MUSICMUSIC OF THE VALLEVALLEYY Livermore-Amador Sym pho ny Arthur P. Barnes, Music Director December 6, 2008, 8 p.m. Bankhead Theater, Livermore

Fantasia on a Theme by Thomas Tallis Ralph Vaughan Williams Livermore-Amador S(1872–1958)ymphony Symphony No. 5, “Reformation” Felixfounded Mendelssohn 1963 Bartholdy Opus 107 (1809–1847) Andante, Allegro con fuoco Allegro vivace Andante Chorale: Andante con moto, Allegro vivace, Allegro maestoso INTERMISSION Hebrides Overture, “Fingal’s Cave” Mendelssohn Opus 26 Music for Banjo and Orchestra, Quartet, or Trio various composers Waiting for the Robert E. Lee South of the Border, Tico Tico, and Brazil Fiddler on the Roof My Little Bimbo Flapperette Ziguenerweisen Bach Double Concerto, 1st movement; with Kristina Anderson, violin Bud’s Breakdown Blues for Ryan Ashokan Farewell Tiger Rag Buddy Wachter, soloist “Hallelujah” Chorus from Messiah George Frideric Handel The audience is invited to sing; the words are on the last page of this insert. (1685–1759)

Orchestra listing includes performers from this afternoon’s family concert in addition to players from this evening’s concert. (Most of the orchestra members are playing at both concerts today.) CONDUCTOR Jackie McBride Bronwyn Hagerty* CLARINET BASS TROM BONE Arthur P. Barnes Virginia McFann Joanne Lenigan Lesley Watson Larry Dias Holly McLean* Sharon Schumacher Kathy Boster TUBA Theresa McSweeney Dave Walter ASSISTANT BASSOON Betsy Hausburg CON DUC TOR Margaret Morrad Lisa Canter Marcus Schildbach Rob ert Wil l iams Nissa Nack STRING BASS Robert Cooper Lynn Stasko Anne Quiring TIMPANI Principal FIRST VIOLIN HORN April Nissen Kristina Anderson VIOLA Elizabeth Foort Chris Immesoete Peter Curzon Concertmaster Hazelle Miloradovitch Alan Frank Richard Lamb Principal PERCUSSION Norman Back Patty Lay Bryan Waugh Frances Fischer Peter Curzon Feliza Bourguet Joe Taylor Robert Williams Phillida Cheminais Chair Del Eckels Judy Eckart Lynda Alvarez FLUTE TRUMPET Paul Kasameyer Barbara Gurnari Akira Haddox Marion Clark Michael Portnoff Nan Davies Andy Leppla Kathleen Fasenfest Hank Finn Audrey Horning Jutta Massoud PICCOLO Brian Maddox LIBRARIANS Phoebe Stinson Laura Schildbach* Nan Davies The Horning Family Marilyn Taylor TROMBONE SECOND VIOLIN OBOE Mark Hil and Anne Les Ursula Goldstein CELLO Eva Langfeldt Diane Schildbach Principal Ken Windler Larry George Lisa Burkhart Principal Jeana Ernst Naomi Adams * Livermore High School student and Denise Leddon Sharon Greene winner of a scholarship from the LAS youth outreach program Fantasia on a Theme by Thomas Tallis Refl ecting his studies with master orchestrator Ralph Vaughan Williams Maurice Ravel two years earlier, he richly and ingeniously (1872–1958) scored the “Fantasia” for three string groups: solo quartet The great English composer Ralph Vaughan Wil- and two orchestras of different sizes. His wife, Ursula, liams virtually defi ned the English symphonic music of wrote, “With the Norman grandeurs of Gloucester Cathe- the 20th century; his music refl ects a profound English dral in mind and the strange quality of the resonance of sensibility. He was born in Down Ampney, Gloucester- stone, the ‘echo’ idea of three different groups of instru- shire, where his father, the Rev. Arthur Vaughan Williams, ments was well judged. It seemed that his early love for was rector. Following his father’s death, in 1875, he was architecture and his historical knowledge were so deeply taken by his mother, Margaret Susan Wedgwood, the assimilated that they were translated and absorbed into great-granddaughter of the potter Josiah Wedgwood, to the line of the music.” live with her family at Leith Hill Place, the Wedgwood family home in the North Downs. Amazingly, he was also Symphony No. 5, Felix Mendelssohn related to the Darwins, Charles Darwin being a great-uncle. “Reformation”—Opus 107 (1809–1847) Ralph (pronounced “Rafe”) was therefore born into the Mendelssohn composed his Symphony in D Major, privileged intellectual upper middle class but never took which bears the title “Reformation,” in anticipation of it for granted and worked tirelessly all his life for the festivities commemorating the 300th anniversary of the democratic and egalitarian ideals he believed in. Augsburg Confession, one of the key events of the Prot- estant revolt led by Martin Luther against the Catholic