Dvorák CELLO CONCERTO

Friday and TIMPANOGOS SYMPHONY Saturday ORCHESTRA September 16-17, 2016 7:30 pm Timberline Middle School 500 W Canyon Crest, Alpine

Elizabeth W. Marsh Cello

Season Sponsor

Member FDIC A Message from the Music Director

Dear Friends, concert together. We will once again invite you to Welcome to the 2016-2017 Timpanogos come in costume and participate in our costume Symphony Orchestra concert season. This is our parade and trick-or-treating. Last year we sold out sixth full year and we are thrilled to have you join both performances, so get your tickets early for us. Since our last concert earlier this year in May, this year’s Halloween event. Please note that the we brought the members of the TSO on tour to Halloween concert will be at Willowcreek Middle Tooele, Brigham City, and Nephi. It was a School in Lehi. tremendously successful trip. We performed a We also have planned a special Christmas community concert in each of the three cities, concert with the Highland Choral Arts under the presented an education concert at four school direction of Cathy Jolley. We will be presenting assemblies, participated in a service project at the Rutter’s Gloria, selections from Handel’s Messiah, Box Elder Food Pantry, and had some fun at the and other Christmas favorites. In February we will movie and the bowling alley. We thank you for the bring you music inspired by Shakespeare’s Romeo support you have provided that made this tour and Juliet, and in May our bi-annual Aspiring possible! Musicians Competition. Mark your calendar for Now we are back to another season, and I each of these concerts—you won’t want to miss think you’re going to enjoy this year. We start any of them. tonight with the Dvořák Cello Concerto Once again, we acknowledge our season performed by our wonderful cello soloist, sponsor, the Bank of American Fork. The bank has Elizabeth W. Marsh. Elizabeth is a fabulous soloist generously agreed to provide a dollar for dollar and so great to work with. I’m betting that many match, up to $15,000. For every dollar donated to of you have never heard a cello concerto before the TSO, the Bank of American Fork will match and may not fully appreciate the beauty of this that donation. Please consider a contribution to instrument. What better introduction to the cello the TSO and make your dollar have double the can there be than one presented by such a gifted impact. We couldn’t run this organization and put cellist? I hope you leave tonight’s performance with on these types of concerts without the substantial a greater appreciation of this beautiful instrument contributions that our faithful followers make to and this marvelous music. In addition to the cello our organization. concerto, tonight we also present some other magnificent music by Debussy, Ravel, and Enescu. Thank you for your As for the rest of the season, we have put support and enjoy the together some terrific music. We are doing concert! another Halloween concert this year. Three performances are scheduled: one for Friday, October 28 at 7pm and two for Saturday, October 29: at 3pm and 7pm. We chose the John Pew earlier start time for October because we are Director encouraging families with children of all ages to Timpanogos Symphony attend this concert. We have lifted our regular age Orchestra restriction and hope families will attend this fun

The Timpanogos Symphony Orchestra is funded in part by grants from the National Endowment for the Arts, the George S. and Dolores Doré Eccles Foundation, the Utah Arts & Museums Council, and the Rocky Mountain Power Foundation.

Rocky Mountain Power Foundation Concert Program

Cello Concerto in B Minor, op. 104 (1895) Antonín Dvořák (1841-1904) Elizabeth W. Marsh, cello I. Allegro II. Adagio, ma non troppo III. Allegro moderato—Andante—Allegro vivo

INTERMISSION

Prelude to the Afternoon of a Faun (1894) Claude Debussy (1862-1918)

Alborada del gracioso (1905) Maurice Ravel (1875-1937)

Romanian Rhapsody No. 1 in A Major, op. 11 (1901) George Enescu (1881-1955)

