sign in sign up
<<
Home , Jean Sibelius

BOB COLE CONSERVATORY and CHAMBER ORCHESTRA

JOHANNES MULLER-STOSCH, MUSIC DIRECTOR GUEST FACULTY ARTIST ALTHEA WAITES, FRIDAY, SEPTEMBER 19, 2014 8:00PM CARPENTER PERFORMING ARTS CENTER PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. PROGRAM CHAMBER ORCHESTRA Orchestral Suite No. 1 in , BWV 1066...... (1685-1750) Courante Gavotte I/II Forlana Minuet I/II Bourée I/II Passepied

FULL ORCHESTRA Piano No. 15 in B-flat Major, K. 450...... Wolfgang Amadeus Mozart Allegro (1756-1791) Andante Allegro Professor Althea Waites—piano INTERMISSION*

CHAMBER ORCHESTRA Romance, Op. 42 ...... Jean Sibelius (1865-1957)

FULL ORCHESTRA for Strings in E Major, Op. 22...... Antonín Dvořák Moderato (1841-1904) di Valse Scherzo: Vivace Larghetto Finale: Allegro vivace

*You may text: (562)-774-2226 or email: [email protected] to ask a question about the or today’s program during intermission. A few of the incoming questions will be addressed before the beginning of the second half of the program. (Disclaimer: You may incur texting or internet usage fees by your cell phone provider)

2 PROGRAM NOTES

Orchestral Suite No. 1 in C Major Despite Johann Sebastian Bach’s prolific compositional output, his known compositions in the orchestral genres are relatively small. This is in part due to his professional obligations, which centered on non-orchestral genres; however, it is perhaps equally due to the loss of a large number of his orchestral compositions over the ages. His four orchestral suites, originally believed to have been composed during his time in Cöthen, are now attributed to the years he spent in Leipzig, during which he served as both director of the St. Thomas Boys and the Collegium Musicum. Many scholars believe that he composed the orchestral suites specifically for the Collegium Musicum.

None of Bach’s original manuscripts of orchestral suites have survived, thus dating them is an arduous task. The first and fourth suites are believed to have been composed around 1725, while his second suite was likely composed around 1738-39, making it his very last orchestral composition. Bach himself called the pieces ouvertures, after the French overture, which the first movement it based upon. Jean-Baptiste Lully, court composer for King Louis XIV, perfected the French overture model and is presumably the inspiration behind Bach’s opening movements. The standard French overture is in ternary form and features a slow and stately introduction—characterized by the snap of dotted rhythms—then followed by a quick and imitative middle section. The overture is brought to a close with a return to the solemn tempo and themes expressed in the introduction.

Bach’s first orchestral suite—scored for two oboes, , strings, and basso continuo—is a delightful collection of French court dances. Though not written as a concertino, the oboes and bassoon are treated as soloists in several of the dances, most notably in the lively bourée II where they play without orchestral accompaniment. Bach uses many other popular dance forms of his day, including the gavotte and forlane, both originally peasant dances that made their way into court circles; the triple-metered courante, a dance characterized by running or gliding steps; and a charming minuet, the only baroque dance form to remain popular through the classical era. Bach closes his first orchestral suite with a double passepied, a brisk variant of the minuet that features a lovely running eighth-note theme in oboes. —note by Kerry Brunson

Piano Concerto No. 15 in B-flat Major Wolfgang Amadeus Mozart was not only one of the most prominent composers of the classical era, but is widely recognized as one of the greatest composers of all time. Though Mozart is not, like most of the great composers, identified with any radical innovations in his compositions, his work is revered for its natural flow and irresistible charm. Mozart grew up in Salzburg, Austria, the youngest of seven children, five of which did not survive early childhood. From the age of three Mozart’s musical talent was apparent, and by four he was writing short compositions. From 1763-1766 Mozart’s father, a composer and musician, took young Wolfgang and his sister Nannerl on a tour of London, Paris, and other parts of Europe to give concerts and perform for Royalty. The year after they returned to Salzburg, at the age of eleven, Mozart composed his first opera, Apollo et Hyacinthus. Though he did become most famous for his 22 operas, in total Mozart wrote over 600 works. This includes 27 piano which, along with his operas and have remained some of his best loved and most frequently performed pieces.

