The Streicher Trio FRIEND~ OF Charlene Brendler, harpsichord Katherine Kyme, violin Joanna Blendulf, cello Stephanie Neira, Spanish Dancer

U~I 2:30 PM, February 18, 2007 HAMBER Faye Spanos Concert Hall In cooperation with University ofthe Pacific Fifty-First Season Conservatory ofMusic, Stockton, California

Program: Iberian Flair! Jacaras Ruiz de Ribayaz (171hC) Faronell's Division (Variations on La Folia) John Playford (162~1686) (Choreography by Feuillet, 17(0) Iberian Reflections (played without pause) Gaytas Anon. (17th q Ricercada Quarta sobre fa Folia Diego Ortiz (1510-1570) Pavane con su Glossa (Choreography by Neira) Antonio de Cabezon (1510-1566) Canaries (arr. Streicher Trio) Trad. (171h & 181h C) Ai,.des Espafioletas from "Luz Y Norte" R. de Ribayaz FirstAi,.des Espafiols (Choreography by Feuillet, 17(0) Jean Baptist Lully (1632-1687) Duo for Violin and Cello Luigi Boccherini (174~1805) Allegretto spiritoso Vivace Grave Allegro Sonata, K. 90 (1685-1759) 12/8 Allegro 2/4 (Choreography by Neira) -intennission- Sonatas D. Scarlatti K 431: AUegro K 521: AUegm (jota") (Choreography by Neira) Sonata Antonio Soler (1729-1784) Sonata Group D. Scarlatti K 91: Grave K 88: Minuet K 88:AUegro K 81a: Allegro, Grave, Grave (Choreography by Neira) La Folia Henricus Albicastro (61700-) Variaciones del Espafiol Felix LOpez (1742-1821) (Choreography by Neira)

www.sfems.orglstreicherl • [email protected] The Artists She studied early keyboard The Program instruments in New York, London, The Streicher Trio is devoted to "Iberian Flare!" is a unique and Amsterdam. period performance of Classical era presentation of is" century Sp~sh Katherine Kyme is a principal chamber music. Its members have music and dance. The program Idea violinist and soloist with the earned the reputation of presenting initially was generated by ~he Philharmonia Baroque Orchestra and exquisitely performed concerts o~ delight of discovering beautiful with the American Bach Soloists. An replica and original ~nstrum~nts. The~r ensemble gems amongst Scarlatti's musicianship, combined With S~nsI­ advocate of contemporary music, she 550 keyboard sonatas. This evolved has appeared with EARPLAY, the tivity to sonorities, creates a unique to include other music and composers musical experience of optimal balance Stanford New Music Ensemble, and reflecting Iberian style. Spanish the Berkeley Contemporary Music and clarity. Critics frequently prai~e.the stylistic qualities became Players, among many other groups. h Trio's fine ensemble rapport. Spirited internationally popular in the 1t performances by the group convey the She currently conducts two youth and 18th centuries, as evidenced in orchestras connected with the musical values and elegant Rococo the music of Lully, Couperin, and ambiance ofthe late 18th century. California Youth Symphony, Bach. The Spanish musical commitmen~ t~~ing For twenty years, the Bay Area based reflecting her to ambiance continues through studie~ ~t Streicher Trio has sustained a notable young musicians. She violin Debussy and Ravel on up to UC Berkeley, Yale University, and m reputation, performing in va~ous contemporary composers. The concert venues and music festivals Vienna. collaboration ofthe well-known Bay throughout the Western United States. Joanna Blendulf, a native of Area period instrument ensemble Honors include travel grants for Sweden, performs with chamber The Streicher Trio and the ensembles and orchestras across the European appearances, multiple tourin~ expressive, colorful Spanish dan~er seasons on the California Arts Council nation, including the Portland Baroque Stephanie Neira, in collaboration Orchestra, the American Bach Touring Roster, and being listed on the with dance historian Angene Feves, Early Music America "Star Spangled Soloists, the Indianapolis Baroque produces a stunning Baroque Orchest~a, Season." The members of the Trio are Orchestra, Jubilate Baroque program of broad appeal. This and the San Francisco Bach ChOIr. also widely recognized as accomplish­ visual and aural extravaganza ed soloists, and all have both ensemble Joanna is also an active chamber includes both historical and original musician touring with Mirabile, and solo recordings