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Home , Aaron Copland, A Far Cry, Our Days, Paul Coletti, Philip Glass, The Seasons (Haydn)

HEALING POWERMUSIC THE

OF 20/21 SEASON WENATCHEE VALLEY ASSOCIATION

ADMINISTRATIVE DIRECTION BOARD OF DIRECTORS Larry McCracken, President Marc Heminger, Vice-President Ron Bermingham, Ph.D, Managing Director, Non member - Ex Officio JoAnne Prusa, Secretary Karen Keleman, Member at Large Marva Lee McCracken, Member at Large William Rowley, MD, Member at Large Aaron Harris, JD, Member at Large

ARTISTIC STAFF Dr. Nikolas Caoile, Music Director & Conductor Wesley Hunter, B.Mus., Apprentice Conductor Michelle Vaughn, Concertmaster

CONTACT P.O. Box 3423 Wenatchee, WA 98807 509.667.2640 [email protected] www.wenatcheesymphony.org

MEMBERSHIPS & AFFILIATIONS

3 Wenatchee Valley Symphony 2020-21: The Healing Power of Music Keeping the music alive for 74 years Good evening and welcome to the and solo violin, these soundtracks of Wenatchee Valley Symphony. Mother Nature are aural landscapes simultaneously stimulating our ears MISSION It is great to occupy the stage again. and imaginations. While Florence One thing that these times have Price, , and Leading with artistic excellence, we culturally revealed is that community and may not seem to have collaboration are essential. Nowhere much in common, this string-only enrich the communities of North Central is this more evident than in orchestral program features who each music. Although we spend our days had a unique voice: Price’s African- Washington through music performance, with music around us, it is live music American heritage, Shostakovich’s that elevates our experience to a brutal , and Glass’ stark outreach and education deeper level. Beethoven, Vivaldi, . This concert will also Piazzolla, Stravinsky, Tchaikovsky feature my debut as a soloist. – they are more than just venerated composers. They are the agents As always, we hope you enjoy these through which we come together programs with the Wenatchee Valley to perform, to experience, and to Symphony Orchestra, and we look connect. As the performance unfolds, forward to welcoming you to future every person in the auditorium is concerts. drawn into a singular event, one that will never be repeated.

This fall we explore ’s and Ástor Piazzolla’s musical depictions of the seasons Nikolas Caoile of the year, The Four Seasons and Music Director and Conductor The Four Seasons of . Wenatchee Valley Symphony Composed and arranged for strings Orchestra

4 Noëlle Roberts, Principal Teri Snyder, Principal Cathie Lau Kate Dammann Megan Kelley Sabrina Windsor Meredith Hunnicutt Samantha Segaline Larry Benoit BASS Megan Cleary, Principal Dave Aldrich Tom McNair, Principal WENATCHEE VALLEY SYMPHONY Jameson Varpness ORCHESTRA 2020-21 SEASON Don Larson Suzanne Carr, Principal MUSIC DIRECTOR Jeanne Lodge TUBA Susan Ballinger Bryan Pomianek, Principal & CONDUCTOR Kay Gossage, Principal Nikolas Caoile Beth Burbank Heath Rush PERCUSSION Lori Laughlin, Principal Stan Fishburn, Principal VIOLIN I Karen Keleman Susan Reed Sherry Krebs Michelle Vaughn, Concertmaster Anna Aldrich Kerry Travers, Assistant Concertmaster Todd Snyder Rebekah Poulson Shelby Dronen Vicki Fechner Jeff Heminger, Principal Josh Cozart VIOLIN II Kathryn Castrodale Gretchen Woods, Principal Cindy Dietz, Assistant Principal Mike Locke, Principal Deborah McClellan Peter Ward Adina Scott Madelyn Larson

6 7 Skeeterbuggins HISTORY OF THE WENATCHEE VALLEY Productions SYMPHONY ORCHESTRA The Wenatchee Valley Symphony Orchestra began when a group of less than twenty musicians gathered at Wenatchee Junior College in 1947, just eight years after the founding of the college. George Bower was the high school music teacher leading the group, which he named the Wenatchee Civic Orchestra. It performed free concerts to sparse audiences.

Wenatchee Valley College received a federal grant in 1968, which brought three professional artists to the college, one of whom was Broadcast Media - Video Production musician Dr. Malcolm Seagrave. The Wenatchee Valley College, led by President Dr. William Steward, hired Seagrave that year with the desire to have him lead a full symphony. An orchestra board of directors was selected and charged with managing and raising funds. Board members included Dr. Experience the Al Stojowski, Wilfred Woods, Paul Ellis and THE WENATCHEE Sam Mills. They got community sponsors for Skeeterbuggins Difference! every program and organized as a non-profit VALLEY entity. A full symphony repertoire was then SYMPHONY possible. ORCHESTRA In 1970 the symphony made arrangements BEGAN WHEN A Specializing in Virtual Events to in the Liberty Theater, with its first concert on November 1st. When the new GROUP OF LESS Broadcast Solutions and Wenatchee High School opened in the fall of 1972, its 900-seat auditorium became home THAN TWENTY Video Production! for the symphony concerts. MUSICIANS

The 1970’s were memorable not only for the GATHERED musicianship of Dr. Malcolm Seagrave, but IN 1947 Let's Talk! for the addition of Camilla Wicks, concert violinist, who became the symphony’s concertmaster in 1972. She made a profound impression, and Dr. Tell us about your project. Seagrave commented that her presence had moved the orchestra years ahead in its musical development. She played with the orchestra for three seasons.

(509) 888- 2995 In 1976, Glenn Kelly took over the podium and conducted the orchestra for the next six seasons. Mike Lee succeeded Glenn Kelly [email protected] in 1982. Among Lee’s concerts was the Mozart “Requiem” with the SKEETERBUGGINS.COM Central Washington University , the Columbia Chorale, and the college choir. One of the concerts that Lee conducted that year was a new composed and played by Gordon Schuster,

9 who had written the composition while at Eastern Washington University. Dan Baldwin, director of the Central Washington University Symphony, succeeded Lee in 1994. Baldwin conducted the local group until 1997.

The symphony had guest conductors until 1999, when Adam Flatt was selected. In 2000, Mel Strauss was hired as conductor. Strauss was head of Seattle’s Cornish College of the Arts, and his experience and musical maturity were evident. Marty Zyskowski, from Eastern Washington University, led the symphony from 2004 through the 2009 season. Among the highlights of his tenure was the 60th anniversary season with a program that spanned the Baroque, Classical and Romantic periods.

Nikolas Caoile, Central Washington University symphony conductor, was among the guest conductors of the 2009-10 season. The board hired Caoile for the following season and he continues to conduct the symphony today. x

By Wilfred Woods

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NORTH CENTRAL WASHINGTON’S FAMILY MUSIC CENTER V I S I T U S A T W W W . V E R I T A S A C C O U N T I N G S O L U T I O N S . C O M 532 N Wenatchee Avenue [email protected] Ph: 509-663-7300 Wenatchee, WA 98801 WWW.AVALONMUSIC.NET Fax: 509-664-0560 Chapter of the American String Teachers Association. Caoile regularly presents clinics at National Association for Music Educators Regional and State Conferences and has served as a presenter for Seattle Symphony Pre-Concert Talk series.

