grand Affeir to San Diego. But even here, the musical language and chord progressions used by the heavily percussive main theme are drawn from the original film 's majestic prin­ cipal theme.

The Wild Wild West ( 1965-1969)

Television compos­ ers work with even more restrictive schedules (and budgets) than film compos­ ers, with a new episode Benefit Auction typically being produced in Satuiday October 13, 2007 its entirety each week, often Issaquah Hilton Garden Inn leaving only a day or two to for more ir~fo send mail to [email protected] spot (determine where music lvlore details coming soon to www.sammamishsymphon_y.org cues should begin and end), compose, and record the score, before moving onto the next episode. The main title is often the sole oppor­ tunity for extensive compo­ of his career writing for the was Ernest Gold Themes from 007 sition or revision, and often 'small' screen, contributing ( 1921-1999) who received ( 1962-present) forms the basis for in-epi­ to such television programs the film 's only Academy sode thematic material. Tele­ as The FB.I., Mission Impossible, Award (defeating such The most endur­ vision composers frequently Hawaii Five-0, and 1\!lurdcr. She scores as The Magnificent ing feature film series, with get less recognition as well ; Wrote. Swen and Spartacus ), as well twenty-one incarnations composer Richard Mar­ as the Crarnrnys for Best thus far (and a twenty-sec­ kowitz ( 1926- 1994) never Theme from Exodus ( 1960) Album and ond slated for 2008), Ian received an on-screen credit Song of the Year. An active Flemming's lames Bond series for his main title theme to Stars Paul Newman composer and conductor for has continually defined and the \Vestern/science fiction and Eva Marie Saint led the film and television, Cold is redefined music for the spy cross-over series The Wild cast of Exodus (1960), based also known for the music genre. The series has main­ Wild West. (He did receive on the Leon Uris novel from It's a Mad Mad lVlad Mad tained the same rhythmic credit for the episodes that depicting events in 1947 World ( 1963 ) and On the since its he composed underscore surrounding the formation Beach ( 1959). first incarnation in Dr. No for. ) Markowitz spent most of the State of . But it ( 1962); authorship of the 6 yrogram notes ___ theme is often debated, with His long-term relation­ the film 's credited composer 2007-2008 Concert Dates ships with directors Steven (b 1928) Spielberg (Ja ws ( 1975 ), receiving credit while other Close Encounters of the Third sources attribute it to John Kind ( 1977), E.T ( 1982)) Barry (b. 1933 ) Regardless, October 28th, 2007 and (the Barry went on to compose December 15th and 16th, 2007 and the music for eleven of the series) have led to many of next fourteen 007 pictures, February 24th, 2008 the most popular and en­ perfecting the "Bond sound" April 13th, 2008 during Hollywood scores in the jazzy and sultry in recent history, along Go ldfinger ( 1964). Barry has June 8th, 2008 with a resurgence of large­ received five Oscars, the scale orchestral Romantic­ most recent for Dan ces with style film scoring. Wolves ( 1990 ) Another Please join us for the 2007-2008 season ( 1978) is no exception, trademark element of 007 featuring Williams' typical films is the performance of use of leitmotifs (melodies original signature songs by and musical gestures as­ popular artists and per­ signed to specific char­ formers. Louis Armstrong, Warner Brothers portfolio ing 45 Academy Award nomi­ acters) for Superman and Nancy Sinatra, , For Warner Brothers 75th an­ nations (a record shared with (the latter via , Duran Duran, niversary in 1998, a new logo Max Steiner, both second the song "Can You Read Sheryl Crow, and was created (Max Steiner's only to ) and 5 My Mind"), both featured have all contributed to famous fanfare had unfortu­ . An accom­ in the Superman March . Bond film title songs. Paul nately fallen out of plished pianist and conductor Today's performance of the McCartney (b 1942) and use by the 1950s), utilizing a as well, \Villiams is the cur­ march is preceded by the Linda McCartney's ( 1941 - fragment of Hupfeld's recog­ rent Laureate Conductor of current Warner Bros. Logo 1998) theme for Live and Let nizable melody This logo has the Pops Orchestra. (with a Superman extension Die ( 1973 ) and 's continued to be used through (b.1942) For Your Eyes Oniy the present day. As it is writ­ ( 1981 ) both received Oscar ten in the same key as John Rowley Properties, Inc. and the new nominations, and continue Williams' "Superman" theme, Hilton Garden Inn Seattle/Issaquah proudly support the Sammamish Symphony ~llilton to be among the most per­ (2006) com­ Orchestra and arts on the Eastside. ~~Garden IIur formed film standards today. poser added S"<11lllt:fli,;r..111u"h the Superman motif as an Warner Brothers Fanfare extension to the end of the (t 998 version) logo, which is presented here today. Herman Hupfeld's ( I 894- 1951 ) "As Prelude and March Time Goes By" was original­ from Superman ly composed for the 1931 ( 1978) Hilton Garden Inn Seattle/Issaquah musical "Everybody's Wel­ 1800 N.W. Gilman Blvd. Just off 1-90 Exit 15 in Issaquah. Opening early 2007. come", but the song became Generally considered www.seattleissaquah.stayhgi.com immortalized by its inclu­ the most recognized and 425-837-3600. WHEN YOU WALK INTO OUR FRONT DOOR, YOU'LL FIND ... sion in Casablanca ( 1942), successful contemporary film Everything. Right where you need it.® arguably the most successful composer, John Williams (b. and recognized film in the 1932) possesses an astound- 7 yrogram notes ___

