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Concert Program November 17 2017

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Concert Program November 17 2017 PROGRAM NOTES because it conveyed my thought – that is to say, a violin solo soaring above the rigid form of an old LOVE & LOSS symphony – and then because the title was less banal than those which were proposed to me. The cries and criticisms have died or will die down; the title MICHAEL MORGAN will remain.” MUSIC DIRECTOR JONAH M. GALLAGHER Vocare (Generously supported by the Patrick and Shirley Campbell Foundation) I. Tenacious Endeavors I. An Honest Prayer III. Echoes of Dance WOLFGANG AMADEUS MOZART Symphony No. 40 in G minor, K. 550 I. Molto allegro II. Andante BRAHMS III. Minuet: Allegretto IV. Allegro assai Academic Festival Overture, Op. 80 JOHANNES BRAHMS (1833-1897) INTERMISSION DVORˇÁK n March of 1879, the University of Breslau awarded IBrahms the honorary degree of Doctor of Philosophy. Brahms was going to send his thanks on a postcard, GIOACHINO ROSSINI Slavonic Dance No. 7 in C minor, but a friend reminded him that the University expected his gratitude to take some musical form. Stabat Mater Op. 46 I. Stabat Mater dolorosa – Chorus and soloists Slavonic Dance No. 8 in Brahms responded with the Academic Festival II. Cujus animam – Tenor A-flat major, Op. 72 Overture, which he called “a rollicking potpourri III. Quis est homo – Soprano and mezzo-soprano Slavonic Dance No. 8 in G minor, of student songs à la Suppé.” Indeed, the work is IV. Pro peccatis – Bass based on four traditional German student songs: Wir V. Eja, Mater – Bass recitative and chorus Op. 46 hatten gebauet ein stattliches Haus (We had built a VI. Sancta Mater – Soloists ANTONIN DVORˇÁK stately house), Der Landesvater (Father of the land), VII. Fac ut portem – Mezzo-soprano (1841-1904) Was kommt dort von der Höh (What comes from afar) VIII. Inflammatus – Soprano and chorus and Gaudeamus igitur (Therefore let us rejoice). IX. Quando corpus morietur – Chorus and soloists e is decidedly a talented person and, besides that, The Overture was first performed at the University X. In sempiterna saecula. Amen – Chorus a poor man!” Brahms said of Dvoˇrák. Brahms “H of Breslau on January 4, 1881, with the new Doctor with Shawnette Sulker, soprano recommended that his publisher, Fritz Simrock, issue himself conducting. Biographer Karl Geiringer Dvoˇrák’s Moravian Duets. He did, and when they Betany Coffland,mezzo -soprano describes the music as “the lively, ‘occasional’ Thomas Glenn, tenor sold extremely well, Simrock encouraged Dvoˇrák to composition of a genius. To take it too seriously write a collection of nationalistic dances, as Brahms would not be fair to Brahms…. The hand of the Aaron Sorensen, bass had done with his Hungarian Dances in 1869. master is revealed in the way the Overture grows Oakland Symphony Chorus from the mysteriously soft, almost somber opening, to Lynne Morrow, Chorus Director Dvoˇrák agreed, and in less than two months composed the pealing jubilation of the concluding Gaudeamus the first set of eightSlavonic Dances. He wrote the igitur, played by the full orchestra. The composer Season Media Sponsors: East Bay Express, 7x7. first dance on March 18, 1878. Originally for piano succeeded in investing each of the songs with a duet, Dvoˇrák finished orchestrating them by August. The 2017/18 season of Oakland Symphony is generously funded in part by the East Bay specially effective instrumental garb.” Community Foundation; Clarence E. Heller Charitable Foundation; Women’s Philharmonic Simrock paid him 300 marks for the set and made a Advocacy; William and Flora Hewlett Foundation; the Rea Charitable Trust; bundle from their sales. When Dvoˇrák wrote the ~ Notes by Charley Samson, copyright 2017 the National Endowment for the Arts, a federal agency; and the Oakland City Council second set of dances in 1886, the fee was 3000 marks. and the City of Oakland’s Cultural Funding Program. Dvoˇrák promised these dances “will bring the house Major support generously provided by The Wallace Foundation. down. They sound like the very Devil!” FRIDAY, NOV 17 8PM PARAMOUNT THEATRE OAKLAND 14 OAKLAND SYMPHONY OAKLAND SYMPHONY 15 OAKLAND SYMPHONY ORCHESTRA OAKLAND SYMPHONY CHORUS ROSTER Michael Morgan, Music Director & Conductor SOPRANO Abbie Rockwell Theresa Lo Barbara Miller Bryan Nies, Associate Conductor Jenny Adler Nanci Schneidinger* Nancy Lowenthal Jerry Reynolds Roberta Altman Jasmine Strange Susanna Miller Steven Schultz FIRST VIOLIN VIOLA OBOE TROMBONE Paula Aparicio Danielle Tatarian Mary Orin Jim Stenson * Terrie Baune, Margaret Titchener, Andrea Plesnarski, Tom Hornig, Barbara Berry Lynda Tesillo Sharon Paisner Dat Tran Concertmaster Principal Principal Principal Lisa Braver Moss Elizabeth Weingarten Sylvia Parker Daniella Urban* Vivian Warkentin, Betsy London, Robin May