Born in Portland, Nikolas Caoile now resides in Ellensburg with his wife, mezzo-soprano, Melissa Schiel and their son, Kieran. Caoile holds degrees in conducting and composition and completed his Doctor of Musical Arts in orchestral conducting at the . In 2013, he accepted a nomination to join Phi Beta Kappa as a member of the Willamette chapter, Delta of Oregon. His principal teachers are Kenneth Kiesler, Gustav Meier, and Peter Erös. Caoile also enjoys playing golf, NYT Crosswords, and cooking. x MUSIC DIRECTOR & CONDUCTOR: DR. NIKOLAS CAOILE Nikolas Caoile is a conductor, pianist, and music educator. Currently, he is Music Director and Conductor of the Wenatchee Valley Symphony Orchestra, Director of at Central Washington University, and the Music Director Designate of Lake Union Civic Orchestra. In 2017, Caoile was appointed Acting Chair of the Department of Music at CWU. He is Former Conductor and Artistic Director of the Salem Chamber Orchestra. He has conducted many other orchestras including: Auburn Symphony, Orchestra Seattle and the Seattle Chamber Singers (OSSCS), Northwest Mahler Festival Orchestra, Rainier Symphony, Yakima Symphony, Gig Harbor Symphony, Lake Avenue Orchestra, and Symphony. In 2009, he conducted the A PASSIONATE Philharmonic Orchestra of the Americas BELIEVER in collaboration with the Christopher Wheeldon’s Morphoses Company at IN MUSIC City Center. Caoile participated EDUCATION at the Cabrillo Festival for Contemporary Music where he worked with FOR ALL AGES... and Gustav Meier.

A passionate believer in music education for all ages, Caoile has led numerous educational and community engagement concerts including the Alaska, Indiana, and Idaho All-State Orchestras, the Washington All-State Jr. Orchestra as well as many regional honor orchestras in Washington, Montana, Alaska, Arizona, Oregon and Indiana. In 2019, Caoile will direct the All-City Middle School Orchestra in Salem, Oregon. In 2016, Caoile received the Outstanding Orchestral Achievement Award from the Washington

12 Pick a copy of APPRENTICE CONDUCTOR: Foothills Magazine today WESLEY

◆ ◆ ◆ ◆ AND ALL OF NORTH CENTRAL WASHINGTON WENATCHEE LEAVENWORTH CHELAN AND ALL OF NORTH CENTRAL WASHINGTON ◆ CHELAN ◆ LEAVENWORTH WENATCHEE OOTHILLS HUNTER May-June 2017 OOTHILLS hile an undergraduate student at September-October 2017 W MANA Northern Arizona University, Wesley

◆ AND ALL OF NORTH CENTRAL WASHINGTON ◆ CHELAN ARE ◆ LEAVENWORTH F WENATCHEE studied viola with Dr. Jacquelyn HAS THE FLAIR Schwandt, played in numerous OOTHILLSJuly-August 2017 WINE orchestras, took private composition Inside lessons, trained in the Suzuki violin SSUE I A novel idea teaching method, and as a graduating Desert design senior, was the recipient of a Gold Crayelle SOME PUNCH Cellars ADD Axe Award recognizing outstanding TO YOUR SUMMER wins top student service. Wesley graduated honor in Inside Under the stars from Northern Arizona University in competition Region’s camping spots offer variety Mr. Red Nose 2014 with Bachelor of Music Degrees We all scream Whistlepunk Ice Cream L-Bow gets Spotlight treatment is a local flavor in both Music Education and Viola Performance. or read online with our Digital Edition Following graduation, Wesley taught orchestra and choir for grades at ncwfoothills.com/digital/ 5-12 in the Sunnyside Unified School District in Tucson, and most recently served as director of both the Desert View and Sunnyside High School • Flip pages digitally orchestras. Orchestras and music programs grew under his direction and guest engagements directing honor orchestras in southern Arizona followed his • Switch to “dynamic view” successes both at school and in his private studio where he taught violin, viola with thumbnails of each and cello. Wesley’s students have routinely brought home Excellent ratings at story - looks great on festivals; many have auditioned successfully for membership in regional honor mobile! ensembles. This past year, Wesley taught over 150 elementary string students • Zoom in and out or double click the story to read in “article view” • Email and share stories on social media right from our digital magazine ICICLE BROADCASTING, INC. NCWFOOTHILLS.COM KOZI

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15 in Mesa Public Schools. THANK YOU TO While teaching, playing and guest directing, Wesley continued to hone his OUR BUSINESS PARTNERS conducting skills in orchestral conducting workshops. Prior conducting teachers include Donald Schleicher (University of Illinois), Dr. Donald Portnoy (University of South Carolina), Toru Tagawa (Music Director and Conductor of the Tucson Repertory Orchestra), and Tong Chen (Assistant Conductor of the New Jersey Symphony Orchestra).

As a violist, he has played at summer festivals in Arizona, New Mexico, and British Columbia, and has also performed with the Tucson Symphony, Flagstaff Symphony, West Valley Symphony, Symphony of the Southwest, Southern Arizona Symphony, and Tucson Repertory Orchestras. Wesley is a former board member for Tucson Junior Strings, an alumnus of Phi Mu Alpha Sinfonia Fraternity, and has served as an Arizona state officer for the American String Teachers Association (ASTA).

This year, Wesley will continue his studies as a graduate student in orchestral conducting at Central Washington University and serve as a Teaching Assistant for Dr. Nickolas Caoile, Director of Orchestras at CWU. x

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17 MUSIC LOVER MUSIC LOVER (CONTINUED) Connie Bean Alicia & Mike McRae THANK YOU TO OUR DONORS Larry & Brenda Benoit Clyde & Vernon Netz Donor Designated Funds SUPPORTER (CONTINUED) Adele & Dick Bingham Mel & Marjory Radford Managed by the Community Lindsay Shive Iris Bolstad Gary & Barb Sandum Foundation Russ & Jean Speidel Alison Bromberg Lisa Scarafiotti Roy Hill Fund Kerry & Michael Travers Allie Chisholm Rosemary Zook Kathy Coffman George E. & Mary Ellen Miller PATRON Sharon Elaine Gil & Kay Sparks Donor Advised Charlotte Allen FRIEND Fund Randy & Cici Asplund Beth & Matthew Crane Leslie Bigos Donna Brown Stan & Becky Fishburn Deborah & Mike Carlson-Lynch CONDUCTOR’S CIRCLE Jill & Steve Gustafson Robert & Barbara Alexander Hartwell Burnett Bliss Owen Jeff & Susan Heminger Cathie & Jeff Lau Gary Casciano Carolanne Steinebach Louis & Barbara Congdon-Van Doren John & Deanna Killian Jo Waslenko MUSICIAN’S CIRCLE John & Lois Dejong Robert & Rosalie Kimbrell Peter Ward Cindy & Ray Dietz Janet Mangold ’S CIRCLE Jeff Edmundson Ford & Marlys Barrett Laurie Griffith Mary & Kevin Baskin Daniel & Kathleen Hachez Walter & Caitilin Newman Douglas & Carol Hansen David & Doris Nierman Susan Howard Dave and Pat Notter Beverley Hoyt Gordon Schuster Megan & Michael Kelley Sharon Sherwood Pete & Ashleigh Keyser BENEFACTOR Gary and Mona Koehler Susan & Paul Ballinger Barry Leahy Jim & Barbara Brink Edgar Meyer Jane Hensel Jess & Ken Mills Martha Locke Marisa Moritz Laurence and Marva Lee McCracken David Morrow Margaret Scott Matthew & Jennifer Newman Suzanne & Terry Sorom Bob & Pat Ogburn Marguerite Pierce SUPPORTER Joanne Prusa Ron & Joyce Bermingham John & Lyn Roth Judith Brush William & Linda Rowley Spanning Glenn & Suzanne Carr Brent Schmitten NEWS the region. Vicki Fechner Richard Shaffstall In Wenatchee: & CLASSICAL MUSIC 90.3 fm and Aaron & Barbara Harris Edward & Ruth Simmons Marc & Karen Heminger 90.7 fm Mardi Spitzer ON-AIR, Tom & Mary Ann McNair Catherine Sweeney ON YOUR Mary Ellen Mead Earl Tilly SMARTPHONE, Sara & Brian Norris-Bourgeois Larry & Penny Tobiska ONLINE AT: A Community Service of Gary & Joyce Riesen the Edward R. Murrow Dale & Peggy Twyeffort NWPR.ORG College of Communication John & Louise Ryan-Simmons at Washington State Donald & Leo Welch University Eliot & Tina Scull Sally Wren CONCERT I 21 OCTOBER 3, 2020 – Numerica Performing Arts Center