In 1904 he discovered English folk songs and joined Church. As it happened, large-scale celebrations of the the English Folk-Song Society. This form of music was anniversary in Germany were prevented by the political fast becoming extinct, owing to the increase of literacy upheavals that wracked Europe in 1830, and it was not and printed music in rural areas. Vaughan Williams col- until late in 1832 that the symphony received its fi rst lected many himself and edited them to ensure their place performance. in the English musical repertoire. He also incorporated some into his music, being fascinated by the beauty of Although commonly known as his Fifth Symphony, the music and its anonymous history in the working lives the “Reformation” was actually Mendelssohn’s second of ordinary people. full-scale work in this genre, following the Symphony in C minor, Opus 11. (He also wrote several smaller “sym- Once Vaughan Williams had tapped into his country’s phonies” for string orchestra during his adolescence.) rich vein of folk song and the magnifi cent heritage of its The composer was all of 20 when he began the work and Tudor-era music, he began developing a personal style, 21 when he fi nished it in May 1830. He was, however, something that had previously eluded him. The warmth, already an experienced orchestral composer, one whose spirituality, and humor of these sources played signifi cant output included, in addition to the aforementioned C roles in many of his subsequent compositions. minor symphony, several concertos and the famous Thomas Tallis (c. 1505–1585) was one of Tudor overture to A Midsummer Night’s Dream. But whereas England’s most celebrated musicians. In 1567 he con- his Shakespeare overture and some of his other youthful tributed eight themes to the Archbishop of Canterbury’s works achieved quick success and a place in the standard hymnbook, known as the Metrical Psalter. When Vaughan repertory, the “Reformation” symphony languished during Williams helped edit a new version of the English Hymnal Mendelssohn’s lifetime. The composer, who was famously in 1906, he used the opportunity to restore to circulation self-critical, judged the music harshly and withheld it from the third of Tallis’ melodies from the earlier collection. He publication after the 1832 premiere. Not until 1868, some used it as the tune for the text that begins “When rising two decades after his death, was the symphony brought from the bed of death.” The intimacy and grandeur of this out in print. lovely theme, set in the antique Phrygian church mode Meanwhile, Mendelssohn had already presented rather than the more common major or minor, moved him three other symphonies to the world. His publisher there- to compose a piece based on it. The “Fantasia” expands fore gave the present work the misleading designation and intensifi es the theme’s inherent qualities. Symphony No. 5 and the equally misinforming opus The highly successful premiere at the Three Choirs number 107. A more accurate representation of the piece Festival laid the groundwork of Vaughan Williams’ inter- in the chronology of Mendelssohn’s output would call it national reputation, as did the premiere of A Sea Symphony Symphony No. 2 and opus 23 or 24. one month later. He revised and shortened the “Fantasia” From a more purely musical perspective, this sym- twice before it was published in 1920. phony reveals the confl uence of Classical and Romantic tendencies that generally inform its composer’s work. because he was born with his incredible talent or was the Mendelssohn was steeped in the music of the 18th century. product of an artistically and intellectually inclined family Mozart and Bach were the brightest stars in his artistic will remain a mystery, but like all prodigies, Mendelssohn fi rmament—his direction of the famous 1829 revival showed signs of true genius from childhood: He made his of Bach’s Saint Matthew Passion is but one indication public debut at age 9, and by age 12, he had already written of this—and his own compositions rarely abandoned a several sonatas, two operettas, and a cantata. certain Classical formal clarity learned from their works. Having already achieved such remarkable success, His Romantic inclination shows itself chiefl y as an urge the now 20-year-old German composer and pianist was at to express extramusical ideas