Mozart’s 15th , in B-flat major, was the first one to require a prominent wind section. Orchestrated for flute, two oboes, two , two horns, and strings, along with solo piano, this piece is one of a handful of piano concerti that Mozart composed for himself to perform in a concert series in . The next in the series of piano concertos, No. 16, was completed just seven days after No. 15, in March of 1784. In a letter to his father in May of that year, Mozart compared the two pieces, stating, “I really cannot make a choice between these two concertos. They both require effort, but, from the point of view of difficulty the Concerto in B flat beats the one in D.” —note by Emma McAllister

3 Romance Despite the woes of financial hardship and a penchant for excessive drinking, Sibelius completed this charming miniature work for in 1903. As a violinist himself, Sibelius composed this Romance in-between two versions of his popular by the same name. The work demonstrates his ability to compose a lyrical melody and an understanding of idiomatic writing for all strings. Widely considered ’s most notable composer, he incorporated many nationalistic elements into his music. This work, however, remains true to the romantic style of Sibelius’ early works, influenced by Tchaikovsky and Grieg.

Originally titled Andante, Sibelius changed the name of the work in 1908 to Romance after a reviewer’s suggestion. As the name implies there is romance in the music, usually depicted as a short of specially personal or tender quality, often with lyrical melody lines inferring love and or antiquity. While there is no strict formal application of the term, composers of other notable “Romances” include Mozart, Schumann, Vaughan Williams, and Elgar. ThisRomance is formed of three main sections: a slow and dramatic opening, utilizing many chromatic notes, a slightly faster middle section with a particularly lyrical violin melody accompanied by a figure in the cellos and basses and, finally, another slow section during which we hear a return to the main themes from the opening. —note by James Clark

Serenade for Strings in E Major Czech composer Antonín Dvořák completed this work in just twelve days during May of 1875. This and surrounding works are musical evidence of a bright and happy time in the composer’s life—just a year earlier he had married his piano student, Anna Čermáková and he was beginning to receive monetary recognition for his musical abilities.

TheSerenade is in five movements and all but the last are organized in an A-B-A form.

Moderato begins the work with a loving lyrical theme which is introduced by the violins and passed to the cellos. The contrasting middle section of this movement takes place in G major and presents a sweeping dotted-rhythm motion before returning again to the original singing melody. The second movement, Waltz in C-sharp major, transports the listener to an ornate Czech ballroom where moods of melancholy, longing, and joy linger in the evening air.

The humorous and active Scherzo in F Major presents a lively theme and transforms it into many different and moods before venturing through a lilting Trio and on to a Coda which combines elements from the Scherzo and Trio. Movement four, Larghetto, carries a still and tranquil quality through its slow and therapeutic passages. This state of peace functions as a palette-cleanser between the two most vigorous movements, the Scherzo and Finale.

A common thread between all movements, canonic imitations, is perhaps most present in the stark opening of the Finale in E major. The quick eighth-note theme recalls a Bohemian folk dance, but Dvořák skillfully incorporates new ideas and old. Listen for recollections of themes of previous movements, such as the Larghetto and Moderato. The pieces comes full circle with the return of the first theme of the first movement, then the music explodes into a presto Coda ultimately ending on three of the warmest E major chords in the string repertoire.

—note by Annaliese Ippolito Reed

ABOUT JOHANNES MULLER-STOSCH Dr. Johannes Müller-Stosch serves as the Music Director and Conductor of the Cole Conservatory Orchestra, Chamber and Opera Orchestras and coordinator of String Studies. He is also the Music Director and Conductor of the Holland Symphony Orchestra in Michigan. Additionally, he is founder and director of the Michigan Conducting Institute, a summer conducting training workshop with the Holland Symphony Orchestra.

The Holland Symphony has seen unprecedented growth in size and quality of performances as well as record numbers of season subscriptions during Müller-Stosch’s tenure. It has become one of Michigan’s healthiest arts organizations. In California, Müller-Stosch established the Cole Conservatory Orchestra as one of the largest and finest in the region. The Cole Conservatory Orchestra toured in South Korea in 2013. 4 During his doctoral studies he served as Assistant Conductor of the famed Eastman Philharmonia Orchestra and won Eastman’s prestigious Walter Hagen Conducting Prize. He has held conducting positions with the Cincinnati Symphony Orchestra, the Brockport Symphony (), Tri State Players (Ohio), and served repeatedly on the conducting and coaching staff at the Opera Theatre Festival in Lucca, Italy. A concert tour with the Eastman String Orchestra brought Müller-Stosch to Japan where he conducted concerts as part of Hiroshima’s 2006 Peace Festival. He received much acclaim for his doctoral project and concert with the Eastman Philharmonia, which surveyed all four symphonies by early 20th century Viennese composer Franz Schmidt. Since then he has been an active proponent of works by early 20th century composer Franz Schreker and, most recently, Joseph Marx. He conducts several US premieres of their works annually.