2 John Pew – Music Director

John Pew is Music Director of the Timpanogos classics and movie music, and an evening of Symphony Orchestra. He is an energetic classic rock. champion of live symphonic music known for Past soloists with the TSO have included his warm rapport with audiences and Richard Elliott, Principal Tabernacle Organist; musicians alike and his genius for innovation violinists Jenny Oaks Baker, Monte Belnap, and and education. Rosalie Macmillan; guitarist Lawrence Green; He has led the TSO since founding it in vocalists Nathan Osmond and Melissa Heath; 2010. Now in its sixth season, the orchestra pianists Jeffrey Shumway, Scott Holden, Robin has grown to include 75 musicians, an actively Hancock, Vedrana Subotic, David Glen Hatch, engaged board of directors, and many other volunteers who together donate more than 10,000 hours each year to bring symphonic music to north Utah County. Like John himself, the musicians in the orchestra are unpaid. Selected by audition, they nonetheless represent different skill levels, from amateur to professional. John is a master at keeping all of them inspired and engaged, forging personal connections and leading rehearsals with a sense of energy and and Josh Wright; and narrators Bruce Seely abandon. and Lloyd Newell. Past concerts have included He is a tireless, enthusiastic teacher in performances with the Deseret Chamber many settings. He educates audiences through Singers and the Wasatch Chorale. his choice of repertoire and program notes John’s passion can be traced to early and by taking the TSO and its music to childhood; he began piano lessons at age five. elementary schools and underserved In high school he held season tickets to the communities from Tooele to Nephi. He San Francisco Symphony Orchestra and began reaches out to youth through the TSO’s to amass a large collection of classical scores Aspiring Musicians Competition and by inviting and recordings, spending countless hours young musicians to play side-by-sides in the studying the masters. He studied piano with orchestra. He stretches the orchestra by Reid Nibley at Brigham Young University, but programming a balance of challenging and pursued a career in software engineering. John accessible music, by inviting professional now works for SAP in Newtown Square, musicians to coach sections and to critique the Pennsylvania and telecommutes from his orchestra as a whole, and by featuring superb home office in American Fork. guest soloists. His prior posts include Assistant Conduc- The TSO has gained a reputation among tor of the Santa Clara Chorale, Music Director community orchestras for excellent perfor- of the Oakland Temple Pageant, and Music mance and innovative programming. Innova- Director of the Temple Hill Symphony tions have included new commissions, Orchestra in Oakland, California, a position he performance premieres, and outside-the-box held for eight years. programming such as an organ symphony, John and his wife, Renee, reside in music from the Baroque and classical periods, American Fork, Utah, and are the parents of family-friendly Halloween concerts, Broadway five children.

3 Our Guest Performer

Elizabeth Marsh began cello study at American Youth Symphony, USC Symphony the age of two with her mother, Denise and Chamber Orchestra, YMF Debut Willey. She also had the pleasure of studying Orchestra, and currently the Orchestra at Suzuki cello with Richard Hoyt, Carey and Temple Square. Elliott Cheney, Monica Call, and Shauna Mrs. Marsh has taught private music Bowman. She earned her Bachelor of Music lessons for nearly 20 years. She served as degree in Cello Performance from the conductor for American Heritage School’s University of Southern California where she Lyceum Chamber Ensemble and studied with Eleonore Schoenfeld and Peter Crescendo Orchestra, and she occasionally Stumpf. guest conducts and coaches youth Elizabeth has been a featured soloist with orchestras and cello choirs. She recently several orchestras including the Utah published a cello scale book, The Scale Trail Challenge for the Young Cellist, and will soon publish books in the same series for violin and viola. Elizabeth and her husband Gregory love bringing their growing family to concerts and singing together with their four beautiful children. They spend their date nights rehearsing and performing with the Mormon abernacle Choir and Orchestra at Symphony, Young Musicians Foundation Temple Square. They recently had the Debut Orchestra, University of Southern opportunity to tour with the Choir and California Symphony, Utah Valley Symphony, Orchestra in New York, Boston, Washington American Fork Symphony, Grand Junction D.C., and Europe. Symphony Orchestra, and Witness Music. She has also served as principal cellist of the

