Russian Diversions

R. Joseph Scott Conductor & Music Director

eighteenth season 2009 2010 Orchestra Management

Board of Directors elcome to today’s performance of the Sammamish Symphony Orchestra Founding Director will join forces with four other area Joyce Cunningham Sammamish Symphony Orchestra. W groups to perform Mozart’s immortal Music Director & Conductor As I celebrate my 11th year with this group Requiem. It is a great honor to our R. Joseph Scott of talented musicians, it is gratifying to Orchestra to be asked back for this refl ect upon the remarkable growth of the special event. President Miranda Thorpe Orchestra. The dedication and diligence of each member is evident in the ever- The Sammamish Symphony Vice-President improving artistry displayed in each Orchestra’s 2009/2010 season off ers Deborah McCormick performance. Our achievements have been a dynamic array of music selections from traditional works to new Treasurer recognized in the invitation from Northwest Pat Hebner Associated Arts to participate again in a favorites. The entire family will enjoy special appearance at Benaroya Hall. The performances such as Holst’s The Secretary Planets, Rimski-Korsakov’s Russian Cathy Grindle Easter Overture, and Beethoven’s Triple Concerto for Piano, Violin, Dennis Helppie Andy Hill Cello and Orchestra (featuring Myrl Venter world-class soloists from the Seatt le Tim Winter Symphony and Finisterra trio), as well as a host of popular music included on our Holiday Pops concert in December Honorary Board Members Don Gerend and our American West Pops concert Mayor, City of Sammamish in June. Be sure to visit our website at www.sammamishsymphony.org for Cheryl Pfl ug a complete listing of works presented Washington State Senator this season. Skip Rowley Chairman, Rowley Properties Now, I invite you to sit back and enjoy the concert!

Personnel R. Joseph Scott - R. Joseph Scott

Librarian Leslie Nielsen R. Joseph Scott Assistant Librarians Jonathan Feil – Brass Kristin Edlund, Shelby Eaton – Violins native of Eastern Oregon, R. Joseph Scott has been a dynamic leader in the Shannon Nelson – Woodwinds A Northwest musical community for over 40 years. He att ended the University of Oregon, School of Music and studied with Eugene Furst and Wolfgang Martin Grants of the Portland Opera. Miranda Thorpe Aft er relocating to Seatt le, Mr. Scott continued his studies with Henry Holt of the Seatt le Personnel Opera, Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol of the Seatt le Jonathan Feil Youth Symphony. He founded the Bellevue Philharmonic Orchestra, serving as Music Director, Conductor and General Manager from 1967 – 1997. He is currently observing Concert Program Jonathan Feil his 11th year with the Sammamish Symphony Orchestra. Emaugo Creative Maestro Scott has conducted concerts featuring a diverse array of artists, including Cover Photography Metropolitan Opera star Roberta Peters; violinist Pamela Frank; the Seatt le Opera Chorus; Applied Digital Photography the Empire Brass Quintet; the Seatt le Symphony Choral; and vocalists Anna Maria Alberghett i, Lou Rawls, Maureen McGovern and Marni Nixon. Marketing Deborah McCormick Mr. Scott is Resident Conductor of Lyric Opera Northwest, and has appeared with numerous musical ensembles, including the Bellevue Opera. He has conducted world Webmaster premieres of works by Alan Hovhaness, Vaclav Nelhybel and various regional composers. Mary Corder

2 Program

R. Joseph Scott, Music Director and Conductor

Sunday October 18, 2009 2:00 p.m. Eastlake Performing Arts Theater

Julian Schwarz, Cello

Nicolai Rimsky-Korsakov Dance of the Tumblers from The Snow Maiden

Edward German Theme and Six Diversions

Peter Ilyich Tchaikovsky Variations on a Rococo Theme for Cello and Orchestra, Op. 33 Julian Schwarz, Cello

Intermission

Alexander Glazunov Symphony No. 5 in B flat Major, Op. 55 Moderato-Maestoso-Allegro Scherzo-Moderato Andante Allegro-Maestoso

Steinway piano provided by Sherman Clay

Please turn off all cell phones and pagers.

No audio/video recording or flash photography allowed during the performance.