Allegro Allegro ma non molto Adagio Presto Allegro Adagio molto Allegro Allegro non molto Largo Soloist: Allegro Largo e pianissimo Allegro INTERMISSION

PRIMAVERA PORTEÑA” (SPRING) PORTEÑA” PRIMAVERA VERANO PORTEÑO (SUMMER) PORTEÑO VERANO MINOR G IN (SUMMER) L’ESTATE (AUTUMN) PORTEÑO OTOÑO MAJOR F IN (AUTUMN) L’AUTUNNO (WINTER) INVIERNO PORTEÑO MINOR F IN (WINTER) L’INVERNO LA PRIMAVERA (SPRING) IN E MAJORE IN (SPRING) LA PRIMAVERA Astor Piazzolla Vivaldi Antonio Astor Piazzolla Vivaldi Antonio Astor Piazzolla Vivaldi Antonio ` Brittany violin Breeden, Vivaldi Antonio ANTONIO VIVALDI With the advent of the Baroque he worked as the music director for style at the beginning of the 17th the Ospedale del Pietá in Venice, century, the violin family gradually ostensibly a home for orphaned replaced the older viol family as girls, but in practice a home for the the prominent string instruments illegitimate daughters of nobility. of the time. Violin music gradually Vivaldi trained these young women transformed from the vocal style as singers, instrumentalists and of the early 17th century to the composers, developing their musical more idiomatic style of the later skills to a highly professional level. Baroque, where the music reflected It was for these musicians that the particular capabilities of the Vivaldi wrote the bulk of his over 600 instrument. for various instruments, from the typical (violin, cello, flute) Antonio Vivaldi’s early training to the more exotic (hurdy-gurdy, was both theological and musical. bagpipes). Through the publication Ordained as a priest at age 25, chronic of his works, his innovative violin asthma prevented him from ever technique became widely known and saying Mass. After his ordination, imitated throughout Europe. x

BRITTANY BOULDING BREEDEN Violinist Brittany Boulding Breeden, member of the Seattle Symphony and Seattle Orchestra, has appeared most recently as a soloist with the Olympia Symphony, Northwest Sinfonietta, Auburn Symphony Orchestra, Pacific Northwest Ballet Orchestra, Bainbridge Symphony Orchestra, Seattle Festival Orchestra, Thalia Symphony Orchestra, Cascade Symphony Orchestra, New Haven Symphony Orchestras, Spoleto USA, and the Orquesta de Camara Concerto Sur (Cuba). Her major music festival appearances include Tanglewood, Spoleto, Aspen, Vail, Banff and Bellingham.

A passionate chamber musician, she can be seen performing at chamber festivals such as the Methow Valley, Simple Measures, Second City, Seasons, Russian Foundation, Guemes Island, Vashon, Bainbridge, Auburn, Cornish, Jacobsen and New Lens Series.

Ms. Breeden earned her Bachelor of Music from Rice University with Kenneth Goldsmith and her Professional Studies Certificate from the Colburn Conservatory under the tutelage of Robert Lipsett. A Pacific Northwest native, Ms. Boulding grew up performing and recording with her family, the internationally acclaimed Magical Strings. x

22 23 ÁSTOR PIAZZOLLA ANTONIO VIVALDI’S FOUR SEASONS It might be difficult for anyone From an early age, Piazzolla felt that Antonio Vivaldi’s Four Seasons revelry of the harvest, complete with outside Argentina to understand that the conservative style of traditional are so familiar to us today that it is a rather tipsy soloist who seems to country’s unquenchable passion for tango was artistically unsatisfying. difficult for us to realize how modern have had a rather substantial taste tango. It is a passion bordering on He studied composition with the they were when first written. His of the most recent vintage. A quick obsession, a passion almost on a par great Argentine composer Alberto music stretched the boundaries of nap for the revelers (Adagio molto) with the fervor with which porteños Ginastera and orchestral conducting violin technique, employing rapid precedes the hunt of the finale, (the natives with Hermann scale passages, double stops in high replete with the sounds of galloping of Buenos Scherchen. The music positions, rapid string crossings and horses, barking hounds and shotgun Aires) scream he wrote in his early a wide variety of complicated bowing volleys. themselves 20s merged the techniques. hoarse over essential features of The freezing temperatures and Lionel Messi and tango with elements Vivaldi’s wealth of musical invention ferocious winds of L’invierno futbol. Beginning of and proto- creates vivid pictures of life are invoked by the eerie opening in the low-rent Stravinskian melodies throughout the year. La primavera’s (played ponticello, next districts of the and harmonies. opening movement takes us through to the bridge of the instrument) and Argentine capital a kaleidoscope of twittering birds, the explosive orchestral tutti which in the late 19th In 1954 Piazzolla gentle spring breezes and a brief follows. The soloist is affected by century, tango moved to Paris to spring thundershower. Its slow the cold as well; his teeth chatter, rose from its study composition movement is a perfect vignette of courtesy of a series of chords high humble origins with the legendary a lazy spring day, complete with a on the top two strings. In the Largo, to become the , who shepherd’s barking dog (portrayed Vivaldi sketches a cozy scene by the nation’s national numbered composers by the principal viola). The final fire, with the soloist singing sweetly dance and as diverse as Aaron movement is a rustic dance, over the pizzicato raindrops and cultural symbol. , Elliott reminiscent of music for the pifa, the dripping icicles of the orchestra. Argentines take Carter, , Italian country bagpipes. The sighing The finale takes us back out into the their tango very seriously indeed; and Philip Glass as her students. figures that open L’estate make the freezing outdoors, full of wind, snow when tango idol Carlos Gardel died Piazzolla at first kept his background languor of a hot summer day almost and crackling ice. in a plane crash in 1935, dozens a secret from Boulanger, but in one palpable, and the subsequent Allegro of women throughout Central and lesson she asked him to play one of brings swarms of biting and stinging For the first publication of The Four South America attempted suicide. his tangos for her. At its conclusion, insects. The final Presto unleashes Seasons, four sonnets were included Boulanger urged him to devote a full summer thunderstorm, with with the music, each corresponding Astor Piazzolla was born in Buenos himself to tango and to follow his true thunder and lightning portrayed in to a different concerto and describing Aires in 1921. At the age of four, compositional voice, advice which brilliant passages for both the soloist the sound pictures of each movement. his family moved to New York. Piazzolla heeded for the rest of his and the orchestra. The author of these sonnets is While growing up in the United life. x unknown, but the most likely author States, he learned the bandoneón L’autunno begins with the boisterous is the composer himself. x (the prototypical tango instrument, similar to a concertina) and piano.