4 Contributors

Gold Conductor’s Ralph & Edy Howes Peter & Barbara Dill Penny Nelson Circle ($5,000 - Up) Dee & Kay Jacobs David & Pat Dixon Robert E. Ogden Anonymous (1) Wesley & Wendy Jacobs Cindy Dupaix Chuck & Carolyn Cherokee & Walker Shirley Lu Sandra Ellexon Owen Conductor’s Circle Jay & Mili McQuivey Curtis & Phyllis Fillmore Richard & Janice ($1,000 - $4,999) Cathie B. Miller Scott & Miriam Frazier Pedersen Anonymous (5) Randy & Sherrie Morris Bart Fuhriman Karene Pierson The Benevity Community John & Renee Pew Nate & Janelle Fuhriman Helene Pockrus Impact Fund Paul & Marianne Ruben Sandra Fyffe & Rebecca Robert & Jean Porcaro Richard & Patricia Clyde Daren & Louise Shaw Hansen Paul & Chris Redd The Dorsey & Robert & GaeLynn Strong David & Nancy Gardner Linda Rehart Whitney Foundation Kathleen Van Dijk David & Fawn Geslisan Trevor Rhoades Fidelity Charitable Stephen & Janice Graham Seymour Robbins TSO Family Gift Fund Chuck & Lori Graves Hardie & Joyce Rollins Members Kent & Karen Lundquist Bruce Gunther Randy & Daryl Rollins Angie Allen Sandler O’Neill Paul Gunther Larry & Judy Sagers Kathryn Allen & Partners, LP Russell Gunther LaRae Savage Muriel Allridge Scott L. & Catherine B. Ree Anne Hansen David & Janet Scott Soren & Nina Rae Smith Billie Hawkins Bruce & Melanie Seely Anderson Sponsor ($500 - Debra Holley Clayn & Karen Smith Kent & Denise Astle $999) Kathy Horman Glen & Beverly Smith Drake Backman Paulo & JaLayne Bangerter Ralph & Edy Howes Janice Smith Jan N. & Verla Rae Bair John & Sherry Kelley Tim Irwin Emily Spencer Bruce & Emily Barlow John Wright Dee & Kay Jacobs Robert & GayLynn Strong Arvin & Maurine Bellon Donor ($200 - $499) Minola Jacobsen Keith & Karma Swain Roy & Pam Bodtcher Robert & Donna Jeff & Rachel Jensen Kathryn Tabler Phil & Reesa Boren Bowman Ruth Johnson Peter & Anita Thelen Robert & Donna Ives Wood Turning Steven & Jacquie Johnson Barb Thomas Bowman Dean Smiley Jessica Jones C. Eric & Lisa Jerome & Sandra Heidi Szoke Steve & Dianne Jones Thompson Broekhuijsen Kevin Whatcott & Jennifer Dan Kelsay Cory Thorson Robert & Becky Brouwar Stott Madsen-Whatcott Rodney & Anne Kendall JoAnn Tubb Bruce Brushcke Contributor John & Betty Lamb Fred Ward Kent & Doris Bullock ($100 - $199) Richard Lee Charles W. Whitaker Dennis & Lynette Butler Ted Barrat Kent & Karen Lundquist Scot Wiley Paul & Nita Caldwell Parley Belnap Lee & Jan Lyon Teri Wilson Richard & Vicki Callister Ed & Mary Busath Duane & Erlyn Madsen Richard & Coleen Carter Joan Caldwell Kirk & Shannon Magleby Aaron & Jennifer Vicki Callister Colleen Magleby Chamberlain Kay & Diane Christensen Stan McQueen Matthew & Karen Chase Lawrence & Carole Frank & Deanna Metcalf Robert Chatfield TSO members receive Clarke Bruce Miller Kay & Diane H. two season tickets and Rachel Cutler Cathie Miller entrance to the “Meet the Christensen Roy & Kerrie Davis Anette Miner Artist” pre-concert Richard & Patricia Clyde Sandra Ellexon Curtis Miner reception before each Ron & Diana Crawford Clyde & Kathy Farnes Dennis & Judy Miner concert. Membership Al Cutler begins at $120 for the Grant & Mary Gifford Valerie & Monica Myers Race & Rosalyn Davies season or $10 per month. Thomas & Donde Hayes Lon & Kaye Nally Kent & Patty Davis