on numerous Americ~ choreography, as well .as labels, including Harmonia Mundi, Baroque, Reconstruction, instrumental arrangements With Music and Arts, Centaur, and Amon Ra. and Musica Pacifica. She was named improvisations especially created by The ensemble takes its name from runner-up in the 2002 EMNDorian the Trio members. o~ Nanette Streicher, a friend ofBeethoven Competition for her recording the The legacy of Gypsy, Jewish, and the first notable woman piano Triemer cello sonatas. She received Arab and Andalusian music was builder. She shared the vibrant social her training at the Cleveland Institute heard throughout Spain. Each and esthetic Viennese milieu with ofMusic and Indiana University. province and ethnic group had its stu~ies Mozart, Haydn, and Beethoven at the Stephanie Neira began her own traditional repertory of songs of dance (ballet, tap, jazz) as a child. tum of the century, a time when and dances. Dances characteristically Romantic style was replacing the At the age of ten she saw Jose Greco had exuberant, pulsing rhythms with Classical style in music. and fell in love with Spanish dance abrupt silences and dissonant and Spain. Conte de Loya introduced Charlene Brendler, founder of the explosions. Vocal music often ~ her to , and she continued her Streicher Trio, performs on and teaches curving, embellished melo~I~s fortepiano and harpsichord. She has studies of flamenco, semi-elassical, and/or gypsy wails. Characteristic and jota in Spain. Returning .to the made appearances on both instruments "Spanishness" also lies in t~e as a recitalist, an ensemble member, and United States, she performed With The theatrical sense of the dancer s as soloist with orchestras. She also Raquel Pefia Dance Company and the gesture and stance, with t~nsion felt Ana Martinez Dance Company, enjoys collaborating in lied~r recital.s. between display and restramt. Recordings with the StreIcher. Tno including solo performances. at . the Several familiar composers Auditon~. include three Trios ofMozart, Tnos of Kennedy Center and Lisner emerged in the Spanish Baroque. perfonm~g, Louise Farrenc and Clara Schumann, Since 1994 she has been Boccherini, an Italian that lived half teaching and creating choreographies and Musica da Camera, a collection of his life in Spain, wrote music that 17th and 18th century chamber music in San Francisco. Stephanie has been reflects Spanish melancholy, from the Frank de Bellis Collection in both choreographer and performer at expressive softness, and harmonic the San Francisco Ethnic Dance San Francisco. She teaches harpsichord rhythm, Atmospheric set and fortepiano at UC Berkeley, and Festival. She is also a recipient of a in harmonies that wander and Music History at the Crowden School. San Francisco Arts Commission grant. modulate, reveal Boccherini's unique ear for sonorities and musical movements with moderate footwork, Folia and the Sarabande (an "Entree affect. Antonio Soler, el diablo vistido or athletic leaps and steps, often Espagnole" by Lully) came from a de fraile (a devil dressed as a monk), including overt sensuality. The stately collection of theatrical dances held dual lifetime positions as organist elegance of court life is seen in the published by R.A. Feuillet in 1700. and priest at the Escorial in Madrid. He 18th century classical escuela More than a dozen "couplets"­ had an eclectic personality, needed little dances (such as the Pavan Espaiioleta). choreographed variations-of the sleep, and filled his free time becoming Signature dances outside of court life Folia have survived. a radical music theorist, organ designer, also emerged, like the Jota and La Folia became one of the most and music copyist. It is nearly certain Fandango. The inherent "Iota" dance famous established dance tunes that he studied with Scarlatti and copied rhythm in Scarlatti's Sonata K. 521 across international borders and out some of his music. Scarlatti was becomes vivid with dual pitched centuries. The Streicher Trio personal musician to Queen Maria classical (worn on the presents La Folia in three versions. Barbara and traveled with the court thumb), adding a staccato rhythmic Diego Ortiz's Recercada Ottava when alternating royal