3 Personnel

First Violin Bass Trumpet Percussion Dennis Helppie, Ericka Kendall, Jonathan Feil, Jim Truher Concertmaster Principal Principal Craig Wende Marianna Vail, Jarod Tanneberg, Erik Reed, Brian Yarkosky Assistant Concertmaster Assistant Principal Assistant Principal Sandy Anuras Natalie Johnson Jeremy Jordan Piano/Keyboard Ian Backman Harmony Young* Stas Zakharenko Catherine Lowell David Drassal Kristin Edlund Flute Trombone Harp Maryam Fiala Melissa Underhill, Scott Sellevold, Alison Austin Joel Green Principal Principal Cecellia-Wendy Lee Tori Berntsen* Matt Stoecker *On Leave of Absence Lynne Martinelli Torrey Kaminski Heather Raschko Elana Sabovic-Matt Bass Trombone Tim Strait Gerald Larkins Piccolo Second Violin Torrey Kaminski Tuba Shelby Eaton, Mark Wiseman, Principal Oboe Principal Feather Asmussen, Dennis Calvin, Assistant Principal Principal Tympani Trish Brock Susan Jacoby, Eric Daane, Tannis Edwards Co-Principal Principal Linda Gagnier David Barnes*, Cathy Grindle Co-Principal Paula Libes Donna Mansfield Clarinet Fran Pope Jayne Marquess, Apply today’s concert ticket $89 Adult Includes Miranda Thorpe Principal toward the purchase $69 Senior Benaroya Tim Winter of season tickets $69 Student performance Kathy Carr Viola Carolyn Eller Libby Landy, SSO Ticket Information Principal Bass Clarinet 2009-2010 Jan Rider, Linda Thomas* Assistant Principal Carolyn Eller Tickets may be purchased $16 Adult Kathryn Boudreau-Stroud on the internet Geoffrey King Bassoon or by phone $11 Senior (62 & up) Dan Pope Shannon Nelson, 1-800-965-4827 $10 Student (11-18) Lori Terpening Principal $32 Family Barb Thorne Margaret Shell Children (10 & under) Myrl Venter Free Contra-Bassoon Gordon Brown For more ticket info call 206-517-7777 Cello or log on to www.sammamishsymphony.org Leslie Nielsen, French Horn Principal Evelyn Zeller, Gail Ratley, Principal Are you interested in playing with us? Assistant Principal Mary Corder Elizabeth Clawson Steven Dees The Sammamish Symphony Orchestra is composed Craig Kowald of adult volunteer musicians dedicated to Michael Eisenberg Nels Magelssen Andy Hill performing concerts and maintaining outreach Loryn Lestz programs serving Eastside communities. Michelle Miller James Poirson Rehearsals: Thursdays 7:15-9:45 p.m. Joyce Sanford Eastlake High School Sandra Sultan Erika Wilson* Please call 206-517-7777 or go to www.sammamishsymphony.org

4 Biography Julian Schwarz orn in Seatt le into a musical family, eighteen-year-old cellist Julian Schwarz Bis already being recognized as a young musician with great talent and even greater potential. This is his third time performing as cello soloist with the Sammamish Symphony. As winner of the 2007 Youth Concerto Competition, Julian performed the Dvořák Cello Concerto, and returned the following year to perform the Saint-Saens Cello Concerto in February 2008.

Julian made his orchestral debut at the age of 11 playing the Saint-Saens Concerto No. 1 with the Seatt le Symphony with his father, Music Director , on the podium. Since then he has appeared as soloist with many of the Seatt le-area orchestras including the Bellevue Philharmonic, Philharmonic Northwest, and the Port Angeles, Eastern, and Sammamish symphonies. Recent and upcoming appearances include performances with the Greensboro Symphony, Lake Union Civic Orchestra, and San Diego’s Tifereth Israel Orchestra, as well as return engagements with the Seatt le, Port Angeles, and Sammamish Symphonies.

Julian Schwarz has performed as a chamber musician at the Aspen, Interlochen, Eastern, California Summer, and Encore music festivals. In summer 2009, he was the “Featured Young Artist” at both the Seatt le Chamber Music Festival and the Cape Cod Music Festival. As a recitalist, he has appeared at High Point University, the Tacoma Art Museum, University of Washington, and Nordstrom Recital Hall at Benaroya Hall.

In 2007 and 2008, Julian won the highly regarded Northwest Sinfoniett a Youth Concerto Competition. The resulting performances as soloist with Music Director Christophe Chagnard led to his appointment as assistant conductor under Chagnard with Seatt le’s Lake Union Civic Orchestra.

Julian was recently profi led in the cover story of the March/April/May issue of Teen Strings and has been featured on the acclaimed NPR radio program “Live From the Top.” He has also recorded “In Memoriam” by Gerard Schwarz for the Music of Remembrance series on the Naxos label.

Julian Schwarz started piano lessons at the age of fi ve and began his cello studies the following year with the late David Tonkonogui; subsequent teachers have included and Lynn Harrell. He att ends The Colburn School in Los Angeles where he continues his cello studies with Ronald Leonard.