5 The Composer

isHALLOWEEN Dead CONCERT

Spooktacular Music and Costume Concert John Bytheway, narrator Friday, October 28, 2016 • 7 PM Saturday, October 29, 2016 • 3 and 7 PM TIMPANOGOS SYMPHONY Willowcreek Middle School ORCHESTRA 2275 W 300 N, Lehi

Tickets: General Admission $10 Bring the whole family in Seniors & Students $8 costume. Costume parade Family Pass: $30 with goodie bags for the Tickets at the door or at kids. Trick-or-treating! theTSO.org • 801-210-2466

6 Program Notes

Antonín Dvořák (1841-1904) figures around its serene melody. In the lively rondo Cello Concerto in B minor, Op. 104 finale, the composer intersperses the dramatic main When Bedřich Smetana took over the directorship theme with references to music from the first and of Prague’s Provisional Theatre in 1866, the principal second movements, calming almost to a complete halt violist was Antonín Dvořák. At the time, Dvořák’s before accelerating into a dynamic conclusion. ambition was to become a composer, and indeed his Performance Time: 40 minutes early works follow the Smetana model of classical form with passages of a generalized “folkish” flavor. Prelude to the Afternoon of a Faun But he would soon explore a somewhat different Claude Debussy (1862-1918) path, infusing the essence and not just the surface of At the end of the 19th century, as French music Slavic folk traditions into his works. Dvořák’s brand of was just beginning to assert itself after a century and a musical nationalism earned him widespread respect, half of Austro-German domination, Claude Debussy and he came to be regarded as a kind of “Czech developed a novel and thoroughly French style of Chopin.” composition. In contrast to the Germanic idioms of Early in his career, when he was only in his twenties, the 19th century, Debussy’s music favored timbre and Dvořák had started to write a concerto for cello, but texture over form and structure. His harmonies were never finished the work. When requests for a cello often non-functional, employing unresolved concerto began again later in his career, Dvořák dissonances and free modulation. Debussy’s ideal was, demurred, offering the opinion that the cello was a after all, “music so free in form that it seems fine instrument for orchestral playing but not really improvised,” as if it were “torn from a sketchbook.” conducive to a solo role. And yet Debussy was still respectful toward the Dvořák was almost as surprised as anyone, then, historical traditions of music. He considered himself when he finally decided to write a cello concerto for essentially a Classicist, not so much in musical style but his friend, Hanuš Wihan, in 1894. At the time, he was in his attention to rhythm, phrasing, and form. serving as Director of the National Conservatory in Debussy’s new musical language opened a door for New York City. Victor Herbert, a cello professor at 20th-century experimentation, ensuring the the Conservatory, had premiered his own Cello composer’s lasting popularity and reputation. Concerto earlier that year, and may have inspired If a single work can be credited with initiating this Dvořák to give the cello another chance. The work resurgence of French music, it is Debussy’s Prelude to was completed early the following year, in February the Afternoon of a Faun, a symphonic poem written in 1895. 1894. Debussy intended this work as a “very free Johannes Brahms, Dvořák’s dear friend and advisor, illustration” of Mallarmé’s evocative mythological corrected the proofs of this concerto in preparation fantasy, titled “The Afternoon of a Faun,” but the poet for publication, and played through the work (on himself was not so sure that music could serve his piano) in his own home in 1896. He declared, “If I had poetry well. After hearing the premiere performance, known that it was possible to compose such a though, Mallarmé wrote to the composer that he was concerto for the cello, I would have tried it myself!” It “deeply moved…. Your illustration presents a is almost universally regarded today as one of the dissonance with my text only by going much further, great cello concertos, “supreme,” and “the king.” really, into nostalgia and into light, with finesse, with The moody opening theme begins softly in the sensuality, with richness. I press your hand admiringly, orchestra before building to a stronger statement, Debussy.” followed by a delicate, pastoral secondary melody. As The solo flute that opens the work (symbolic of the the solo cello enters, it restates the main theme in the faun’s pan-pipes) presents a sinuous, free-flowing major mode, and continues to develop the two main melody that forms the basis of the entire piece. ideas throughout the movement. Redolent with perfumed impressionistic evocations A ravishing, peaceful Adagio allows the solo cello to of love and desire, the music moves through a show off its long-breathed lyricism, with orchestral dream-like illusion of fragments and half-imagined winds providing idyllic accompaniment. But a stormier melodies before settling finally into undisturbed middle section temporarily disrupts the peace. In a slumber at the end. cadenza-like passage near the end of the movement, Performance Time: 12 minutes the cello accompanies itself as a flute weaves birdcall