24 25 SPRING SPRING

Allegro Allegro Giunt’ è la Primavera e festosetti Springtime is upon us. La Salutan gl’ Augei con lieto canto, celebrate her return with festive song, E i fonti allo Spirar de’ Zeffiretti and murmuring streams are Con dolce mormorio Scorrono intanto: softly caressed by the breezes. Vengon’ coprendo l’ aer di nero amanto Thunderstorms, those heralds of Spring, roar, E Lampi, e tuoni ad annuntiarla eletti casting their dark mantle over heaven, Indi tacendo questi, gl’ Augelletti; Then they die away to silence, Tornan’ di nuovo al lor canoro incanto: and the birds take up their charming songs once more.

Largo Largo E quindi sul fiorito ameno prato Al caro mormorio di fronde e piante On the flower-strewn meadow, with leafy branches Dorme ‘l Caprar col fido can’ à lato. rustling overhead, the goat-herd sleeps, his faithful dog beside him.

Allegro Allegro Di pastoral Zampogna al suon festante Led by the festive sound of rustic bagpipes, Danzan Ninfe e Pastor nel tetto amato nymphs and shepherds lightly dance Di primavera all’ apparir brillante. beneath the brilliant canopy of spring.

SUMMER SUMMER

Allegro non molto Allegro non molto Sotto dura Staggion dal Sole accesa Under a hard season, fired up by the sun Langue l’ huom, langue ‘l gregge, ed arde il Pino; Languishes man, languishes the flock and burns the pine Scioglie il Cucco la Voce, e tosto intesa We hear the cuckoo’s voice; Canta la Tortorella e ‘l gardelino. then sweet songs of the turtledove and finch are heard. Zeffiro dolce Spira, mà contesa Soft breezes stir the air but threatening Muove Borea improviso al Suo vicino; the North Wind sweeps them suddenly aside. E piange il Pastorel, perche sospesa The shepherd trembles, Teme fiera borasca, e ‘l suo destino; fearing violent storms and his fate.

Adagio e piano – Presto e forte Adagio e piano – Presto e forte Toglie alle membra lasse il Suo riposo The fear of lightning and fierce thunder Il timore de’ Lampi, e tuoni fieri Robs his tired limbs of rest E de mosche, e mosconi il Stuol furioso! As gnats and flies buzz furiously around.

Presto Presto Ah, che pur troppo i Suo timor Son veri Alas, his fears were justified Tuona e fulmina il Ciel e grandinoso The Heavens thunder and roar and with hail Tronca il capo alle Spiche e a’ grani alteri. Cut the head off the wheat and damages the grain.

26 27 AUTUMN AUTUMN

Allegro Allegro Celebra il Vilanel con balli e Canti Celebrates the peasant, with songs and dances, Del felice raccolto il bel piacere The pleasure of a bountiful harvest. E del liquor de Bacco accesi tanti And fired up by Bacchus’ liquor, Finiscono col Sonno il lor godere. many end their revelry in sleep.

Adagio molto Adagio molto Fà ch’ ogn’ uno tralasci e balli e canti Everyone is made to forget their cares and to sing and dance L’ che temperata dà piacere, By the air which is tempered with pleasure E la Staggion ch’ invita tanti e tanti And (by) the season that invites so many, many D’ un dolcissimo Sonno al bel godere. Out of their sweetest slumber to fine enjoyment

Allegro Allegro Cacciator alla nov’ alba à caccia The hunters emerge at the new dawn, Con corni, Schioppi, e cani escono fuore And with horns and dogs and guns depart upon their hunting Fugge la belva, e Seguono la traccia; The beast flees and they follow its trail; Già Sbigottita, e lassa al gran rumore Terrified and tired of the great noise De’ Schioppi e cani, ferita minaccia Of guns and dogs, the beast, wounded, threatens Languida di fuggir, mà oppressa muore. Languidly to flee, but harried, dies.

WINTER WINTER

Allegro non molto Allegro non molto Agghiacciato tremar trà nevi algenti To tremble from cold in the icy snow, Al Severo Spirar d’ orrido Vento, In the harsh breath of a horrid wind; Correr battendo i piedi ogni momento; To run, stamping one’s feet every moment, E pel Soverchio gel batter i denti; Our teeth chattering in the extreme cold

Largo Largo Passar al foco i di quieti e contenti Before the fire to pass peaceful, Mentre la pioggia fuor bagna ben cento Contented days while the rain outside pours down.

Allegro Allegro Caminar Sopra il giaccio, e à passo lento We tread the icy path slowly and cautiously, Per timor di cader girsene intenti; for fear of tripping and falling. Gir forte Sdruzziolar, cader à terra Then turn abruptly, slip, crash on the ground and, Di nuove ir Sopra ‘l giaccio e correr forte rising, hasten on across the ice lest it cracks up. Sin ch’ il giaccio si rompe, e si disserra; We feel the chill north winds course through the home Sentir uscir dalle ferrate porte despite the locked and bolted doors... Sirocco, Borea, e tutti i Venti in guerra this is winter, which nonetheless Quest’ é ‘l verno, mà tal, che gioja apporte. brings its own delights.

28 29 ÁSTOR PIAZZOLLA’S FOUR SEASONS Ástor Piazzolla introduced elements and were composed at different of jazz, rock, , and times. Originally written for his improvisation into the traditional touring quintet of bandoneón, tango form to create tango nuevo violin, piano, electric guitar and (new tango). This new tango was , the version we hear harsher, grittier and angrier than the this evening is for violin solo and polite salon tango of the previous 30 in an arrangement years. His concerts and recordings by Leonid Desyatnikov. All four brought tango nuevo to audiences works are infused with the melodic around the world. He became close yearning and rhythmic vitality of friends with the great Argentine the tango but include the modernist writer Jorge Luis Borges, and had harmonies and percussive textures a fruitful artistic partnership with that Piazzolla learned from Ginastera the poet Horacio Ferrer, with whom and Boulanger. In many ways, these he wrote the “tango opera” Maria de works are much like the dance-based Buenos Aires. Throughout his career works of Piazzolla’s idol, Johann he experimented with different Sebastian Bach – inspired by dance, combinations of instruments, and but intended for the nightclub and musicians from Yo-Yo Ma to Al Di concert hall. Though they are a Meola have continued to embrace tribute to the passing seasons, they and popularize his music. are also Piazzola’s homage to Buenos Aires, the city that gave tango to the Piazzolla’s Cuatro Estaciones world. x Porteñas were not originally intended as a complete composition (David Cole) NOVEMBER 14, 2020, 7:00 PM – PM 14, 2020, 7:00 NOVEMBER CONCERT II

STRING QUARTET NO. 1, G MAJOR Florence Price (1887-1953) 2nd Movement - Andante moderato (arr. for orchestra)

CHAMBER SYMPHONY, OP. 110A Dmitri Shostakovich (1906-1975) Largo Allegro molto Allegretto Largo Classical Music Largo : MUSICAL SIGNATURES

90.3 & 90.7 INTERMISSION Center Performing Arts Numerica PIANO CONCERTO NO. 3 Wenatchee Philip Glass (b. 1937) Movement I Movement II Movement III (for Arvo Pärt)Minuetto – Final ` Nikolas Caoile, Piano Soloist