In 1997, after winning the coveted Strader Organ Competition in Cincinnati, Ohio, Müller-Stosch received two Master of Music degrees in organ performance and orchestral conducting from the Cincinnati College- Conservatory of Music on full-tuition scholarship. Since then he has been a frequent guest conductor for new opera productions at the Cincinnati College-Conservatory of Music, including the fall 2013 mainstage of Britten’s Owen Wingrave. Previous engagements have included Mozart’s Cosi fan Tutte, the world premier of Joel Hoffman’s The Memory Game, and ’sThe Mother Of Us All. For these he received outstanding reviews in the American Record Guide. He worked repeatedly as visiting opera conductor at the Opera Theater at Webster University in St. Louis, Missouri. In 2000, he served as Music Director of the Museumsinsel-Operafestival in , Germany. Müller-Stosch was a featured guest conductor with the Busan Sinfonietta in Korea in 2009. This concert was broadcast on national TV (KBS). His residency also included a concert with Dong-A University as well as conducting classes. His 2013/14 engagements include dates in Korea, Beijing, Vancouver and Eugene, Oregon.

A passionate educator, Dr. Müller-Stosch works with high school orchestras who come to the Cole Conservatory for ensemble clinics. He is in demand also as an adjudicator and conductor for All-State Orchestras, most recently Salt Lake City, Utah (2011). Concert tours as a soloist and collaborative artist have taken him throughout Germany, Italy, Chile, and Japan. Müller-Stosch has several commercial recordings to his credit, all of which have been played on Public Radio.

ABOUTALTHEA WAITES Internationally acclaimed American pianist, Althea Waites, has concertized extensively throughout the United States, Europe and Asia as a soloist, chamber musician and collaborative artist. In addition to performances on concert stages around the world, she has also performed in numerous festivals as a soloist, collaborative pianist and ensemble coach, including Aspen, Tanglewood, the Yale Summer Festival, the Jacob’s Pillow Dance Festival, and the Idyllwild Arts Festival in Southern California.

Praised by the Los Angeles Times for “superb technique and profound musicality”, Ms. Waites has a long and distinguished history of championing new music by American composers and has received many honors and commendations for her work. She has also been guest soloist in major venues and PBS stations such as National Public Radio’s Performance Today, KQED in San Francisco, KCET in Los Angeles, Walt Disney Concert Hall, the Geneva Conservatory of Music in Switzerland, Wigmore Hall in London, Merkin Hall in New York City, and performances in Indonesia, Phillips Gallery in Washington, DC, and the Los Angeles County Museum of Art.

Her recording credits include the landmark CD, Black Diamonds, Along The Western Shore, and her 2012 recording, Celebration, featuring music of American composers on her new record label, Kuumba Music.

Ms. Waites received the Bachelor of Music degree from Xavier University of Louisiana and the Master of Music degree in piano from the School of Music where she studied with Donald Currier. Her principal mentors and teachers also include Alice Shapiro, Russell Sherman and Sr. Mary Elise Sisson.

Ms. Waites is currently on the keyboard faculty for the Cole Conservatory at California State University Long Beach, and is in demand for recitals, residencies and master classes at colleges and arts institutions throughout the United States. Her strong commitment to cultural and community education is evident through her work with many outreach and service programs in retirement homes, medical centers, religious institutions and agencies such as in Historic Sites and the Los Angeles County Music Center Education Program.