residences. polyphony. Movements seen here are sobre La Follia introduces a danced Ceremonial music, dances, laments, from both "Clasico Espafiol" and the version by English composer John and guitar and gypsy styles are all Aragonese Jota styles. The Sarabande Playford. Corelli's much loved woven into his sonatas, mirroring the provides high contrast to the lively masterful set of variations is essence of Spanish music with its "Jota." Early Spanish , featured instrumentally. Other characteristic vigorous pulse, modal which migrated from the new world, instrumental renditions ofdances for turn of a phrase, or long melodic lines were perceived to be so sensuous that this concert include the Xacaras, the moving through subtle chromatic the Church banned them. By the late Canarios, the Espaiioleta, and the inflections. 17th century they had become a Gayata. The Xacaras imitates an The most unfamiliar composer on technically demanding court dance arrogant urban citizen with a this program is Albicastro, a violinist that juxtaposed long balances with streetwise swagger. The athletic of Swiss origin residing in Holland darting footwork. (Sarabandes also Canarios, originating from the during the high Baroque. He served in became the expressive or grand Canary Islands, has characteristics the military during the War of the central movement of instrumental ofthe jig: energetic rhythms, dotted Spanish Succession and modestly suites). The flamenco is in 2/4 notes and alternating duple and called himself a "musical amateur." meter, as is Scarlatti's Sonata K.90, triple meters. It was especially Highly regarded by Quantz as a violin easily lending itself to earthy gypsy popular in France as well as Spain composer, his music displays command flamenco movements. The choreo­ and it became disseminated over Italian solo technique and the graphed Pavane by Cabezon comes throughout Europe via the German double stop style. His from an earlier century and may have Netherlands. The Canarios contrasts chromatic harmony is amazingly bold, been a processional dance in courtly vividly with the Gayatas, where the making these variations rich in color. pageants. dancer pantomimes the awkward Albicastro contributed a remarkable The term "folias" first appeared in movements of dwarfs, drunkards, work to the more familiar La Folia Portuguese sources, and eventually and hunchbacks. The word refers to variations by Corelli, and others. referred to comic spectacles, poetry, a Galician double reed bagpipe. Spanish dance is unique because it is dance, popular songs, and instru­ The closing Fandango is a set of a blend of movements from Greek, mental schemes throughout Iberia. continuous variations written by the Arab, Jewish and Gypsy peoples. The Portuguese language translates Madrid organist Lopez, who was Choreographies seen here incorporate the word as "insanity" and/or "wild known for colorful variations on four different forms: 18th century amusement." Early Spanish Spanish melodies. Variations, or ballet, known as the escuela bolero; references mention "folia" as light "diferencias," required folk/regional dances; Spanish semi­ poetry, or an old type of improvisatory skill involving classicallneo-elassical dances; and with properly absurd lyrics. The register changes, scale patterns, flamenco. The first three forms are standard musical bass line pattern rhythmic alterations, and "falsas," sometimes called "Clasico Espaiiol," became recognizable by the late 17th (deliberately played wrong notes to with steps and movements often century and was soon accompanied challenge the player's ability to borrowed or exchanged within these with an equally standard tune. Its fame work around them). As with several styles. The frequent rhythmic clapping, spread with 18th century dance other pieces in this program, this the shouting of "Ole!" and the use of treatises. La Folia has continued to be Fandango has been especially the fan, are also historically appropriate a popular vehicle for musicians to arranged by the Streicher Trio and components of Spanish dancing. display improvisational and choreographed byStephanie Neira. Popular and aristocratic styles of compositional skills, heard from dancing involved either