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33 FLORENCE PRICE DMITRY SHOSTAKOVICH 14 through June 17 during Chicago’s Dmitri Shostakovich was a Russian character of his first period, Century of Progress Exposition. composer whose and exemplified by the The Nose Although this premiere brought instant quartets, numbering 15 each, are and Lady Macbeth of Mtsensk, into recognition and fame to Florence among the greatest examples from both the more introverted melancholy Beatrice Price, success as a composer the 20th century of these classic and nationalistic fervor of his second was not to be hers. She would “continue forms. His style evolved from the phase (the Symphonies No. 5 and No. to wage an uphill battle – a battle brash humor and experimental 7, “Leningrad”), and finally into the much larger than any war that pure defiant and bleak mood of his last talent and musical skill could win. It period (exemplified by the Symphony was a battle in which the nation was No. 14 and Quartet No. 15). Early embroiled – a dangerous mélange of in his career his music showed the segregation, Jim Crow laws, entrenched influence of Prokofiev and Stravinsky, racism, and sexism.” (Women’s Voices especially in his prodigious and for Change, March 8, 2013). The same highly successful First Symphony. fate would also befall fellow Arkansan He could effectively communicate William Grant Still, the “Dean of Black a melancholic depth and profound Composers” (whose Afro-American sense of anguish, as one hears in Florence Beatrice (Smith) Price Symphony was performed by the many of his symphonies, concertos, became the first black female Rochester Philharmonic Symphony and quartets. Solomon Volkov, in his composer to have a symphony under , the first time controversial Testimony: The Memoirs performed by a major American in history that a major American of Dmitri Shostakovich explains orchestra when Music Director orchestra had played a symphonic work the composer’s seeming bombast as Frederick Stock and the Chicago by a black composer) and many others deft satire of the pomposity of the Symphony Orchestra played the due to rampant endemic and systemic Soviet state, pointing to the “forced world premiere of her Symphony racism. x rejoicing” of Fifth Symphony’s ending. No. 1 in E minor on June 15, 1933, Typical traits of Shostakovich’s style on one of four concerts presented at (Karen Walwyn) include short, reiterated melodic or The Auditorium Theatre from June rhythmic figures, motifs of one or two pitches or intervals, and lugubrious and manic string writing. x

(Rovi Staff)

34 35 PHILIP GLASS NO. 1, G MAJOR Philip Glass is recognized as one as mesmerizing; others hear it as The A-minor string quartet is either of the other quartets. The of the most prominent composers numbingly repetitive and devoid of Florence Price’s second contribution second movement, arranged here for associated with musical minimalism, variety in its simplicity. The latter to the genre. It was preceded by string orchestras, employs extensive the other major figures being Steve view of his style is itself simplistic her G-minor quartet (1929) and dissonances that are more a part of Reich, , and . and fails to take into account the followed by her Five Folksongs in the modernist idioms of the early His style is easily recognizable subtleties and complexities found for string quartet twentieth century than they are of because of its use of repetition, in the many ways Glass varies and (1951). Stylistically, the melodic traditional African American culture. particularly the repetition of small shapes his material. His later styles, and harmonic language of A-minor x distinctive rhythmic and melodic since the 1980s, embrace more than quartet more obviously invokes mid cells, and its reliance on traditional just minimalism and include a broad twentieth-century idioms than does (John Michael Cooper) diatonic harmonies. In some of his neo-Romanticism, with greater early works, like Two Pages (1967), emphasis on melody and more the whole of the piece evolves from complex harmonies. Glass is one a single unit that expands as notes of the most popular and successful are added. In later works, such as classical composers of the late 20th the massive and early 21st centuries, with a (1971-1974), expansion comes by broad fan base that includes both lengthening of note values and other rock and classical enthusiasts. x inventive processes. Many describe his music in the minimalist vein (Robert Cummings)

36 37 CHAMBER SYMPHONY, OP. 110A PIANO CONCERTO NO. 3 (2017) This work is an arrangement of opens with the notes D, E flat, C Written for pianist Simone The collaboration between Shostakovich’s 1960 String Quartet and B, representing the German Dinnerstein who is universally Dinnerstein and continued No. 8, Op. 110, by the well-known spelling of “DSCH,” the monogram known for her interpretations of in the intervening time, and in late conductor Rudolf Barshai. It is a Shostakovich often used in his Bach. In 2016 Dinnerstein met Philip 2017 all parties reunited in quite literal transcription of a work works. The music in this Largo is Glass at his home and performed for the world premiere of Piano whose original instrumentation ominous and mournful, but sounds music by Schubert and some of Concerto No.3 (for piano and strings) is undoubtedly well-suited to the more tragic and intense in the Glass’ piano pieces on the composer’s that took place on 22 September music. Barshai’s larger arrangement original scoring. The savagery of piano. Around this time Dinnerstein 2017 on an entire program which then, should be regarded as an the second movement, however, had started performing with the paired the music of Bach and Glass. A alternative version whose primary is conveyed quite effectively in the virtuoso chamber orchestra A Far few days later, the new concerto was purpose is to allow greater access to string orchestra arrangement. Here, Cry in Boston. Shortly afterwards, recorded along with Bach’s Keyboard Shostakovich’s masterpiece. Shostakovich quotes a Jewish theme Glass was awarded the Glenn Gould Concerto No.7 in G minor, BWV that also appears in the finale of his Prize, Canada’s highest musical 1058 in Mechanics Hall in Worcester, The work is rife with quotations Trio for Piano, Violin and Cello, Op. honor, and at the celebratory Mass., a hall known for its famously from Shostakovich’s earlier works, 67. concert Dinnerstein performed warm acoustic, and was released including the First, Fifth and Tenth Glass’ piano etudes. It was upon on Orange Mountain Music in May Symphonies, and Lady Macbeth of The third movement, marked seeing the magical transaction that 2018. x the Mtsensk District. Originally, Allegretto, fares well in Barshai’s Dinnerstein had with the public it the quartet was said by Soviet arrangement, too, though the became an inevitability that Glass (Philip Glass) sources to be a musical exposé ensuing Largo movements are more would compose a new piano concerto of Fascism, an explanation the tragic-laden, their anguish coming for her. composer did not initially challenge. across with greater intensity and Later, however, he is said to have passion in the quartet. Yet, the denied the quartet was specifically three-note motif in the fourth associated with that idea, pointing movement may have greater power out that the quotations from the in the Barshai arrangement, and the works mentioned above would not be “DSCH” motto that reappears in the consistent with that interpretation. finale is also appropriately conveyed Moreover, Shostakovich quotes from in the string orchestra version. the Russian song “Exhausted by the hardships of prison,” whose presence In the end, it must be said that in the work also cannot be reconciled Barshai handles all the music of with the official Soviet view of the this complex and tragic work with composition. great skill. There have been many recordings of his transcription, at Obviously this quartet was personal least as many as the quartet itself. x and carried much biographical significance for the composer. (Robert Cummings) Indeed, the first movement Largo

38 39

A MUSICAL POT-POURRI...À CARTE LA PIANO AND VIOLA BRASS ENSEMBLES (CONTINUED) Families of the Orchestra with the Instrumental An Evening

BLUE TANGO WILLIAM TELL Paul Coletti ` Piano (Nikolas Caoile) / Viola (Wesley Hunter) ` Trumpet I (Brandyn Button) / Trumpet II (Larry Benoit) / French Horn (Nathan Miles) / Bass Trombone (Don Larson) / Tuba (Brian WOODWIND QUINTET Pomianek)