7 Program Notes

Alborado del gracioso had inherited from the Romantic era. In Czechoslo- Maurice Ravel (1875-1937) vakia it was Dvorˇak and Janácˇek that championed Maurice Ravel had an acute ear for the exotic. In their native folk culture, Bartók in Hungary, and his compositions he evokes the musical cultures of Szymanowski in Poland, while in Romania the most an extraordinary variety of lands and peoples- famous representative of nationalism in music was Hebrew, Hungarian and Greek folk melodies; undoubtedly Georges Enescu. Madagascar, Arabia, and the Balkans; and, of course, While an ardent nationalist, Enescu still believed Spain, the “exotic” locale of choice (and conven- that the musical language of German Romanticism ience) for so many French composers in the 19th was innate to him—he once said, “Some Wagnerian century. Ravel, whose mother was Basque, perhaps chromaticisms belong… to my nervous and vascular felt a closer legitimate kinship with Spain than did systems.” But the folk tunes and rhythms that suffuse Bizet or Lalo, for example (or his own colleague his music made Enescu something of a cultural hero Debussy, for that matter)—all of whom also wrote in Romania; his home town was even re-named Spanish-inflected works “Georges Enescu” in his honor. Though his 1928 Bolero would later cement An undisputed musical genius, Enescu at 7 Ravel’s global fame, the first of his major Spanish- became the youngest student ever admitted to the flavored pieces to be given a Spanish title was a Vienna Conservatory. The celebrated cellist Pablo movement from the 1905 suite for solo piano, Casals ranked him as the “greatest musical Miroirs. “Alborado del Gracioso,” the fourth of five phenomenon since Mozart.” And Alfred Cortot, one piano works from the suite, was dedicated to Ravel’s of the finest pianists of the 20th century, once said friend the music critic Michel Calvocoressi. It was that Enescu’s piano technique was better than his orchestrated by the composer himself in 1918 as a own, even though Enescu was primarily a violinist. ballet score for the impresario Sergei Diaghilev In addition to composing, Enescu was active The title is usually translated as “Morning Song of throughout his career as a conductor, violinist, pianist, the Jester,” but is actually more ambiguous than that. and teacher. As a result, his output was limited. He Ravel himself understood the difficult in translating assigned opus numbers to only 37 works, but the “gracioso”—a stock character in Spanish comic explained, “If the number of my works is rather small, theater—into other languages, and delighted in its this is because I wanted to give… everything that Spanish esotericism. He did offer, though, that the was best in me.” nearest equivalent might be the character of Figaro, The most popular of Enescu’s works today at the from Beaumarchais’ plays and operas by Mozart and two early Romanian Rhapsodies, both composed Rossini. when he was still only nineteen years old. The Like a clown-song in the morning, this work treads vibrant Romanian dance flavor and exotic modal a fine line between parody and serious thought, just inflections give them an air of spontaneity that has as it seeks to balance the vigorous guitar-strums of ensured their lasting place in the orchestral the opening and closing with the swooning, almost repertory. Enescu said of the first Rhapsody that it mournful love song in the middle. In this sense, it was “just a few tunes thrown together without parallels the dawn of the title, where distinctions thinking about it,” but his sketches show that he between light and dark, conscious and subconscious, thought carefully about how to “stitch together” and are similarly ambiguous. orchestrate the series of Romanian folk tunes that Performance Time: 8 minutes comprise the work. Opening with a gentle sunrise duet between clarinet and oboe, it then gradually Romanian Rhapsody No. 1, builds through a handful of folk melodies into a in A major, Op. 11 vigorous dance finale. Georges Enescu (1881-1955) Performance Time: 12 minutes Toward the turn of the century, composers at the fringes of the Franco-Germanic tradition began to rediscover the latent beauty of their own folk music traditions, and merge it with the musical style they