elegant Marais to Rachmaninoffi The danced -Notes '?Y Charlene Brendler Board ofDirectors FIFTY-FIRsT SEASON Contributors 2006-2007 OFFICERS SUSTAINER $2,000+ SUPPORTER $50-99 Carole Gilbertson, President CA Webster Foundation Virginia Blewett Presented in Cooperation with Dwane Milnes, Vice President John & Gayle Perl Hon. Ann M Chargin Sara Milnes, Treasurer Marian Cross Universiry ofthe Pacific Conservatory BENEFACTOR $1,000­ Madeleine Lynch, Secretary Dr & Mrs William G Dalton qfMusic; Stephen Anderson, Dean 1,999 Zulka Dozier MEMBERS Anonymous The Takacs Quartet Wolfgang& Rosie Fetsch Janet Bonner Philip & Carole Gilbertson 2:30 PM Sunday, October 1, 2006 PaulJ Hauben Jean McGowan Gerry Kamilos Faye Spanos Concert Hall StuartJacobs & Stephanie Marie Medford Dwane & Sara Milnes RECEPTIONFOlLOWING Stevenson Dwane Milnes Trimark Communities LLC Peter & JaneJaffe Don Nelson Kathe Underwood The PeabodyTrio Richard & Ellita Konig Vince Perrin 2:30 PM Sunday, November 5, 2006 PATRON $500-999 IraLehn Joan Ray Faye Spanos Concert Hall Marion & George Malloy Catherine S Lewis Michael Spencer RECEPTIONFOlLOWING Michael & Helen Spencer Gail Maddalon Kathe Underwood Cynthia Renee & Peter Meyer Strata JohnR Watt ARTIST SELECTION Sherman & June Spencer 2:30 PM Sunday, December 3, 2006 SPONSOR $250-499 COMMITTEE Eleanor Vogel Faye Spanos Concert Hall Rex Cooper Ira Lehn Frank & Lynelle Wiens RECEPTIONFOlLOWING Jean McGowan Warren van Bronkhorst Jerold & Judith Yecies Les & Marie Medford The Streicher Trio with Dance PAST PRESIDENTS Irva Rageth FRIEND $10-49 2:30 PM Sunday, February 18,2007 Michael Spencer David & Tasha Stadtner Renna Beinoris Faye Spanos Concert Hall Janet Bonner Thelma Stewart Helen S Dollahite RECEPTIONFOlLOWING Kathe Underwood Mary Ganshaw DONOR $100-249 Martha Tipton Doris D Hickman The Ying Quartet Christine Beckstrom Frank Dick Dean & KathleenJanssen 7:30 PM Saturday, March 24, 2007 Ron & Dea Berberian Mary Jensen Robert Lawrence Faye Spanos Concert Hall Janet L Bonner Mary Chamberlain John & Beverly McCarthy Corrine Boomer Helen Kessel McCrary Lawrence & Patricia Meredith TO OURAUDIENCE Irene Borelli Virginia Short McLaughlin Marie & Rick Mielbrecht • The use ofcameras and recording EC Burmeister Wilfred Mitchell, Ph.D. Jim & Diane Morgali devices ofany kind is forbidden. Bob & Pat Cox Tasha Stadtner Miya & Jonathan Pearce • There is no smokingin the lobby Marilyn E Draheim Marjorie Williams Don Peterson or auditorium. Eric & Sue Hinrichs AlfredRageth Steve Schermerhorn & Mary • Please tum offcellular telephones Mary Jensen Robert Adams, M.D. Ann Brooks and disengage audible alarms on Mike Kizer pagers and watches. John Schick FOUNDER Madeline B Lynch • UOP & Delta students are admitted Bill Williams Walter H. Perl, 1956 Mary Millar freeon a space-availablebasis. Don & Ellie Nelson • Concert programs are subject to FOR INFORMATION: Crl & Dolores Nosse IN KIND change without notice. PO Box 4874 Vince Perrin Raddison Hotel • Seating is unreserved for the Stockton, CA 95204-0874 Marvin & Bune Primack Steve Nosse Graphics 2006-07 Season. 209-946-0540 Joan Ray • Contributions, including www.chambermusicfriends.org Louise Saunders memorials, are tax deductible to IN MEMORY OF Jane C Scott the extent allowed by law. Derrill Bodley Reuben & Nelda Smith Michael & Helen Spencer Tickets are available at the door. Instruments: Students ofPriscilla Cooper Helen Kessel McCrary Adult: Single $25, Season $100 Violin by Johann Gottlobb at Lammersville School Richard & Ellita Konig Child 13-17: Single $5, Season $15 Pfretzchner, Mittenwald, 1761 Warren & Carol van David & Tasha Stadtner Child 12 and younger: Free Bronkhorst Cello by TimothyJohnson, Walter & lise Perl UOP/Delta Faculty: $10 Robert & Joan Waugh Bloomington, IN, 1999 after John & Gayle Perl FOCM welcomes children to our Nicola Gagliano, 1785 Dr Henry & Carol Zeiter concerts. However, an adult must accompany children ten years of age Harpsichord by William Dowd, UNIVERSITY OF THE and under (no babes in arms please). Boston, MA, 1981 after Pascal At the request of our artists, children Taskin, 1785, courtesy of the should not sit in the first four rows. UOP Conservatory ofMusic PACIFIC Conservatory of Music