LA CHEMINÉE DU ROI RENÉ RONDEAU Jean-Joseph Mouret 1. Cortège (Procession) ` Trumpet I (Brandyn Button) / Trumpet II (Larry Benoit) / 2. Aubade (Dawnsong) French Horn (Nathan Miles) / Trombone I (Tom McNair) / 3. Jongleurs (Jugglers) Euphonium (Dave Baldock) / Bass Trombone (Don Larson) / Tuba (Brian 4. La maousinglade (Sarabande) Pomianek) 5. Joutes sur l’arc (Jousting on the River Arc) 6. Chasse à Valabre (Hunting at Valabre) CLASSIC PIZZAZZ 7. Madrigal nocturne (Nocturnal Madrigal) MINIATURE ` Flute (Jeanne Lodge) / Oboe (Lori Laughlin / Clarinet (Josh Cozart) / William Grant Still French Horn (Nathan Miles) / Bassoon (Mike Locke) ` Piano (Kathryn Castrodale) / Oboe (Lori Laughlin) / Violin (Kerry Travers) STRING QUARTET PERCUSSION ENSEMBLE

STRING QUARTET NO.12 IN F MAJOR, OP.96 “AMERICAN” JUNK FUNK Antonin Dvorak Mario Gaetano 1st Movement (Allegro, ma non troppo) ` Cardboard Box-Washtub-Shaker (Becky Fishburn) / ` Violin I (Michelle Vaughn) / Violin II (Gretchen Woods) / Viola (Kay Gossage) / Tin Can, Breakdrums, Shaker (Will Chisholm) / Trash Cans (Stan Fishburn) / Cello (Michelle Williams) Flower Pots, Woodblocks, Thundersheet (Nikolas Caoile) / Pipes, Glass Bottles (Sherry Krebs) 6, 2021 MARCH BRASS ENSEMBLES BRASS AND ENSEMBLE VOLTE & GAVOTTE FROM TERPSICHORE Michael Praetorius ALL BLUES ` Trumpet I (Brandyn Button) / Trumpet II (Larry Benoit) / Miles Davis – arr. Mick Moses French Horn (Nathan Miles) / Euphonium (Dave Baldock) / ` Trumpet I (Brandyn Button) / Trumpet II (Larry Benoit) / Bass Trombone (Don Larson) / Tuba (Brian Pomianek) / Field Drum (Stan Fishburn) French Horn (Nathan Miles) / Trombone I (Tom McNair) / Trombone II (Don Larson) / Euphonium (Dave Baldock) / ALLEGRO FROM Tuba (Brian Pomianek) / Piano (Glenn Isaacson) / Bass (Pat Thompson) / Percussion (Stan Fishburn) ` Trumpet I (Brandyn Button) / Trumpet II (Larry Benoit) / French Horn (Nathan Miles) / Trombone (Tom McNair) / Tuba (Brian Pomianek)

40 41 PAUL COLETTI DARIUS MILHAUD Paul Coletti was born in 1959 include guest visiting professor at , and with whom Milhaud in Scotland to Italian parents. He UMKC, Kansas City, and head of collaborated for many years, setting began playing viola from the age chamber music at UCLA. music for many of Claudel’s poems of 8 years, while at St Mary’s York and plays. While in Brazil, they Lane Primary School, and studied A prominent Scottish viola soloist collaborated on a ballet, L’Homme et at The Royal Scottish Academy, and chamber musician, he has son désir. the International Menuhin performed throughout the world. He Music Academy, and the Juilliard currently lives in with The invasion of France by Nazi School. At age 25, Mr. Coletti was his wife, violist Gina Warnick and Germany forced the Milhauds Head of Strings at the University their daughters, Olivia and Julia, and to leave France in 1940 and of Washington, and two years teaches viola and chamber music at emigrate to the . He later professor at the Peabody the Colburn Conservatory. x secured a teaching post at Mills Conservatory. Other positions College in Oakland, California, Jazz pianist became one of Milhaud’s most famous students when Brubeck furthered his music studies at Mills College in the late 1940s. In a February 2010 interview with JazzWax, Brubeck said he attended Mills, a women’s college (men were allowed in graduate Darius Milhaud (4 September programs), specifically to study with 1892 – 22 June 1974) was a Milhaud, saying, “Milhaud was an French composer, conductor, and enormously gifted classical composer teacher. He was a member of Les and teacher who loved jazz and Six—also known as The Group of incorporated it into his work. Six—and one of the most prolific composers of the 20th century. In 1947 Milhaud was among His compositions are influenced the founders of the Music by jazz and Brazilian music and Academy of the West summer make extensive use of polytonality. conservatory,[15] where popular Milhaud is considered one of the songwriter was key modernist composers. among his students.[16] Milhaud told Bacharach, “Don’t be afraid Milhaud was born in Marseille of writing something people can and began as a violinist, later remember and whistle. Don’t ever turning to composition instead. feel discomfited by a melody.”[17] Milhaud studied in Paris at the Paris Conservatory where he met his From 1947 to 1971, he taught fellow group members Arthur alternate years at Mills and the Paris Honegger and . Conservatoire, until poor health, From 1917 to 1919, he served compelled him to retire. He also as secretary to Paul Claudel, the taught on the faculty of the Aspen eminent poet and dramatist who Music Festival and School. He died was then the French ambassador to in Geneva at the age of 81. x

42 43 ANTONÍN LEOPOLD DVOŘÁK WOLFGANG AMADEUS MOZART Antonín Leopold Dvořák (8 has been described as “the fullest Wolfgang Amadeus Mozart fame but little financial security. September 1841 – 1 May 1904) recreation of a national idiom with (27 January 1756 – 5 December During his final years in Vienna, was a Czech composer, one of that of the symphonic tradition, 1791) was a prolific and influential he composed many of his best- the first to achieve worldwide absorbing folk influences and finding composer of the Classical period. known symphonies, concertos, recognition. Dvořák displayed his effective ways of using them”.[1] and operas, and portions of musical gifts at an early age, being Born in Salzburg, in the Holy the Requiem, which was largely an apt violin student from age six. All of Dvořák’s nine operas, except Roman Empire, Mozart showed unfinished at the time of his early The first public performances of his his first, have in Czech prodigious ability from his earliest death at the age of 35. works were in Prague in 1872 and, and were intended to convey the childhood. Already competent with special success, in 1873, when Czech national spirit, as were some on keyboard and violin, he composed He composed more than 600 he was aged 31. of his choral works. By far the most from the age of five and performed works. He is considered among the successful of the operas is Rusalka. before European royalty. At 17, greatest classical composers of all Following the Romantic-era Among his smaller works, the Mozart was engaged as a musician at time, and his influence on Western nationalist example of his seventh Humoresque and the song the Salzburg court but grew restless music is profound. Ludwig van predecessor Bedřich Smetana, “Songs My Mother Taught Me” are and travelled in search of a better Beethoven composed his early works Dvořák frequently employed also widely performed and recorded. position. While visiting Vienna in in the shadow of Mozart, and Joseph and other aspects of He has been described as “arguably 1781, he was dismissed from his wrote: “posterity will not see the folk music of Moravia and his the most versatile... composer of his Salzburg position. He chose to such a talent again in 100 years”. x native Bohemia. Dvořák’s own style time”. x stay in Vienna, where he achieved