UPCOMING CONCERT

th Saturday December 12 , 2009 at 7:30 pm th And Sunday December 13 , 2009 at 2:00 PM Eastlake Performing Arts Center

FEATURING Boeing Employees Choir - Cantaré Vocal Ensemble The Children of the Newcastle Lions Chorus and Favorite Seasonal Works

5 Program Notes Nikolai Rimsky-Korsakov – consistently favored by concert answering strain is recalled in the Dance of the Tumblers from promoters. Much of this popularity phrase with which the brass first The Snow Maiden derived from his lighter music, enter. The movement’s central which exploit a distinctive “Olde section introduces a contrasting icolai Rimsky-Korsakov English” (musical mock Tudor) idea (first on clarinet, bassoon, N(1844-1908) showed a notable style. German, however, disliked horn, and violas) derived from fondness for folk and fairy-tale his portrayal as a composer of light the Theme’s opening intervals. scenarios. For his third opera The music. He wished to be known not Snow Maiden, composed in 1881 as a composer of “good light music” The brilliant dance is interrupted and first performed the following but as a composer of “light good to bring in the tranquillo Fourth year. Rimsky-Korsakov adapted music.” Diversion. Scored for muted a newly-created folk tale about strings, harp, and timpani, this the change of the seasons. The “Theme and Six Diversions,” presents a complete statement union of the Fairy Spring and premiered in 1919, owes its of the theme in the major over a Father Frost, incensing the sun- inspiration to composer Edward tonic pedal. The strings give way god Yarilo, creates a perpetual Elgar, who suggested that his to woodwinds, as the codetta winter. Their daughter, the Snow fellow composer write an orchestral becomes a transition into the next Maiden, longs for human love, but work inspired by an episode in section. The Fifth Diversion is a is warned that it will literally melt early English history, in which sparkling concert waltz. Having her frozen heart. When she finds King Canute heard the chants of become increasingly intense, the love, the warmth of her emotion the monks of Ely across the vast waltz breaks off and the octaves causes her to die, but her sacrifice fen waters that surrounded their of the work’s introduction return. returns warmth and love to the Abbey. German was proud to kingdom. acknowledge Elgar’s formative The final Diversion is a full idea, but did not intend the work to statement of the Theme beginning The rollicking “Dance of have any particular programmatic tranquillo much in the manner of the Tumblers” from Act III association. The Theme nevertheless its original presentation but with accompanies a feast before has a metrical flexibility and modal the addition of a faint pizzicato the Tsar. The “tumblers” are inflection, which recall ancient counterpoint in cellos and basses. skomorokhi, who were troupes plainsong chants. The Diversions Following a repetition of the of multi-talented outdoor – German insisted that they were later part the Theme, a brillante entertainers. In a salute to “not variations in the strict sense” coda takes flight and, after a their skills, Rimsky-Korsakov – are either presentations of the full harmonized reference to the casts his dance in a classical Theme in different orchestral settings introduction, the work reaches a sonata structure, complete with or lively dances motivically linked jubilant close. development section, intensified to it. Scored for piccolo, pairs of flutes, oboes, reprise, and a whirlwind of a coda. clarinets, and bassoons; four horns, two The First Diversion states the Theme trumpets, three trombones, and tuba; timpani Scored for piccolo, pairs of flutes, oboes, boldly in the winds against vigorous and percussion; harp and celeste; and strings. clarinets, and bassoons; four horns, two trumpets, three trombones, and tuba; timpani counterpoint in the upper strings. In and percussion; and strings. the Second Diversion, the Theme’s Peter Ilyich Tchaikovsky – opening six-note pattern becomes Variations on a Rococo Theme, Edward German – the seed for a scherzando movement, Op. 33, for Cello and Orchestra Theme and Six Diversions reminiscent of German’s “Olde English” country dances. A central he “Variations on a Rococo n the opening decade of the section interlaces an answering TTheme” was the closest I20th century, Sir Edward strain in counterpoint. In the Third Peter Ilyich Tchaikovsky (1840- German (1862-1936) (the “G” Diversion (Gipsy Dance), the 1893) ever came to writing a full pronounced hard, from the Welsh beginning of the Theme furnishes concerto for cello and orchestra. name Garmon) was one of the the melodic intervals and the Unlike German’s Diversions, few British orchestral