has had a long and illustri­ Hollywood Blockb usters ous career as a composer (includes music from ,, !~~TY principally of more ex­ Apollo 13 (1995) Myrl Venter, PhD perimental cinematic scores, A11 American Tail ( 1986) REALTOR with more than 200 projects Bravehca rt (I 99 5) Email: [email protected] to his name. A coming of ( 1 997)) Direct: 425.417.0519 age tale set during World Office: 425.285.0520 ext. 237 War II in Nantucket, The A seven-time Oscar Fax: 425.285.0521 Summer of ' 42 won the Best nominee known for his Original Score of 1971 , wide range of projects and 2370 130th Av.,nue NE• Suite 100 • Bellevue• WA• 90005 • 688.399.1478 @[B one of three Oscars in his prevalent use of Celtic influ­ collection (along with Yrntl ences, James Horner (b. that accompanied Superman an emotional farewell ("A ( 1983) and The Thomas Crown 195 3) studied at London's Returns (2006)) and the Pre­ Noble Death"), or an ener­ Affair (1968)). More re­ lude cue that preceded the getic action sequence ("The cently, Legrand's Broadway under Cyorgy Ligeti before march (and the famously Final Assault"). musical was nomi­ earning music degrees in swooping credits) in the nated for a best original at both USC original film . T/Je White DatPn ( 1974) score Tony Award in 2003. Program notes continued on p. I 0 Film Music Suite Henry Mancini's ( 1997) ( 1924-1994) score for The White Dawn ( 1974) demon­ Sammamish Sym­ strates his ability to write phony violist and compos­ more serious and haunting er Scott Selfon's (b. 1976) themes, for a film about Film Music Suite consists of the rising tensions between three cues (pieces of music three stranded whalers and to accompany specific the nomadic Eskimo tribe sections of a film ) writ- that rescued them in the Quality Mattress Sets ten while studying film 1890s. Filmed with the co­ Adjustable Beds operation and participation scoring at the University Custom Sizes of Southern . of an Inuit tribe on Baffin Unlike or Island, the score effectively Free Deli ~: ry medleys, these represent captures the spirit of their Free Set- music as it appeared in the native culture and tradition­ Free Disposal films. Underscore often al activities. Music from this must compete with (and score was later revisited and therefore be written to utilized for elements of Bill complement) other audio Con ti's score for The Ri_qht elements, such as dialog Stuff ( 1983). ("Searching for Cold") and sound effects ("The Final Assault") These cues aim The Summer of '42 ( 1971) Dave Van Moorhem to highlight film music's STORE MANAGER ability to add expression to In addition to being l3J20 N.E. Bel;;.Red Rd.,1 Be11evue, WA 98005 visuals, whether of a chil­ a virtuosic jazz and classical dren's \'V'estern adventure pianist, French composer ("Searching for Cold"), Michel Legrand (b. 1932) 8 yersonne{____ _