44 45 GIOACHINO ANTONIO ROSSINI JEAN-JOSEPH MOURET Gioachino Antonio Rossini was an he was 18 years old. In 1815 he was Jean-Joseph Mouret (11 April established by the orchestra of the Italian composer who gained fame engaged to write operas and manage 1682 in Avignon – 22 December Opéra, the Concerts Spirituel (1728– for his 39 operas, although he also theatres in Naples. In the period 1738 in Charenton-le-Pont) was 1734), positions which provided wrote many songs, some chamber 1810–1823 he wrote 34 operas for a French composer whose dramatic a public outlet for his own music music and piano pieces, and the Italian stage that were performed works made him one of the leading and which permitted him to live in some sacred music. He set new in Venice, Milan, Ferrara, Naples and exponents of in affluence. standards for both comic and serious elsewhere. his country. Mouret’s father was a opera before retiring from large-scale prosperous silk merchant of Avignon, Mouret married and had one composition while still in his thirties, In Paris in 1855 he became renowned an amateur violinist who recognized daughter. However, his later years at the height of his popularity. for his musical salons on Saturdays, his son’s precocious musical were overshadowed by financial and regularly attended by musicians abilities and provided him with a social disappointments. Sinking into Born in Pesaro to parents who and the artistic and fashionable fine education. The elder Mouret poverty, Mouret died in a charitable were both musicians (his father a circles of Paris, for which he wrote generously supported his son’s asylum run by the Roman Catholic trumpeter, his mother a singer), entertaining pieces. Rossini’s last decision to pursue a musical career. Church in Charenton-le-Pont. The Rossini began to compose by the major composition was his Petite As a youth, Mouret proved himself location of his grave is unknown. age of 12 and was educated at music messe solennelle (1863). He died in a talented singer while also earning school in Bologna. His first opera was Paris in 1868. x success for his compositions. Even though most of his works performed in Venice in 1810 when are no longer performed, Mouret’s At court Mouret maintained a name survives today thanks to post as singer, and directed the the popularity of the - grand divertissements offered by Rondeau from his first Suite the Regent, the duc d’Orléans at de symphonies, which has been his château of Villers-Cotterêts on adopted as the signature tune of the occasion of Louis XV’s coming- the PBS program Masterpiece and of-age in 1722. Concurrently, he is a popular musical choice in many was director of the concert series modern weddings. x

46 47 MILES DEWEY DAVIS III WILLIAM GRANT STILL JR Born in Alton, Illinois, and raised Often referred to as the “Dean of in East St. Louis, Davis left to Afro-American Composers”, Still was study at the in New the first American composer to have York City, before dropping out and an opera produced by the New York making his professional debut as City Opera. Still is known primarily a member of saxophonist Charlie for his first symphony, Afro-American Parker’s bebop quintet from 1944 Symphony (1930), which was, until to 1948. Shortly after, he recorded 1950, the most widely performed the Birth of the Cool sessions symphony composed by an for Capitol Records, which were American. instrumental to the development of cool jazz. Born in Mississippi, he grew up in Little Rock, Arkansas, During his career, he performed attended Wilberforce sold-out concerts worldwide, while University and Oberlin Conservatory branching out into visual arts, film, of Music. and television work, before his death in 1991 from the combined effects of Of note, Still was the first African Miles Dewey Davis III was a stroke, pneumonia and respiratory American to conduct a major an American jazz trumpeter, failure. In 2006, Davis was inducted American symphony orchestra, bandleader, and composer. He is into the Rock and Roll Hall of Fame, the first to have a symphony (his among the most influential and which recognized him as “one of the 1st Symphony) performed by a acclaimed figures in the history key figures in the history of jazz”. leading orchestra, the first to have of jazz and 20th-century music. Rolling Stone described him as “the an opera performed by a major Davis adopted a variety of musical most revered jazz trumpeter of all William Grant Still Jr. was an opera company, and the first to have directions in a five-decade career that time, not to mention one of the most American composer of nearly 200 an opera performed on national kept him at the forefront of many important musicians of the 20th works, including five symphonies, television. x major stylistic developments in jazz. century.” x four ballets, nine operas, over thirty choral works, plus art songs, chamber music and works for solo instruments.

48 49 MARIO GAETANO MICHAEL PRAETORIUS Mario Gaetano recently retired Dr. Gaetano has appeared as a Michael Praetorius was a His first compositions appeared from Western Carolina University, clinician, soloist, or chamber German composer, organist, around 1602/3. Their publication Cullowhee, NC in 2017, after musician at numerous professional and music theorist. He was one of primarily reflects the care for 38 years as Professor of Music. gatherings throughout the U.S. the most versatile composers of his music at the court of Gröningen. Throughout his long tenure, he has A highly respected and prolific age, being particularly significant in The motets of this collection were the distinguished himself nationally as composer/arranger of music for the development of musical forms first in Germany to make use of the a leader in percussion education, percussion, he has 60 published based on Protestant hymns. new Italian performance practices; performance, composition, research, works to his credit that are as a result, they established him as a and service. He holds degrees from performed regularly at high schools He was the youngest son proficient composer. the Crane School of Music (SUNY and universities across the U.S. and of a Lutheran pastor and Potsdam), East Carolina University, abroad. x studied divinity and at His works include the 17 volumes and the University of Memphis. the University of Frankfurt (Oder). of music published during his time He was fluent in a number of as Kapellmeister to Duke Heinrich languages. After receiving his musical Julius of Wolfenbüttel, between education, from 1587 he served 1605 and 1613. x as organist at the Marienkirche in Frankfurt.

50 51 The WVSO Plays Copland - Wilborn - Dukas - Handel Dukas - Wilborn The WVSO - Copland Plays PROMISES OF SPRING WVSO BRASS ENSEMBLE

FANFARE FROM LA PERI ORCHESTRA

APPALACHIAN SPRING* CLASSIC PIZZAZZ

SONATA IN D-MAJOR CHLOE MILLARD WVSO BRASS ENSEMBLE Chloe Millard is completing her junior year as a vocal performance major at “CELEBRATION” FROM THREE MOVEMENTS FOR BRASS Whitworth University in Spokane, Washington. David Wilborn Millard studies voice with Dr. Scott D. Miller, Professor and Director of Voice Studies at Whitworth. She is the recipient of several academic and endowed scholarships for ORCHESTRA her studies at Whitworth, including the Presidential Academic Scholarship, Dorothy Dixon Music Scholarship, and Lucille Martin Music Scholarship. Millard serves the “THE PROMISE OF LIVING” FROM ()* Whitworth Choir leadership team as the secretary and choral librarian. She also

APRIL 24TH, 2021 24TH, APRIL Aaron Copland works in the music office as an assistant. ` Soprano Soloist: Chloe Millard ` Soloist: Kyle Sholinder Born and raised right here in the beautiful Wenatchee Valley, Chloe has performed with Leavenworth Summer Theater, covering Mabel in Pirates of Penzance, and appearing as Liesl in The Sound of Music. Last summer, Millard was cast as Lily in *Arranged for Chamber Orchestra by Murry Sidlin The Secret Garden, but performances were cancelled due to the pandemic. Other musical theater roles include Shelby in The Spitfire Grill, Jo in Little Women, and Wednesday in The Addams Family Musical. Most recently, Chloe sang the role of Morgana in Whitworth University’s production of Handel’s opera Alcina. Millard has performed as soprano soloist with the Wenatchee Valley Symphony, the Columbia Chorale, and with university ensembles. As a trained pianist, she enjoys playing an eclectic mix of classical, contemporary and musical theater repertoire.