through instrumental music. a crossroads: Could he make a bona fi de career in music? Mendelssohn was a sensitive young man who showed To help him broaden his experiences, feed his artistic considerable talent in painting and poetry as well as music, endeavors, and further establish his reputation, his father and some of his fi nest orchestral scores were inspired by funded a three-year journey through Europe. literature (the overture to A Midsummer Night’s Dream) and landscapes (the “Italian” and “Scottish” symphonies). Beginning in April 1829, Mendelssohn traveled The “Reformation” symphony, with its implicit theme of through England and Scotland, back through the major the Protestant struggle and ultimate triumph, stands as cities of Germany, and then to Hungary and Italy. All the another instance of the composer’s efforts to use instru- while, he maintained his hectic concert schedule, a schedule mental music for conveying extramusical ideas. he would keep throughout his life. The experiences and impressions he gained during his travels not only secured Reference to the Protestant struggle and distinct his career as a fi rst-rate pianist and composer but also Classical echoes are heard in the fi rst movement. Men- provided the creative seeds for some of his best-known delssohn follows a tradition, well established by the mature works, including the Hebrides overture, also known as symphonies of Mozart and Haydn, of prefacing the main “Fingal’s Cave.” body of the movement with a slow introductory passage. The prelude opens with a contrapuntal treatment of the A prodigious correspondent, Mendelssohn chroni- “Jupiter” theme—the four-note motive used so brilliantly cled his travels in delightful letters to his family. Of Scotland by Mozart in his last symphony—and culminates with the he wrote, “In the evening twilight, we went today to the fi rst of two quotations from Lutheran church music to be place where Queen Mary lived and loved . . . . Everything found in the symphony. This initial ecclesiastic reference is is broken and moldered [in the chapel close by], and the the so-called Dresden Amen, which Wagner later used as a bright sky shines in. I believe I found today in that old principal leitmotif in his opera Parsifal. The impassioned chapel the beginning of my Scottish symphony.” A week allegro that follows can easily be heard as representing later, he visited the Hebrides, a group of 50 islands in the the struggle of Luther’s followers against their oppression west and northwest of Scotland. On the island of Staffa, he by the Roman church. Late in the movement, the fury is saw the famous sea cave Fingal’s Cave. He wrote home, interrupted by the return of the serene Dresden Amen. “In order for you to understand how extraordinarily the Hebrides affected me, the following came to my mind The second movement brings a scherzo whose there.” A bit of musical manuscript attached to this let- rustic character suggests the countryside and, as was no ter contained the fi rst 20 bars of what was to become his doubt Mendelssohn’s intention, the peasants who fl ocked descriptive overture. to Luther. There follows a moderately paced movement presenting one of the “songs without words” at which “The Hebrides” is unique in Mendelssohn’s output. Mendelssohn excelled. This leads without pause into a He was a classicist—an admirer of Bach, a lover of well- statement of Luther’s famous chorale “Ein’ feste Burg” polished formal structure—not a romantic. Nothing in his (“A Mighty Fortress”), beginning with a lone fl ute and previous or later work hints at the almost impressionistic swelling to organ-like fullness. The triumphant allegro tone-painting that makes “The Hebrides” so brilliantly that concludes the symphony includes fugal episodes (an- evocative of the limitless expanse of the ocean, the gran- other bow to Classical symphonic procedure) and further deur of thrusting volcanic rock, and the awe we feel in the development of the chorale melody. presence of nature’s beauty. The overture’s seascape begins with the mysterious murmuring of the waters within the Hebrides Overture, Felix Mendelssohn cave, hints at the hoarse cries of seagulls hovering above “Fingal’s Cave”—Opus 26 (1809–1847) the waves, builds to a stormy intensity, and then evaporates Felix Mendelssohn is regarded by classical music suddenly into the elemental mists. afi cionados and critics alike as one of the most prolifi c and Program notes compiled by Jeff Pelletier gifted composers the world has ever known. Whether it was Program booklet edited by Eva Langfeldt “HALLELUJAH” CHORUS LYRICS SOLOIST BUDDY WACHTER The lyrics shown are for sopranos. Alto, tenor, and bass parts Please see the biography of internationally ac- vary a bit after the fi rst dozen or so repetitions of “Hallelujah!” claimed four-string banjo virtuoso Buddy Wachter on Hearing the music will probably make this obvious: just go with the fl ow of melody! page 22 of the Bankhead Theater program, in the section [10 times:] Hallelujah! devoted to the Symphony’s family concert which was [once:] For the Lord God Omnipotent reigneth. performed this afternoon. [8 times:] Hallelujah! [once:] For the Lord God Omnipotent reigneth. YOUTH OUTREACH AWARD WINNERS [14 times:] Hallelujah! The Livermore-Amador Symphony Association [once:] The kingdom of this world is become The Kingdom of our Lord board of directors proudly presents Bronwyn Hagerty, And of His Christ, and of His Christ; Holly McLean, and Laura Schildbach as winners of the And He shall reign for ever and ever. LAS youth outreach student scholarship program. Bron- [3 times:] King of Kings, and Lord of Lords, wyn and Laura are both members of the Symphony; Holly [once:] And Lord of Lords, is playing with the Symphony for this December concert. [twice:] And He shall reign Bronwyn plays cello, and both Laura and Holly play [twice:] For ever and ever. [twice:] Hallelujah! violin. Each of the three winners will receive a fi nancial [once:] And He shall reign forever, award toward the cost of their private music lessons. All For ever and ever. three are students at Livermore High School. [twice:] King of Kings, and Lord of Lords, [once:] And He shall reign For ever and ever, NEXT CONCERT: King of Kings, and Lord of Lords. Winter Landscape, Summer Romance [5 times:] Hallelujah! Saturday, February 14, 2009, 8 p.m. SYMPHONY-LOGO QUILT At the concert on February 14, the Livermore-Amador Symphony Guild will hold a drawing for a colorful logo quilt designed and created by Sandee Harvey. Tickets for the drawing are available this evening in the lobby, where the quilt is on display. GIFTS and GRANTS The Livermore-Amador Symphony Association and the Livermore-Amador Symphony Guild gratefully acknowledge funding support from: Lawrence Livermore National Security, LLC City of Livermore Tourism and Special Event Fund Sandia National Laboratories/California Livermore Cultural Arts Council Target Clorox Company Technical Center – Pleasanton DONORS The Livermore-Amador Symphony Association thanks the individuals and businesses whose fi nancial contributions help make this season possible. ANGELS Chuck and Art Langhorst Kirby Fong Henrietta Fankhauser Ms. Vivian Guzman Virginia McFann Eva Gayle Marion Fred and Nancy Fritsch Audrie and Glen Hage Jean King Charlie and Kiyo Otsuki Carol T. Guarnaccia Robert Williams Joanne Hawke Allene Nimitz Jeanette Perlman Alma and Bill Heaton Grace Hersch PATRONS Ethan and Carol Waugh Arne and Paul and Marguerite Platt Ron and Anne White Margo Kirkewoog Ann Kasameyer Arnold and Marie Ross Marion Clark Fred and Audrey Lovell Mitzi Kuhn Jerry and The Independent CONTRIBUTORS Marie Ruzicka Carol Lokke Charlotte Severin Harry and Anne Briley Pat and Lloyd Mann Elteen Stone James and Robert and Eugene W. Burke and Margaret Tracy Judy Mackanic Jim and Pat Scofi eld Marion Stearns Margaret Morrad Walter and Jackie and Alan Mode Joan and Lynn Seppala Linda Tinney William and Delores Weidman Patricia Wheeler Robin and Walt Morgan SUSTAINERS Connie Cosby Bill and Mary O’Neal BENEFACTORS David Alltop Gerald and Jo Ann Cox FRIENDS Phillis Rothrock Mark and Judy Eckart Dick and Kathleen and Jay Spingarn Virginia and Sharmyn Crawford George Bing LeRoy and Joan Green Murray Bullis Pete Stuckey Nan and Walter Davies Claude and Mrs. Patricia R. Hansen Roman and Arleen Wood Peggy Burdick Doug and Anne and Jack Dini Sally Bystroff Joan Dickinson Sandee Harvey Don and Adela and Robert Cook Some funding originated Bill and Dick Hatfi eld and Nancy Faraudo Isabel Curry as a matching gift from LaVergne House Sally Swanson John Fletcher and Verlan and the General Electric Hazelee Jaberg Gail Shearer Janet Gabrielson Foundation.