Althea Waites is a Steinway artist and a member of Pi Kappa Lambda National Music Honor Society. 5 UPCOMING CONCERTS

Friday, October 17, 2014 8:00pm Carpenter Performing Arts Center $15/10 Beethoven—Coriolan Overture, Op. 62 Liszt—Totentanz (Resli Bagaygay, piano—winner 2013/14 concerto competition) Brahms—Symphony No. 1 in C minor, Op. 68

Friday, November 21, 2014 8:00pm and Saturday, Novermber 22, 2014 8:00pm Carpenter Performing Arts Center $25/20 FUSION: The Bob Cole Conservatory Symphony Orchestra in Collaboration with CSULB School of Dance Wagner—Rienzi Overture Brahms—Hungarian Dances No. 11-14 Adams—Short Ride in a Fast Machine Julia Wolfe—Tell Me Everything Romeo Cascarino—Blades of Grass Adams— Part 1 (for group discount, contact the Arts Ticket Office 562 985-7000)

PERSONNEL BOB COLE CONSERVATORY CHAMBER ORCHESTRA Johannes Müller-Stosch—Music Director

Violin I Viola Bass Korina Davis, Annaliese Ippolito Reed, Tim Jensen, Concertmaster Principal Principal Jaclyn Kim Amira Bennett Alexis Luter Jessica Livermore Romario Rivera Jasmine Kim Nicolette van den Bogerd Oboe Hannah Yim Alexander Zatolokin Sage Barton Violoncello Principal Ricardo Medina Hyunji Evonne Yi, Kerry Brunson Jackson Snead Principal Margaret Potter James Clark Bassoon Sori Shin Shannon O’Neill, Violin II Anthoni Polcari Principal Emma McAllister, Irene Kang Principal Jeffrey Westcott Laura Bedol Debbie Lee Carmen Marquez Roxanne Kieme Joseph Chung Michelle Tambash Joseph Ceman Eileen O’Neall Alicia Rubio Emmeline Cosman Jorge Vazquez

6 BOB COLE CONSERVATORY SYMPHONY ORCHESTRA

Johannes Müller-Stosch—Music Director

Violin I Violoncello Oboe Jessica Livermore, Hyunji Evonne Yi, Alexander Zatolokin, Concertmaster Principal Principal Laura Bedol Anthoni Polcari Kerry Brunson Korina Davis James Clark Jasmine Kim Sori Shin Horn Connie Millecan Anthoni Polcari Sarah Kruegar Emma McAllister Irene Kang Brendan Marcy Hannah Yim Jeffrey Westcott Jackson Snead Sydney Moss Bassoon Margaret Potter Debbie Lee Shannon O’Neill, Ricardo Rios Roxanne Kieme Principal Jorge Vasquez Michelle Tambash Gerardo Hernandez Benton Preciado Violin II Eileen O’Neall Jaclyn Kim, Principal Bass Sage Barton Tim Jensen, Carmen Marquez Principal Joseph Chung James Medway Joseph Ceman Daleth Caspeta Daniel Kim Felix Mares Alicia Rubio Alexis Luter Darryl Nguyen Emmeline Cosman Flute Fern Lee Kelly Catlin

Viola Annaliese Ippolito Reed, Principal Amira Bennett Romario Rivera Trevor Torres Nicolette van den Bogerd

7 Bob Cole Conservatory Donors 2014 The Cole Conservatory of Music at CSULB thanks the following donors for their generosity to our students and programs. Private donations support scholarships, production, tours, and concerts.