composers general contour of the opening. The this is a forthright theme and 6 variations. The style was inspired Variation IV (Andante grazioso) writing, lavish orchestration, and by Mozart, Tchaikovsky’s role is back in A major and is a livelier a heroic quality in their melodic model, and the scoring is also version of the theme. Variation V material. reminiscent of the classical (Allegro moderato) carries over trills orchestra complement of Mozart’s from the end of the fourth variation. The Fifth Symphony is a day. However, the Theme is not After a grand “fall” by the solo cello traditional four movement work, Rococo in origin, but actually an onto a low E, the orchestra takes over built around a small number of original theme in the Rococo style. nobly. A cadenza follows, ending closely related themes, many For all its Classical character, this back in the trills from the beginning, of which appear (occasionally theme also has characteristics and the melody is again taken over transformed) in all movements. related to Russian folk song. by the full orchestra, at which point The character of the slow, a second, much longer and more brooding opening theme changes Tchaikovsky wrote this piece for difficult cadenza follows. The second gradually, almost imperceptibly, and with the help of Wilhelm cadenza, which is brazen and filled into a lilting melody, joyous in Fitzenhagen, a German cellist and with chords, steadfastly refuses to nature and high-spirited. The fellow-professor at the Moscow resolve its minor key. second movement is a scherzo, Conservatory. The version of the light-hearted with notable tone Rococo Variations that has been Variation VI (Andante) is a color in use of the woodwinds in prevailing circulation since the melancholy restatement of the theme and harp. A second theme is work’s premiere in 1877 is not the in D minor, which carries over from somewhat sharper, and each of one Tchaikovsky set down, but the cadenza. Variation VII and Coda the two trio sections provides an edition by Fitzenhagen. Some (Allegro vivo); after a brief pause, the contrast with the introduction “authenticists” have denounced soloist launches into the most difficult of a pastorale and the use of this edition, but most musicians variation, an Allegro vivo which folk music. The slow third and listeners seem to feel that rarely relents its constant 32nd notes. movement also contrasts moods, Fitzenhagen’s changes actually The orchestra, too, has a difficult task this time between an inspiring constitute an improvement. keeping up with the blazing speed soaring melodic sweep (horns, Moreover, Tchaikovsky gave of the finale, the solo flute being one woodwinds, and strings) and his apparent approval by example. an indomitable angry power conducting performances in which (brasses). The concluding Scored for pairs of flutes, oboes, clarinets, and Allegro maestoso begins in a Fitzenhagen used his own edition. bassoons, two horns; strings; and solo cello. triumphant style, in heavy, full orchestration. In the middle, there The brief introduction (Moderato Alexander Glazunov – is a humorous section evocative assai quasi Andante - Thema: Symphony No. 5 in B Flat Major, of a dancing Russian bear. As a Moderato semplice) establishes Op.55 the work’s frame in a few deft finale, Glazunov treats us to a Danse alla Russe, which brings strokes. The solo cello states the uring his lifetime, Alexander the symphony to a heroic finish. simple, elegant theme. The theme Glazunov (1865-1936) is repeated a total of six times, then D was acknowledged as a great Scored for three flutes (third doubling on the cello plays a brief connecting prodigy in his field, but his piccolo), two oboes, three clarinets (third passage. musical conservatism and streak doubling on bass clarinet) and two bassoons; four horns, three trumpets, three trombones, of academicism are probably and tuba; timpani and percussion; harp; and Variation I (Tempo della Thema) responsible for his obscurity strings. is in triplets, through the midst of compared with his contemporary which the orchestra restates the Rimsky-Korsakov or his student theme. The sound is very lively Shostakovich. The Fifth Symphony and graceful. Variation II (Tempo was composed in 1895 and published della Thema) features a section of a year later. Russian critics have conversation between the orchestra called the Symphony Glazunov’s and soloist, in which the theme is Eroica; the work does bear some nearly doubled in speed. Variation similarities with Beethoven’s better- III (Andante sostenuto) changes the known symphony of the same theme to C major, played at a more name. Both works feature a great contemplative speed. expansiveness in their structural