Upon receiving her bachelor’s degree at Whitworth, Millard plans to attend graduate school to pursue a master’s degree in vocal performance. Her goal is to one day perform full-time as a soloist nationally and internationally. This summer Chloe will be making her professional debut with OperaNeo in San Diego, a professional program for young artists and emerging professionals in opera. There she will cover the role of Barbarina in Mozart’s Le nozze di Figaro as well as sing in the chorus of Handel’s Serses, perform in a cabaret, in an aria marathon concert, and attend workshops and masterclasses exploring all aspects of the opera business.

An Angela Schuster-Svendsen Memorial Young Musician Competition winner in 2017, Chloe is excited to be joining the Wenatchee Valley Symphony Orchestra again for this concert. 52 53 PAUL ABRAHAM DUKAS Paul Abraham Dukas (1 October At a time when French musicians 1865 – 17 May 1935) was a French were divided into conservative composer, critic, scholar and and progressive factions, Dukas teacher. A studious man of retiring adhered to neither but retained personality, he was intensely the admiration of both. His self-critical, having abandoned compositions were influenced by and destroyed many of his composers including Beethoven, compositions. His best-known work Berlioz, Franck, d‘Indy and Debussy. is the orchestral piece The Sorcerer’s Apprentice (L’apprenti sorcier), the In tandem with his composing fame of which has eclipsed that of his career, Dukas worked as a music other surviving works. Among these critic, contributing regular reviews are the opera Ariane et Barbe-bleue, to at least five French journals. Later his Symphony and Piano in in his life he was appointed professor KYLE SHOLINDER E-flat minor, the Variations, Interlude of composition at the Conservatoire and Finale on a Theme by Rameau (for de Paris and the École Normale de Bellingham tenor Kyle Sholinder graduated from Western Washington University solo piano), and a ballet, La Péri. Musique. x in 2019 with a Bachelor of Music degree in Vocal Performance. During his studies, Kyle has had an opportunity to train with many notable teachers and performers including American lyric tenor Gran Wilson, Lester Lynch, internationally renowned mezzo-soprano Kathryn Weld, and Maitland Peters, chair of the voice department at the Manhattan School of Music. Currently, Kyle studies regularly with Seattle Opera coach Jay Rozendaal.

A frequent performer in venues around Washington State, Kyle has recently been seen as King Kaspar in Peterson Conservatory’s production of Menotti’s Amahl and the Night Visitors.

Other notable roles include Nerone in Monteverdi’s L’incoronazione di Poppea, Karl Franz in Romberg’s The Student Prince (Icicle Creek Center for the Arts), and La Rainette in Ravel’s L’enfant et les sortilèges. He has also appeared in the ensembles of various productions ranging Princess Ida (Gilbert and Sullivan Society), Mozart’s Cosi fan tutte (Western Washington University), and Puccini’s La Bohème (Pacific Northwest Opera). Equally at home on the concert stage, Kyle has appeared as tenor soloist in Handel’s Messiah (Bainbridge Messiah Sing Along) and in Mozart’s Requiem in D-minor with the Symphony Orchestra of Western Washington University.

Future plans for this young tenor will see him back at university for a second undergraduate degree in Choral Music Education. Also on his to-do list will be a general “post-Covid” refresh climbing and backpacking around the beautiful Pacific Northwest before applying to universities around the country to begin post graduate studies in Vocal Performance.

Singing the role of Martin in this evening’s performance of “The Promise of Living” from Aaron Copland’s opera The Tender Land, marks Kyle’s debut appearance with the Wenatchee Valley Symphony Orchestra 54 55 AARON COPLAND Aaron Copland (November 14, “The Promise of Living”, a quintet 1900 – December 2, 1990) was an at the end of Act I in the original American composer, composition setting, is sung in our performance teacher, writer, and later a conductor as a duet by the characters of Laurie of his own and other American and Martin with text celebrating the music. Copland was referred to by harvest and its traditions. Copland’s his peers and critics as “the Dean of use of the folk hymn “Zion’s American Composers”. The open, Walls” and his transparent scoring slowly changing harmonies in much provide a dramatic backdrop for the of his music are typical of what many celebratory end of Act I. people consider to be the sound of American music, evoking the vast The promise of living with hope and American landscape and pioneer thanksgiving is born of our loving, our spirit. He is best known for the friencs and our labour. works he wrote in the 1930s and 1940s in a deliberately accessible The promise of growing with faith and style often referred to as “populist” with knowing, is born of our sharing our and which the composer labeled his love with our neighbour. “vernacular” style. Works in this vein include the ballets Appalachian We plant each row with seeds of grain and Spring, and , Providence sends us the sun and the rain. his Fanfare for the Common Man and Third Symphony. In addition By lending a hand, by lending an to his ballets and orchestral works, arm, bring out from the farm the he produced music in many other blessings of harvest. genres, including chamber music, vocal works, opera and film scores. Give thanks there was sunshine. Give thanks there was rain. Give thanks we The Tender Land is an opera with have hands to deliver the grain. music by Copland and by Horace Everett, a pseudonym for O let us be joyful, oh let us be grateful to Erik Johns. The opera tells of a the Lord for his blessing. farm family in the Midwest of the United States. Copland was inspired O let us sing our song, and let our to write this opera after viewing song be heard. the Depression-era photographs of and reading James Let’s sing our song with our hearts. Agee’s Let Us Now Praise Famous A promise in that song is labour and Men. The themes of gain and loss, sharing and love. leaving and staying resonated strongly with Americans emerging x from depression and world war.

56 57 GEORGE FRIDERIC HANDEL DAVID WILBORN George Frideric Handel (23 the Italian Baroque. Handel David Wilborn is Assistant Professor positions in such notable ensembles February 1685 – 14 April 1759) was started three commercial opera of Music at Texas A&M University as the Eastman Wind Ensemble, a German-born Baroque composer companies to supply the English in College Station, where he teaches Texas Chamber Symphony, Round becoming well known for his nobility with Italian opera. In the low brass studio, coordinates Top Festival Orchestra, Amarillo operas, , anthems, concerti 1737 he had a physical breakdown, small ensembles, and serves as Symphony, and the Music Academy grossi and organ concertos. changed direction creatively, Director of the University Campus of the West Orchestra. He’s Handel received his training and addressed the middle class Band. Wilborn holds the Bachelor of performed in backup orchestras for in Halle and worked as a composer and made a transition to English Music degree from the University of Shirley MacLaine, Bob Hope, Tommy in Hamburg and Italy before settling choral works. After his success Texas at Austin, the Master of Music Tune, Manhattan Rhythm Kings, and in in 1712, where he spent with Messiah (1742) he never degree from the Eastman School of Toshiko Akiyoshi. the bulk of his career and became a composed an Italian opera again. His Music, and the Doctor of Musical naturalised British subject in 1727. orchestral Water Music, and Music Arts degree from the University of Wilborn is also the composer of for the Royal Fireworks remain Texas several significant works for brass He was strongly influenced steadfastly popular. Almost blind, instruments. His works are currently both by the middle- he died in 1759, a respected and rich Wilborn is the author of numerous published by International Trombone German polyphonic choral man. x articles dealing with music education Association Press, Kagarice Brass tradition and by composers of and trombone pedagogy. As a bass Editions, and Wehr Music House. x trombonist, Wilborn has achieved

58 59 Thank You Wenatchee Valley Symphony Orchestra would like to thank our wonderful community for the exceptional support we received from you for our 74th season 2020-21

We love our volunteer musicians. We love our caring board members. We love our business partners. We love our volunteers who help with our events. We could not do it without you and your support!

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