Steve Trapani Mayotis Cephas Gia White Wendy Pei Ted Vorster Jennifer Wilde Asst. Concertmaster Asst. Principal Susan Chan Sumire Rabb Isa Chu Marianne Wolf Dhira Ramakrishnan BASS Natasha Makhijani, Patricia Whaley CLARINET TIMPANI Nancy Cotteral Melanie Reeves Charles Crane* Assoc. Concertmaster Stephanie Railsback Diane Maltester, Tyler Mack, Rachel Devitt ALTO Annie Shun Sheldon Greene Kristina Anderson Principal Principal Melanie Enciso Eva Arce # Monique Stevenson Karl Malamud-Roam Patrice May CELLO Ginger Kroft Jane English Rebekah Bob-Waksberg Cynthia Webb- John Manzeck # Carla Picchi Daniel Reiter, PERCUSSION Julia Gorgone Karenlynne Bradley Beckford Mark Michaud Ellen Gronningen Principal BASSOON Ward Spangler, Carol Henri Helane Carpenter Loni Williams* Dane Moore Deborah Spangler Joseph Hébert, Deborah Kramer, Principal Susan Hernandez Megan Columbus Siqing Yi Michael Nathanson* Asst. Principal Principal Carol Hudson Rena David Joseph Orr SECOND VIOLIN Michelle Kwon PERSONNEL MANAGER Mary-Jo Knight # Antonia David TENOR Kenneth Saltzstine Susan Lambert Virginia Frederick LaVora Copley Leo Scurry Liana Bérubé, Rebecca Roudman HORN Craig McAmis Jessen Langley Lisa Friedman Kevin Cousins Mark Slagle Principal Meredith Brown, Sacha Maniar Hannah Ginsborg Swen Ervin Calvin Wall David Cheng, BASS Principal LIBRARIAN Linda Manzeck # Susanna Halliday James Hasler Robert Wehrman Asst. Principal Patrick McCarthy, Alicia Telford Paul Rhodes Alice McCain # Margaret Hegg Bertie Jackson Candace Sanderson Principal Alex Camphouse Laura Miller Natasha Hull-Richter Bernie Juat # Sharon Calonico Andy Butler, RECORDING ENGINEER Linda Mrnak Karen Ivy Bryan Knauber * Section Leader Baker Peeples Asst. Principal TRUMPET Tom Johnson, Donna Oliver Ann-Marie Jensen Curtis Lawler # Chorus Advisory Adrienne Duckworth Carl Stanley William Harvey, Johnson Digital Erica Peck Alexandra Josefski Arnold Lee Committee Member Sergi Goldman-Hull Principal Zoe Reiniger Shirley Lindley Shakir Mackey Elizabeth Robertson* Linda Lipner Robert McCree Robert Donehew FLUTE Leonard Ott Alice Lenaghan, Principal COMPOSER Stacey Pelinka onah M. Gallagher (b. 1993) is a composition JMaster's degree student at the San Francisco Conservatory of Music, born and raised in the suburbs of Chicago, Illinois. His accomplishments began when he won second place in the Illinois Music Education Association composition contest OAKLAND SYMPHONY CHORUS for his Music for Hinged Door. He has also been selected as a finalist for the Biola University (where he Oakland Symphony Chorus enriches our he earned his Bachelor's degree) composition Tcommunity through high quality musical contest for the past four years, and won first prize performances and educational workshops that in 2016 for his Symphony No. 1 and third place raise appreciation and understanding of choral in 2015 for his Five Poems of Beautiful Things. music, while providing opportunities for people Additionally, he won the Biola Professional who love to sing. Established in 1958, Oakland Ensemble Recording Competition in 2014 and Symphony Chorus is one of the East Bay’s finest 2015. He was also one of the featured composers choirs, and a premier resource for continuing in the CFAMC Conference at Biola in 2014, where Paul Barnes performed his Ad Infinitum. Most education in the choral arts. In June 2015, the nd chorus travelled to Budapest, Györ, Vienna, recently, he was awarded 2 place in the Frank Robert Abell Young Composer Competition for and Prague, for its first international tour. Anna Kietzman Photo: his string quartet, Wandering Companionless: Pale The Chorus performs regularly with its partners, for Weariness. His music is a fusion of minimalism Oakland Symphony and Oakland Symphony and thematic development with programmatic Lynne Morrow, Chorus Director Youth Orchestra, as well as with a variety of other background to create stories in new and exciting Bay Area orchestras. The Chorus will embark on ways. He hopes to continue composing for concert its second tour in June 2018, giving three concerts music in addition to his hobbies of woodworking in Italy. and carpentry. 16 OAKLAND SYMPHONY OAKLAND SYMPHONY 17 GUEST ARTIST GUEST ARTIST Symphonies, and Orff’s Carmina Burana Coffland was a Resident Artist with Opera San with Sacramento Choral Society & Orchestra. José from 2008-2012, where she sang the roles Internationally, Sulker has sung Adele of Carmen (Carmen), Siebel (Faust), Idamante throughout the Netherlands and Belgium in a (Idomeneo), Rosina, (Il barbiere di Siviglia), tour of Die Fledermaus, a recital at Red Door Angelina (La Cenerentola), Cherubino (Le nozze Studios in Amsterdam, and an orchestra di Figaro), Dorabella (Così fan tutte), Olga concert featuring Porgy and Bess highlights (Eugene Onegin), and Elle (La Voix Humaine). and Mendelssohn’s
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