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10 Members of the Orchestra

Conductor and Michael Laudie Nathan Ives Trumpet Music Director Jennifer Lew Tad Jacobs Bix Hollenbach* John Pew Georg Meiwes Rynell Lewis Ben Russell 1st Violin Lynda Pettersen Flute Harold Henderson Kristi Jenkins* Marcia Smith Hillary Kimball* Daniel Carr Whitney Armantrout Laura Tingey Anjanette Butler Trombone Tristyn Farrington Viola Nicole Elkins Mike Burger* Stacie Glass Britney Anglesey* Oboe Dustin Fuller Beverly Hansen Sophie Choate Luca de la Florin* Bob Lee Gae Lyn Henderson Libby Halbrook Kerrie Davis Tuba Linda Jankowski Lily Springer English Horn Paul Sorenson Kathryn Moore Kathryn Tabler Nicole Marriott Harp Diane Peterson Cami Turpin Clarinet Julie Staples* Janae Pew Denise Willey Amy Gabbitas* Mallory Wright Kaitlin Rackham Cello Gary Miner Timpani Bonnie Whetten Dorothy Olsen* Bassoon Paul Worthen Sophie Wilson Rachel Burton Christy Eisley* Percussion 2nd Violin Rachel Cutler Christine Roach Kelli Stowers* Dianne Freestone* Rachel Poulsen French Horn Camille Barlow Dan Belnap Stacie Ramos Brad Freestone* Paige Beal Andrea Cannon Don Sherwood Roxanna Chipman Whitney Christensen Rachel Ebeling Alexis Watson Tova Leigh-Choate Tracy Furr Jenn Fetzer Bass Aaron Price Ellen Townsend Michelle Jones Bob Lee* Emilia Williams *Principal

Supporting the TSO is supporting not only this small organi- zation but it's the whole community that surrounds it. You're not making this organization great, you're making this community great. Jeffery Pew - Guest Artist

11 Concert Etiquette Thank you for joining us this evening. As a • If young children disrupt others' ability to member of the audience, you are an listen, please take them from the audito- important part of tonight’s concert. As a rium until they are quiet. courtesy, please observe the following rules • Refrain from talking during the perfor- of concert etiquette: mance and be thoughtful of others by • Arrive on time. If you are late, an usher keeping programs, jewelry, candy wrappers, will seat you during a break in the perfor- and electronic devices silent. mance. • Watch the conductor when the music • Remain seated while the performance is stops to decide whether or not to applaud. in progress. If you must leave before the Some musical works have several move- performance is over, please wait until a ments and the audience applauds only after piece is finished and the audience is all movements have been performed. applauding.

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12 13 Behind the Scenes

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Mission Statement The mission of the Timpanogos Symphony Orchestra is to present high-caliber perfor- mances which inspire musicians and audiences alike; to nurture understanding and appreciation of symphonic music; and to enrich the cultural life of the greater Utah County community.

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There's a magic that happens on stage, a connection John has with us, an emotional connection with us through his body language, his emotions, and even just the breathing together. There's a synergy, a communion. Then when it's all over he looks at us, teary-eyed, and mouths "Bravo." It's team work. He makes us play beyond our natural abilities. I can't tell you how many times I've looked at my stand partner at the end of a performance and we're both in tears because we did it! Michele Jones - 2nd Violin

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