7 pm, Thursday, 3 June 2010 Jackson Hall, Mondavi center UC Davis symphony orChestra Christian BalDini, mUsiC DireCtor anD Conductor Family ConCert 7 pm, thUrsDay, 3 JUne 2010 JaCkson hall, monDavi Center PROGRAM Oblivion Astor Piazzolla (1921–92) Kikimora Anatoly Liadov (1855–1914) Lament Ching-Yi Wang Winner, 2010 Composition Readings Sinfonia Concertante in E-flat Major Wolfgang Amadeus Mozart Presto (1756–91) Shawyon Malek-Salehi, violin Andy Tan, viola Winners, 2010 Concerto Competition Symphony No. 10 in E Minor Dmitri Shostakovich Finale: Andante – Allegro (1906–75) D. Kern Holoman, conductor Distinguished Professor of Music and Conductor Emeritus This concert is being professionally recorded for the university archive. Please keep distractions to a minimum. Cell phones, and other similar electronic devices should be turned off completely. UC DAVIS SYMPHONY orCHESTRA Christian BalDini, mUsiC DireCtor anD Conductor amanDa WU, manaGer lisa eleazarian, liBrarian Names appear in seating order. violin i viola Flute horn Cynthia Bates, Andy Tan, Susan Monticello, Rachel Howerton, concertmaster * principal * principal * principal * Yosef Farnsworth, Meredith Powell, Abby Green, Stephen Hudson concertmaster * principal * assistant principal * Adam Morales, Shawyon Malek-Salehi, Caitlin Murray Michelle Hwang principal assistant concertmaster * Melissa Lyans Chris Brown Bobby Olsen, Lucile Cain Ali Spurgeon co-principal Sharon Tsao * Pablo Frias oboe Maya Abramson* Andrew Benson Jaclyn Howerton, trumpet Raphael Moore * principal * Andrew Neish, Matthew Slaughter principal * Sophie Tso Alice Chou Benjamin Harris, Alex Milgram principal Angelica Cortez, Margaret Hermle Stacy Habroun assistant principal Stanley Hsu Dillon Tostado Vanessa Rashbrook Cello Clairelee Leiser Bulkley * english horn Isabel Ortiz, Stacy Habroun trombone Meghan Teague principal * Paul Watkins, Hannah Choi * principal * violin II Milena Schaller * Clarinet Johannes Plambeck Margaux Kreitman, Grace Harvey Al Bona, Rebecca Brover principal * principal * Lara Brown Robert Brosnan, Lisa Eleazarian Chris Allen principal tuba Aaron Gong Carrie Miller Aaron Hill John Matter * Shari Benard-Gueffroy* Alex Church David Kashevaroff Sharon Inkelas percussion Ye Chen Bass Bassoon Wyatt Harmon, Jonathan Chan Amanda Wu, Kate MacKenzie, section leader * Emily Crotty principal * principal * Kevin Koo Morgan McMahon Thomas Mykytyn Matt Wong, Victor Nava Tamra Barker Melissa Zerofsky principal * Dan Eisenberg Christina Mao Thomas Adams-Falconer Allison Peery Scott McAuliffe Yu Kyung Choi Thomas Derthick Diane Royalty Kathryn Azarvand Greg Brucker harp Francisco Ortega Contrabassoon Emily Ricks, Stephanie Hartfield Matt Wong principal * Kensal Murph piano & Celesta Peter Kim * * Holder of endowed seat 4 AboUt the artists Ching-yi Wang is a doctoral candidate in theory and composition at UC Davis. She began her music training in piano at the age of 5 and started taking composition lessons at 12. Holding bachelor and master of fine arts degrees in theory and composition from Taipei National University of the Arts in Taiwan (TNUA), she currently is studying composition with Mika Pelo and has studied with Pablo Ortiz, Ross Bauer, and Kurt Rohde. This spring, a new work will be premiered on the Pacific Rim Festival in Boston, Santa Cruz, and Korea. In August, 2009, typhoon Morakot landed on the coast of Taiwan. It was the most destructive typhoon in Taiwan’s history, causing widespread death and destroyed infrastructure, especially in southern Taiwan. Lament is a piece that expresses Ching-Yi’s sadness over this disaster and is dedicated to her country, Formosa. shawyon malek-salehi is a first-year music major and began studying the violin at the age of 5. He participated in the Saratoga High School Orchestra, where he performed Navarra by Sarasate on tour this past summer in Austria and Switzerland. In addition to the UCDSO, he plays in chamber groups at the university, is a violinist of the San Francisco Symphony Youth Orchestra, and currently studies with Dan Flanagan. Composer and violinist andy tan (An Tan) attended UC Davis and has studied composition with Ross Bauer, Kurt Rohde, and Mika Pelo. Tan’s music has been performed by the Berkeley Symphony, Ariana String Quartet, New York New Music Ensemble, Empyrean Ensemble, Mercedes Gomez, and the UCDSO. His work Sonata Breve for