Violin I Viola Bass Clarinet Dennis Helppie, Scott Selfon, Ericka Kendall, Nicholas Kosuk, Scott Sellevold, Concertmaster Principal Principal Principal Principal Marianna Vail , Libby Landy, Troy Bailey*, Kathy Carr* Matt Stoecker Assistant Concertmaster Assistant Principal Assistant Principal Ward Drennan Sarah Anderson Kerry Bollinger* Carolyn Harlor Linda Thomas Bass Trombone Paul Nelson Sandy Anuras Kathy Boudreau - James White Kristin Edlund Stroud Harmony Young Bass Clarinet Jordan Firestone* Dan Pope Linda Thomas Joel Green Angela Speckhardt Flute Mark Wiseman, Cece II ia-Wendy Lori Terpening Melissa Underhill, Principal Ann Lee Barbara Thorne Principal Gary Claunch, Xiadan Li * Myrl Venter* Tori Berntsen Principal Lynn Martinell Juanita Weaver Torrey Kaminski Tympani Heather Raschko* Lyle Wilcox Shannon Nelson Paul Johnson*, Darlene Rose Piccolo Principal Haley Schaening Adam John Page Tim Strait Torrey Kaminski Leslie Nielsen, Evelyn Zeller, Principal Principal Percussion II Gail Ratley, Steven Dees Paul Johnson*, Dennis Calvin*, Daniel Halsey, Assistant Principal Scott Code Principal Principal Principal Shannon Cebron Nels Magelssen* Nathan Anderson David Barnes, Shelby Eaton, Andy Hill Richard Merte* Rob Parks Co-Principal Assistant Principal Loryn Lestz Mary Ann Reiff Chris Peterson Susan Jacoby, Trish Brock* Carl Meyers Ulf Schoo Jim Trnher Paula Chester* Scott Nazarino Co-Principal Tim Corrie Janet Pantoja* Cathy Grindle James Poirson English Horn Trumpet Piano/Keyboard Tanya Hardin Sandra Sultan David Barnes, Jonathan Feil , Catherine Lowell Fran Pope Co-Principal Principal Miranda Thorpe member Jim Bradbury* Harp 1993-2004 Jon Houck Tiffany Wirt, In memory of Jeremy Jordan Principal Chris Weber Ellen Slifer violinist _, *On Le,we of Absence Are you interested in playing with us? Ticket Information ~ 2006-2007 The Sammamish Symphony Orchestra is composed of adult volunteer musicians Tickets may be purchased $15 Adult dedicated to performing concerts on the internet or by phone $I 0 Seniors ( 6 2 & up ) and maintaining outreach programs 1-800-965-4827 $10 Student (11-18) serving Eastside communities. $30 Fumily Free Children w & under Rehearsals: Thursdays 7: 15-9:45 pm

Eastlake High School For more ticket info call 206-5 J 7-7777 Please call 206-517-7777 or go to or log on to rvww.sammamishsympho11y.org www.sammamishsymphony.org

Did you know? The Sammamish Symphony Orchestra can provide for your special party or occasion! Add class to your event by calling 206-5 t 7 - 7777 9 yrogram notes ___ but with the aesthetic and time by each of the studios to Tara's Theme, from Gone O rchestral film technical challenges of write music for the hundreds with the Wind ( 1939) music occupies an often accompanying specifically of films released each year. In challenging niche in the timed visuals, film music has the years after the studio sys- Often called "the repertoire of classical music. evolved as a language all its tern, independent composers father of film music", Max Toeing the line between own, and has thrived as an have expanded the boundaries Steiner ( 1888-1971 ) had an 'classical' and 'popular', avenue for musical expres- of film music to explore a wide impressive background and often using musical lan­ sion of all kinds. range of avante garde, popu­ showed enormous aptitude guage most associated with lar, non-Western, and other for composing even as a the late 19th Century, and Film scores began compositional styles. young child. The godson of working with restrictive as organ/piano (or in some , he stud- schedules and technologies, cases, small ensemble) sheet In this "Music of the ied piano with Johannes film scores have nonetheless music that would accompa­ Silver Screen" concert, the Brahms and composi- become a principal avenue ny the delivery of film reels Sammamish Symphony aims tion with Gustav Mahler, for audiences to hear or­ and be played by individual to highlight some of these completing the Imperial chestral music. The medium in-house performers at each great musical works, origi­ Academy of Music () has drawn such "traditional" cinema, offering emotional nally composed to support the four year degree program in composers as Sergei Proko­ support to the otherwise visual storytelling of cinema, a single year. At the begin­ fiev, , Ralph silent visuals. Once "talk­ but strong enough to stand on ning of World War I he Vaughan Williams, and ies" became the norm , film their own as recognized and immigrated to the United , studios recognized the impactful musical works. States, where he worked on but it has also allowed need for sweeping and epic Broadway with such lumi­ composers more special­ scores to accompany the naries as ized to the field to flourish , larger-than-life stories they and before go­ developing an artistry and were telling, and a golden 20th Century Fox ing to Hollywood. Work­ skill that allows the audi­ age of film music began, Fanfare ing first for RKO Pictures, ence to identify characters, with incredibly talented (with CincmaScope extension) his place in film music his­ conflicts, and storylines (and prolific - Alfred New­ tory was cemented with the in a matter of a few notes. man composed an average Hollywood's most massive (and generally con­ Often similar in function of five scores a year for for­ decorated composer, with sidered the first non-silent) to incidental (' background') ty years, and had four sepa­ 9 Academy Awards and 45 full-length original score music of opera and theater rate Oscar nominations for nominations, for King Kong (1933 ). But if and the storytelling nature best score in 1940 alone) ( 1900-1970) is still perhaps that score was 'massive', the of orchestral tone poems, composers employed full- best known for one of his score for Gone With the Wind shortest works, the 20th Cen­ ( 1939) was gargantuan, tury Fox Fanfare he composed with over I 90 minutes of during his 21 years as music music written, and dozens director of that studio. The of themes for its expansive extended version presented Civil War and Reconstruc­ here, first created to accompa­ tion story and characters. Architectural and Product Photography ny widescreen "'' The theme for the planta­ technology ( 195 3-1967), fell tion itself, Tara, is one of I mage Editing and Ad Design into general disuse until direc­ the most memorable, with Fine-Art Prints tor George Lucas re-recorded a repeated octave-leap that it for the release of Star Wars conveys its importance as 300110th Ave NE, Su ite 81-08 in 1977; it is now once again a principal (though non­ Bellevue, WA 98004 used by most produc­ speaking) character in the (425) 241 -5606 tions. film. Steiner spent most