$250,000 & above $500-$999 Anonymous Karl & Marguerite Anatol Jerry & Flora Loeb Bob & Regena Cole Mr. & Mrs. Murray Auerbach Manuel & Barbara Loureiro L. Patrick Pritchard Bud Bisbee Kelly Jean Malloy Marvalee Cariga James Mathews $50,000-$249,999 (In memory of Daniel Cariaga) Linda Maxwell Hon. Jacob Adajian Friends of the Los Angeles Bach Festival Ervin D. McBride Beverly August † Eric & Normajean Janssen Mr. & Mrs. Daniel McCarthy (In memory of George August) Roberta Medford Karen Howe McDonough Dramatic Allied Arts Guild William & Elaine Miller Fred & Lavonne McQuilkin Fine Arts Affiliates Tammy Reichley Richard Messenger Joanne France Virginia Skinner Norman & Susanne Milkes The Ann & Gordon Getty Foundation Linda Schnabl Marjorie Miller Dr. Matthew & Mrs. Roberta Jenkins Morton & Susan Stuhlbarg Glenn Moeller Family Foundation Claude & Bernadette Taniguchi The Music Guild Kip Polakoff † Mr. & Mrs. Charles Tickner Musictrip, Inc. (In memory of Carol Polakoff) Al & Clara Totten Dr. Robert A. Nagourney Centennial Properties West Coast Jazz Party LLC Mr. & Mrs. Richard Nelson Mr. & Mrs. Fernando Niebla $10,000-$49,999 $150-$499 Peter & Vicki Pellerito Hon. Burton Barnett Donald R. Arrowood, III Elizabeth L. Phillips California Community Foundation Boeing Company PSCU Financial Services Ella Fitzgerald Charitable Foundation John & Deborah Barcellona Roger & Elizabeth Reyburn William Gillespie Foundation Matthew Barcellona Roy Sanderson Frieda Caplan Diane C. Beeman David & Cherie Schenck Irene S. Meyer Kieran & Marilyn Bergin Donald Seidler Presser Foundation Mr. & Mrs. John Busyman Dr. Harold & Mrs. Gerda Seifer Sigma Alpha Iota Fraternity Mr. & Mrs. Rob Catlin James E. Seippel Hon. Samuel W. Warner † James & Rozanne Churchill Jeanne Shorr Linda K. Christian Dr. Joseph Simmons $5,000-$9,999 Margot G. Coleman Sigma Alpha Iota Fraternity Sally & Larry Curry Thomas Cloutier Mr. & Mrs. Randy Soderstrom Lee DeBord Randolph Currin, Jr. Donald & Terry Speir Kari & Arlena Kauppi † Jack & Marsha Davis Mr. & Mrs. William Spencer Long Beach Community Concert Association William & Helen Davis David & LuAnn Shudo Dr. Charmaine Meyer † Vernette Dance Mr. & Mrs. Matthew St. Marseil Shigemi Matsumoto & Marty Stark Louise Earhart Al & Carol Talberg (In Memory of Moriichi & Suki Matsumoto) Edison International Wanda Thompson John & Alaine Weiss Roland Ennis Ralph & Christine Tisdale (In Memory of Bernice M. Weiss) Dr. Eric & Mrs. Ronnie Feldman Jeffrey & Sheryl Tovo Cheryl Farr John Watson & Mary Dreyer $1,000-$4,999 Joan S. Fish Patricia M. West Lillian V. Bishop Michael Fisher David Wuertele Mr. & Mrs. Richard B. Blum Frederick & Dana Fleet Roger & Rebecca Wyatt Dr. Ella M. Burnett (In memory of Minnie Glenn) Kristine Forney Mr. & Mrs. John Xanthos Randolph Currin, Jr. Hon. Don Friedman Mr. Mike Goldberg c/o Long Beach William Gamble Community Concert Association Miriam K. Garland Lawrence Guess (In memory of Judy Guess) Frank & Roberta Gebhart Jack & Marilyn Kates † Norma Brandel Gibbs † Opera Institute Board Members Mr. & Mrs. Frank Lee (In memory of Elaine Richey) Kathryn E. Goddard Paul & Jane Lindsey Tom S. Greathead Los Altos United Methodist Church Patricia H. Hall Roberta Medford Mary E. Herzbrun A BIG THANK YOU to the many Eric Lou Mellencamp Mrs. John Higginson supporters who contributed between $1 and $150 to the Bob Cole Conservatory Mr. & Mrs. Richard Nelson Luann Emiko Hiji of Music. We are grateful for your Opera 100 The Historic Art Theatre of Long Beach support! Dr. Donald & Sandra Para Barbara Hogan John & Evelyn Pohlmann Don & Tillie Hollar John Queen Barry Horton John J. Shaak Stuart & Carol Hubbard Ivan A. Shulman Richard & Dolly Ickler Robert & Janet Spidell James & June Jordan Starbucks Coffee Company Lynn Kleiner’s Music Rhapsody Virginia L. Stevens Brad Lancaster Dr. Michael Stugrin & Brian Buchanan Thomas & Diane Lau Dr. Jonathan Talberg † Alexander & Marnos Lelesi Bill & Irene Williams Leslie Lilly Yamaha Corporation of America

FACEBOOK: www.facebook.com/csulborchestra TWITTER: @csulborchestra Thanks to Michael Napoli andwww.performingartslive.com

For more information and tickets please call 562.985.7000 or visit: