10th Anniversary Season 2001-2002 Season

R. Joseph Scott Music Director and Conductor

Sunday, October 28, 2001 2:00 pm

Eastlake Performing Arts Center Eastlake High School 400 228th Ave. NE Sammamish, WA orch~tra began as the • > ?i ~ ,,, ;'f.Js fJ ~"' •• . .:!5 ''.0Viq~nce Po1ri\ ~lwertand ' has g;c;i·rrom ~ ~ndM of R. Joseph Scott n1usitiahs to a run ~mphony Music Director/Conductor . ~' ' ' !, , otc~tarNJaae' 1,1,p !frimarl!Y R. Joseph Scott. founder of the Bellevue Philharmonic . ;'t ~ • • • • was music director. conductor and general manager of the Bellevue . of Eastside musicians. the Philharmonic Orchestra from 1967-1997. Mr. Scott has been active in . ensemble provides the · the musical communi~ since attending the Universi!}' of Oregon School of Music. Mr. Scott has also studied conducting with Eugene · opndmmlry for Ql!cali.fled. · }S.. ;:> Furst and Wolfgang Martin of the Portland Opera Orchestra, Henry ... ·. s,. r;f ~ de~jtateii instrument~llsts tb . Holt of the Seattle Opera. Mikael Scheremet_iew of the Thalia Con­ servatory and Vilem Sokol of the Seattle Youth Symphony. In addition perform in an adult otcnestra. to his notable career with the Bellevue Philharmonic. Mr. Scott has The Sammamish Symphony i~ . performed as Principal Tympani with the Eugene and Grand Ronde ' ~/'' -id ; . committed to develop l~g an ' Symphonies In Oregon. Principal with Grand Ronde Symphony ' - ef' in Oregon and the Walla Walla Symphony and Seattle Symphonette malnGiln Ing an .en husfastic in Washington. In past years, he has also fulfilled the role of Guest ~· . -. ' and s.4pportive audience by Conductor for the Highline Symphony in Burien and the Rainier Symphony in Auburn. becoming an .Integral part of ...... '} the local Eastside communio/

_and providi,ng Quall~ music ·at an affordable price fo!" eveiyone. In particular, the Board of Directors/Officers .orchestra promotes R. Joseph Scott Music Director/Conductor involvement in the arts for ,tjle Frank Ronneburg President John Sheppard Vice President. Publici~ ' young people or the Bernie Olshausen Secretary communi~. including ·outreach David Potts Treasurer r • • ;j- Nickolas Kosuk Librarian programs .. and other learning . Paul Chester Operations Manager ' t' Rebecca Kleinknecht Friends of Sammamish Symphony opportunities for yoqth. Melissa Underhill-Lee Personnel Manager

2 program

Sammamish Symphony Orchestra ~l°-seph Scott, Music Director and Conductor Sunday, October 28, 2001 2:00pm

David Tonkonogui, David Tonkonogui Since moving to Seattle ten , Op. I I years ago David Tonkonogui Intermezzo Quick!Y established himself as one Ballade of the most sought-after musicians in the region. regular!Y appearing Alla marcia as a soloist, recitalist. and a chamber and orchestra player. JEAN SIBELIUS Born in Moscow, Mr. Spring Song, Op. 16 Tonkonogui received a Master of Music degree at the Tchaikovsky Conservatory, where he studied cello with Natalia Shakhovskaya FRANZ JOSEF HAYDN and chamber music with Dmitry Cello Concerto in C Major, Shebalin of the Borodin Qµartel. He later went on to earn his Doc­ Hob. Vllb No.S tor of Musical Arts Degree. A reconstructed by David Popper dedicated chamber musician, Mr. Tonkonogui was a winner in the Allegro moderato 1983 National Borodin Competi­ Andante tion and served as the principal Allegretto vivace cellist in the Moscow Chamber Opera and co-principal with the David Tonkonogui. cello international!Y acclaimed Moscow Soloists Chamber Orchestra. He has appeared in numerous music Intermission festivals throughout Europe. Japan and the U.S. Current!J with the Seattle Symphony, David has HOWARD HANSON appeared as a Soloist with the orchestra in 1992 and 1994; his Symphony No. 2, Op. 30 "Romantic" other solo performances include Adagio; allegro moderato the Northwest Si nfonietta, the Andante con tenerezza Bremerton Symphony and the Allegro con brio Seattle Youth Symphony. Tonkonogui also joined the New European Strings chamber Or­ chestra as a principal cellist on conli nued on page 7

3 program notes ______

JEAN SIBELIUS (1865-1957) 1925. Then in 1929 there were ploying Spanish rhythms which FRANZ JOSEF HAYDN Karelia Suite, Op. I I several pieces for and was subseQuently dropped. This (1732-1809) piano, five pieces for piano and final section later appeared as a Concerto in C Major, Hob. Sibelius' patriotic fervor in two compositions for male cho- separate piece entitled Festivo- Vllb No.5 pushing for Finland's indepen- rus. Then --silence. Tempo di Bolero. reconstructed by David Popper dence from Russia found musi- We have evidence that In 1895, the Spring Song was josef Haydn wrote somewhere cal voice in three of his early Sibelius worked on an eighth again performed, this time in between six and ten cello con- compositions: The "Karelia symphony for several years but Helsinki. It was now entitled certos, most of which remain Suite" (1893), two sets of apparently he was not happy Varsang (la Tristesse du lost today. By the 1890's, the "Scenes HistoriQues" (1899. with it and it ended up as ashes Printemps) or the Sadness of audience was familiar with two 1911. 1912) and the rousing tone in his fireplace. The composer Spring. From this, somehow or works, one of them, poem "" (1899) must have concluded that he had other, its present title evolved, clearly not written by H'!}'dn and The three movements of the said all that he wanted to say. the metamorphosis being lacking serious artistic merit. "Karelia Suite" were chosen by Scored for two , piccolo, helped along. perhaps, by The other, ever popular, was Sibelius from incidental music two , two , two someone who couldn't under- erroneously attributed to Anton that he had composed for a , four horns, three stand how spring could be sad. Kraft. Luckily the composer's series of historical tableaux , three , , The opening idea in Spring manuscript was discovered in produced by students at tambourine. bass drum, cymbals Song is one of the longest 1950 and music scholars reluc- Helsinki University in 1893. The and the traditional string choir. themes in Sibelius' entire out- tantly accepted the piece as an "Intermezzo", which actually put. Originally it was in D Ma- original. turns out to be a march, depicts JEAN SIBELIUS (1865-1957) jor, but during the 1895 revi- In the 1890's, David Popper, a a procession of hunters paying Spring Song. Op. 16 sion, Sibelius transposed it to F brilliant cellist and composer in tribute to a Lithuanian prince. Major, his favorite key. his own right, created a score The second movement, This attractive short piece by Professor Erik Tawaststjerna. based on the main themes of "Ballade", describes a tableau in Sibelius constitutes his Opus 16. in his study of Sibelius and his the lost C Major concerto, which a deposed king listens to Already he had produced En music, has this to S'!}' about found in Haydn's sketchbook the singing of a minstrel. Finally Saga. Op. 9(1893) and the beau- spring song: "it contains little ("Entwurf-Katalog"). This score "Alla Marcia" is a call to arms tiful suite for string orchestra that is genuinely Finnish but became part of the standard associated with the historical known as , Op.14. His leans on a wider Scandinavian cello repertoire for over sixty siege of Kakisalmi Castle. Symphony No.I, Op.39 (1898- tradition of Grieg, Svendsen years. When another C major There is a mystery associated 1899) was still to come with the and Sinding." concerto was uncovered in with Sibelius: namely. his almost Symphony No. 2, Op.43 (1901) Scored for two flutes. pie- 1960, however, its immediate thirty years of musical silence to follow short!_y thereafter. colo, two oboes, two clarinets, success pushed the Haydn/ from 1929 until his death in When it was first performed in two bassoons, four horns. three Popper piece out of perfor- 1957. His Symphony No. 7 June 1894, the Spring Song was trumpets, three trombones. mance practice. (Op.IDS) was composed in 1924, entitled Impromptu for Orchestra tuba. timpani, chimes and the Since then, both performers traditional string choir. 'Tapiola" (Op. 112) followed in and included a final section em- continued on page 6

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4 Violin I Bass English Horn Tuba David Potts Nona Martin Ben Barnes Dennis Calvin John Sheppard Heather Oesting* Concertmaster Principal Doug Henderson Principal Principal Principal Kristin Edlund Mary Brickey Ann Stephens- Matt Kruse Kevin Pih Dennis Helppie Alison Gere Mc Landress Judy Lamb Cecellia-Wendy John Gilmore fulie Werth Bernie Olshausen Timpani/ Ann Lee Scott Selfon• Principal Percussion Trevor Lutzenhiser Barbara Thorne Melissa Underhill- Nicholas Kosuk Frank Ronneburg Lynne Martinell Myrl Venter Lee Doug Higgins Principal fackie McCormick fuanita Weaver Principal Principal David Brooks Eddie Ng Tori Berntsen Eric Brewster Sonia Ingles Scott Friend* Heather Raschko Cello Carolyn Rivera Principal Roy Herzer fared McElwee* Stephen Dudycha Bob Pajer Rob Parks Violin II Principal Piccolo Jordan Firestone Linda Cate Carolyn Rivera Contra Bassoon Dan Lewis Harp Principal Lucinda Dalrymple Principal Gordon Brown Principal Tiffany Wirt• Anna Potts Trish Brock Rob Birkner Principal Paula Chester Gail Ratlty Principal Oboe Jim White Michelle Bradford Joel Green J~ce Sanford David Barnes Cathy Grindle Sandra Sultan Principal •on Leave ef Absence Mara Lippa Erika Wilson Jill Brown Emily Potts Amy Rolph Ellen Slifer• Aaron Van Heyningen Wendy Yee Are you interested in joining us? The Sammamish Symphony Orches­ tra is composed of adult volunteer musicians dedicated to performing concerts and maintaining outreach programs serving Eastside commu­ nities. Rehearsals: Thursdays 7:1Spm - 9:4Spm. Please call 206-517- Come loin Friends of the 7777 or log on to www.plateau.org/ssoa to express your interest. Sammamish Symphony!

Have you ever wanted to be involved with the orchestra but you can 't play an instrument? Here is your chance. FOSS! Friends of The Sammamish Symphony is looking for volunteers. We need eager, and creative people to help with fund raising. publicio/ and basic support for the orchestra. It is a lot of fun without a big time commitment. For more information please contact Becky Kleinknecht at i [email protected] or 425-836-3565. ' We look forward to hearing from you .

s concert season

program notes continued HOWARD HANSON (1896-1981) and the audience moved even . Symphony No. 2, Op.30 farther 'ifli3J from the works of "Romantic" Symphony non-authentic authorship. leaving 10th Anniversary Season 2001-2002 behind many pieces admired by Howard Hanson was born Oc­ music lovers. The Haydn/Popper tober 28, i896 (in Wahoo, Ne­ Concert II Concerto is one of such composi­ braska). His parents were Swedish Saturday December 15. 200! 8pm Skyline High School tions: charming!.Y eclectic pas­ Lutherans and this Nordic influ­ Sunday December 16. 2001 2pm Eastlake Performing Arts tiche, free!Y combining hints of ence is strong!Y expressed In some Haydn's s!}'le, romantic orchestra­ Holiday Pops Concert with lssaQuah Chorale and Boeing of his ear!Y works: Symphony No. I tion and harmony, and Popper's ("Nordic"), 1922, and 'The Lament Choir; Tom Derbyshire, narrator own sheer virtuosi!}'. and creating for BeCM'ulf' (1925) for chorus and Come join the SSO and hear your favorite holiday music! the uniQ.ue musical atmosphere of orchestra. In 1924 he was ap­ Program TBA the late 19th century. pointed Director of the Eastman In this standard three-move­ School of Music in Rochester, NY. Concert Ill ment composition, the first Leading the Eastman-Rochester Sunday March 3, 2002 2pm movement (Allegro moderato) is Symphony Orchestra, Dr. Hanson certain!Y the most expansive. All Tiffany Wirt, Rosie Bet-zall and Jackie Koreski, sopranos has recorded the works of many of the main themes are taken out American composers including his Verdi - La forza del destlno: Overture of Haydn's catalog. The noble own. He was also in heavy demand Puccini - Preludio sinfonico and well-posed first theme is as a guest conductor throughout followed by a !Yrical and romanti­ Mozart - Ah, scostati!. .. Smanie implacabili from "Cosi this country and Europe. cal!Y inspired second, and com­ The Symphony No.2 dates from fan tutte" pleted with a virtuosic closing 1930 and is apt!Y named "Roman­ Bernstein - Glitter and Be Gay from "Candide" part. The dramatic development. tic" because of its ryrical Q.Uali!}' Cilea - lo son l'umile ancella from "Adriana Lecouvreur" full of technical difficulties and and harmonic warmth. Notice how Beethoven - Symphony No. S, Op. 67, C minor concluded by a full tutti, leads to the entire first movement is based a brief recapitulation and a bril­ Strauss - Hahs' mir gelobt from "Der Rosenkavalier" on an elaboration of the initial liant coda. three ascending chords very much The second movement (An­ as Sibelius' 'Tapiola" consists of Concert IV dante) also contains Haydn's core variations on one basic phrase Sunday May S, 2002 2pm motive, but Popper develops it (not to speak of Purcell's amusing Winner of the youth concerto competition into a romantic poem, beautiful "Fantasia Upon One Note"!) and nostalgic. The finale (Alle­ With the Fourth Symphony Debussy - Marche ecossaise sur un theme populaire gretto vivace) could have been (1943) Hanson's music became Surinach - Drama jondo intended as a Menuett, but Pop­ more refined, more intense and Vaughan Williams - Symphony No. 2, G Major (London) per transferred the original mate­ more introspective. He contin­ Concerto movement TBA rial to a much faster pace, both ued to compose almost to the folk-like and fiery. The second end of his life. Schwann lists a Concert V theme is in the s!}'le of a landler, Ballet Suite dating from 1979. Saturday June 8, 2002 8pm Skyline High School a Viennese waltz complete with Hanson's symphony No.2 was fugato in the middle episode and written for the SOth anniversary Sunday June 9, 2002 2pm Eastlake Performing Arts a j~ul ending. season of the Boston Symphony Mark Salman, piano Program notes provided by Orchestra and was premiered by Suppe - Light Cavalry: Overture David Tonkonogui that group in 1930, Koussevitz~ conducting. Hanson wrote the Kay- Grand Walkaround and Finale - Gala Cakewalk program notes for this first perfor­ from "Cakewalk" mance wherein he observes: "My Liszt -Totentanz for piano and orchestra aim in the symphony has been to Other works TBA create a work young in spirit. All programs subject to change romantic in temperament, and simple and direct In expression." Program notes by Norman Roberts 6 contributors Acknowledgements Countryside Floral & Garden, lssaQuah Floral Arrangements Mail Post To the Many Supporters of the Sammamish Symphony Orchestra. THANK YOUI P~rams Many people have worked together to make our community orchestra possible. They have Bellevue Christian School given of their time, talent and financial resources and have made the 2000-2001 season pos­ Rehear.sol Space sible. To you we say a special thanks. Mills Music Music Folden Benefactor ($500 and above) J~ce Cunningham/Providence Point Supporter (under $200) continued Equipment Storage Preben and Ruth Hoegh-Christensen Joseph and '=Yn McElwee Eastlake High School Barb Thorne Oberloh Woodwind and Brassworks Facilities, Recording City of lssaQuah Joseph T. Peltier S~line High School King County Office of Cultural Resources Jane and Brian Pattinson Fac11itics, Recording Rowley Enterprises Inc Wayne and Betty Reep Archstone Inglewood Hill Mary C. Rivera Meeting Space Sponsor ($100 -$499) J~ce Sanford Sherman Clay Arthur and Lora Lee Allan Jeanelle Schlau Piano A~ Asbury and Kevin Rogers Penny and David Short Melody Comstock Mrs. M. Barker Craig V. and Vicki Sosey Progmm Design Boeing Company SproQ!t Technologies, Inc tssaQuah Signs Vera Jean Emrick and Paula J. Brown Melissa Underhill-Lee Banner John and Marlice Gilmore Mary Ziegler Trinity Lutheran Church and Phoebe Hagler Reheanal Space D.L We also would Uke to acknowledge all the other orchestra Jeny and Pol!Y Houston Eastside Fire & Rescue Station #222 memben' donations and the anonymous donations so gener­ Nicholas Kosuk Meeting Space ously plaud in our donations box. Heritage Society Nona Martin Northwest Harvest Lynne Martinell Norm Roberts Microsoft Program Notes John and Jackie McCormick Myrl Venter/Nora Marlin Janis and Mark Orrico Concerto Contest Performing Arts Festival of the Eastside Gail Ratley Norman Roberts Eleanor G. Seeley John Sheppard Ellen Slifer Concerto Contest Solomon and Katherine Sylvan The Sammamish Symphony Orchestra, United Way of King County in conjunction with the David Tonkonogui continued Paula and James Upjohn Performing Arts Festival Myrl and Hermann Venter of the Eastside (PAFE) tour in Europe. Washington Mutual will hold the annual David is a founding member of the Seattle­ Wendy Yee based Bridge Ensemble, whose innovative Youth Concerto Contest programming and dynamic style have captured Supporter (under$100) in April 2002. audiences and critics alike. He has collabo­ Bank of America -----~--~--·-- rated with many renowned artists including The winner will receive a study grant of Margaret A. Bank Yury Bashmet, Svlatoslav Richter, John Lill and $500.00 as well as Mary Brickey Tatiana Nikolaeva. A devoted teacher, Mr. the opportunity to perform with the Guy and Virginia Chambers Tonkonogui is a faculty member of the Seattle Sammamish Symphony Ian K. and Marjorie Edlund Conservatory of Music, coaches the Seattle at their May 5th. 2002 concert. Jordon and Amy-Beth Firestone Youth Symphony, and teaches private!Y. He For any information regarding the contest. Thomas and Jolene Gehl has appeared on ECM New Music. RCA, Koch please call the PAFE office at International and Melodia labels. Mara Lippa (425) 467-0727. 7 A balance ef Quality Accommodations ata Reasonable Price supported by Personal & Efficient Service

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® The Sammamish Symphony is sponsored by a generous grant from the The Sammamish Symphony thanks the King County Arts Commission City of lssaQuah Arts Commission. for their continuing support. Thank you to the commission for their support.

The Sammamish Symphony Orchestra Association (SSOA) is a Non-Profit Corporation under Section 50l(c)3 of the Internal Revenue Service. All contributions support the charitable purpose of the SSOA, with less than 15% used for administrative expenses. SSOA is registered with the Washington Secretary of State (1-800-332-GIVE). Founded 1992. For further information, contact the Sammamish Symphony Orchestra Association: P.O. Box 1173, lssaQuah, WA 98027. Http://www.plateau.org/ssoa • (206) 517-7777