4 yrogram notes ___ ( 1924-1994) career began Universal Pictures Fanfare th e Apes ( 1968). Goldsmith's of the next thirty years as a pianist and arranger for ( 1997 version) first major film scoring op- composing for Warner the Glenn J'vtiller Band after portunity was offered by Brothers, where he created World \Xl'ar ll. He moved Film composer Jerry fellow composer and Llni- the well-known Warner into film and television Goldsmith ( 1929-2004) versa! Studios' music direc- Brothers Fanfare in ad- projects in the 1950s, and is perhaps best known for tor Alfred Newman 1n 1962 dition to the scores for was an early pioneer of in- his music for five films in so it seems appropriate that Casablanca ( 1942), Now, troducing jazz elements into the series, but his he composed the power- Voyager ( 1942, one of his the traditionally late-roman- illustrious career spanned ful and memorable current three Academy Awards), tic scores of the time. His a wide range of projects, Universal Pictures logo in The Big Sl ee p ( 1946), The music for television's "Peter from episodes of The Ttuilight 1997. Llniversal's logos have Glass Menagerie ( 1950), and Gunn" began a string of Zone ( 1959) to Chinatown consistently used the motif The Caine A1utiny ( 1954 ). of a rising perfect fourth, and Coldsmith maintained Selections from this while adding one of The Wizard of Oz ( 1939) HenT'Y 8iscl1ofberger \/iolins his inimitable horn fan­ fares . This logo premiered Third Generation Violin Maker Harold Arlen attached to LI niversal's ( 1905-1986), the compos­ The Lost World: .Jurassic Park er of such popular tunes www.hkbviolins.com ( 1997) as "Between the Devil 425.822.0717 and the Deep Blue Sea", Kirkland, WA Theme from The Lost World: "Accentuate the Positive", .Jurassic Park and "Let's Fall in Love", (1997) created the songs for Metro-Goldwyn-Mayer's One of film music's The Wizard of Oz ( 1939) unique compositional chal­ with lyricist E. Y. Harburg lenges is the concept of the and underscore composer sequel; music is often tasked . One of with providing continuity the most recognized film between films produced musicals of all time, Oz Now on the Eastside! years apart. John Williams won the Academy Awards (b. 1932 ) has demonstrated for Best Score (beating out Sales Appraisals Repairs Rentals success in many such proj­ Max Steiner's Gone With the ects, from the Indiana .Jones Wind ) and Best Original series (which beyond reuse Song for "Over the Rain­ successes including Breakfast ( 1974), The Omen ( 1976) of the title character's well­ bow", which became Judy at Tiffany's ( 1961 ) , The Great [Academy Award-winner], known theme, has quoted Garland's signature song. Race ( 1965 ), Victor/Victoria and The Mummy ( 1999). An musical elements of previ­ ( 1982 ), and perhaps his most orchestrational experimen­ ous films to convey recur­ Mancini Memories well-known theme of all for talist, Coldsmith used early ring gags) to the 28-year Breakfast at Tiffany's ( 1961 )/ The Pink Panther ( 1963) He electronic synthesizers and span of the Star Wars films "Baby Elephant Walk", composed the cheerful Bat1y exotic (often invented) in­ (where the villainous Darth from Hatari! ( 1962) Elephant Walk (another audi­ struments in many scores, as Vader's "Imperial March" ence favorite) for Howard well as extended techniques theme was morphed into A prolific and tal­ Hawks' H.atari! ( 1962), a film (including playing brass and a tragic legato line for the ented composer, arranger, featuring in a wind instruments without a character's previous ego as and conductor for nearly comedic story about African mouthpiece) for the innova­ young Anakin Skywalker). 50 years, Henry Mancini's wild animal trapping. tive atonal score for Planet of For the 1997 sequel to the 5 "THERE ARE STILL SO MANY BEAUTIFUL THINGS TO BE SAID IN C MAJOR."

EASTSIDE [)

CULTURE ~ 61rt~ elements ROWLEY of design King Cow1ty Am Commission Issaquah Arts Commission PROPERT I ES [ \.coAllTION] Graph ic Des ign sponsored in part by www.ElemencsofDesign.biz