7 A SPECIAL BENAROYA HALL EVENT

Mozart s’ Requiem Sunday March 14th, 2010 at 2:00 pm

Massenet, Scenes Neapolitan, Suite No. 5

Mozart, Requiem Mass Guest Conductor, Mark Adrian

Benaroya Hall - 200 University Street - Seattle, Wa 98101

Including solo performances by Special Tickets For This Concert Everett Chorale $25 Advance Purchase by calling 206-517-7777 Rainier Chorale and at Plateau Music, Klahanie Shopping Center Vashon Island Chorale Cascadian Chorale $30 at the door

The Sammamish Symphony would like to thank CALL FOR Gordon Brown and the VOLUNTEERS! Gordon Brown Donation Fund for the generous contribution for music to build If you would like to help participate in a the Symphony’s library. Gordon has been an fun and rewarding experience, please call active member and contra bassoon player with (206) 517-7777. the symphony for many years.

8 425-557-5364 Did you know? The Sammamish Symphony Orchestra also emaugo.com off ers small chamber groups to perform at private functions. uplift Add a touch of class to your party or event. your

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O f f i cial Branding Agency for the Sammamish Symphony

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2370 130th Ave NE Bellevue Washington

9 Contributors In addition to the following donors we gratefully acknowledge those individuals and families who purchased donated goods and services at our Sammamish Symphony Auctions.

BENEFACTORS ($500+) Eastside Arts Partnership Verna Borup Kristin Edlund & Ken Rosenow Maria & William Burke Don & Sue Gerend Joel and Laverta Dauterman Anonymous Joel Green Twila Demenzes Gordon Brown Ray Carol Griffin Ian Edlund David Campbell Jonathan Feil Timothy Corrie & Sherri Zucker Robin & Paul Holland Clark Grogan Shelby Eaton Mari Horita Patricia Hebner Bob & Cathy Grindle Suzanne Hutchinson Murielle Horsky Dita Hagen Keith Kinnard Nick Locke Andy & Lori Hill Philip & Susan Kliavkoff Wilma Luttermoser Preben & Ruth Hoegh-Christensen Grace Lau Robb Mitchell City of Issaquah Arts Commission Mara Lippa Janine & Scott McKorkle City of Sammamish Lists for Less Esther Holly Poirier King County 4Culture Francesco Logozzo Michael Raschko Kevin & Lynne Martinell Lenore Martinell John Sanders Microsoft Corporation Carl Schwartz Estate of Eleanor Nein Patrick and Debbie McCormick Penny Short Skip Rowley Rosemarie Michaels Kathy Taraboschia Rowley Properties Kenneth Morse Dorothy Tierney Scott Selfon Leslie Nielsen Jim White Symetra Financial Dan and Fran Pope Bunyamin Yazici Barbara Thorne Gail Ratley Mark Wiseman Scott Sellevold We are seeking donations from Dan & Marianna Vail Melissa Underhill Herman & Myrl Venter Paula Upjohn supporters like you to help us sustain David Van Moorhem and expand our programs. Please Evelyn Zeller & Nels Magelssen join the generous individuals and SPONSORS ($100-499) organizations who have provided support to enable us to make the Anonymous (2) SUPPORTERS ($1-99) music our audiences love to hear. All Arthur and Lora Lee Allan contributions are tax-deductible. Please Amgen Foundation contact one of our representatives Sandra Anuras Anonymous (2) Aletha Barnes Jack Barry about how you can help. Bischofberger Violins Anna W. Bero Nellie Collins Tom Bird The Boeing Company To the Many Supporters of the Joel and Laverta Dauterman Sammamish Symphony Orchestra, THANK YOU!

Acknowledgements

Many people have worked together to make our community orchestra possible. They have given of their time, talent, and energy. Thank you!

Refreshments Equipment Storage Program Design Joyce Cunningham/Providence Point Safeway/Costco Emaugo Creative Klahanie QFC/Pine Lake QFC Facilities Rehearsal Space Eastlake High School Percussion Equipment Bellevue Christian School Dave Pitt/Beaver Lake Middle School Piano Program Notes Sherman Clay Webpage Janis Orrico Mark Wiseman

The Sammamish Symphony Orchestra Association (SSOA) is a Non-Profit Corporation under Section 501(c)(3) of the Internal Revenue Service. For further information, contact the SSOA: P.O. Box 1173, Issaquah, WA 98027 www.sammamishsymphony.org (206) 517-7777

10 2009 - 2010 Season

Russian Diversions

Sunday Saturday & Sunday Sunday th st Oct 18 , 2009 - 2:00 pm Dec. 12th, 2009, 7:30 pm Feb 21 , 2010 - 2:00 pm Dec. 13th, 2009 2:00 pm Eastlake Performing Arts Center Eastlake Performing Arts Center Eastlake Performing Arts Center 2010 October2009 December2009 February

Sunday Sunday Sunday Mar. 14th, 2010 - 2:00 pm May 2nd, 2010, 2:00 pm June 13th, 2010, 2:00 pm

Benaroya Hall Mary, Queen of Peace Church 200 University Street - Seattle 1121 228th Ave SE - Sammamish Eastlake Performing Arts Center

March2010 2010May 2010June For more information please visit www.SammamishSymphony.org Thank you to our generous sponsors.

City of Sammamish

King County Arts Commission Graphic Design sponsored in part by Emaugo.com