Cello and Piano was published by J. B. Elkus and Son. Other recent works include an original score for the documentary Out of the Past, performed by the Davis Summer Symphony and conducted by David Möschler. He was one of the composers- in-residence of the Berkeley Symphony’s 2009–10 Under Construction program. Tan was born in the city of Guangzhou, People’s Republic of China, in 1984. He began playing the violin at age of 6, and won the second prize in an interstate violin competition at age of 8. Tan was a member of the San Francisco Symphony Youth Orchestra from 1999 to 2002. He joined the UC Davis Symphony Orchestra in 2003 and has been playing principal viola since January 2010. 5 NOTES Liadov: Kikimora natoly Liadov (1855–1914) was a Russian composer, teacher, and conductor. It was For flutes I-II, piccolo, oboes I-II, during the 1870s that he became involved with the group of composers known English horn, clarinets I-II, Aas “The Five” (comprised of Balakirev, Cui, Mussorgsky, Rimsky-Korsakov, and bass clarinet, bassoons I-II, Borodin). Rimsky-Korsakov recalled that he and Liadov wrote a fugue a day on the same subject during the summer of 1878. horns I-IV, trumpets I-II, timpani, percussion, celesta; strings. In 1909 Diaghilev wrote to Liadov to request a new ballet score for the 1910 season of his Ballets Russes; his lifelong reputation for procrastination was confirmed for posterity when, Composed 1909 after much dithering, he turned down Diaghilev’s request. This provided Igor Stravinsky with his first important commission: The Firebird. Even though Liadov never completed a First performed in St. Petersburg in work of major size or scope, the best of his miniatures assure for him a permanent place in December 1910, under the direction the history of Russian music. His short tone poems Baba-Yaga, op. 56, The Enchanted Lake, of Alexander Siloti op. 62, and Kikimora, op. 63, probably his most popular works, exhibit an exceptional flair for orchestral tone color and virtuosic orchestration. published by M.C. Belaieff His tone poem Kikimora, is based on Slavic mythology. Kikimora is a female house spirit Duration: about 8 minutes that is supposed to look like a normal woman with her hair down. If the home is well kept, Kikimora is said to look after the chickens and the housework. If not, she will tickle, whistle, and whine at the children at night. She also comes out at night to spin. It is said that a person who sees Kikimora spinning will soon die. To appease an angry Kikimora, one should wash all the pots and pans with fern tea. She lives behind the stove or in the cellar of the house where she haunts and can also be found in a swamp or forest. Kikimora was written in 1909, the same year in which Mahler’s symphony Das Lied von der Erde, Richard Strauss’s opera Elektra, and Webern’s Six Pieces for Orchestra were written. Unlike these three works, Kikimora does not seek to change the course of music history. It is a flamboyant fairy tale that may remind its listener of Paul Dukas’s Sorcerer’s Apprentice (written in 1897). —CB he Symphonie Concertante, a concerto-like composition for multiple soloists and mozart: Presto from Sinfonia orchestra, is represented in the standard repertoire only by Mozart’s for violin and Concertante for violin, viola, and viola. The concertante is a step-child of the concerto grosso of 50 years previous and orchestra in e-flat major, k. 364 T enjoyed great vogue in the 1770s in Paris and Mannheim—cities Mozart visited during his For violin and viola solo; oboes I-II, travels of 1777–78. He liked the idea of virtuosi in a joint display of their accomplishments horns I-II; strings with violas I-II and accordingly produced in the following months a spate of works in the concertante style, Composed summer 1779 in Salzburg; among them this Sinfonia Concertante and its companion, the Concerto for Two Pianos cadenzas in movements I and II (K. 365 {316a}, also in E-flat). Not dissimilar in scope is the Concerto for Flute and Harp written out by Mozart (K. 299 {297}, 1778) composed for the Parisian Duc de Guines and his daughter. (A concerto for a gentleman dilettante of the flute and a properly bred young woman at the First performed probably in Salzburg drawing room harp has much to say of the society of the time.) But neither of the double in the fall of 1779, probably with the concertos is actually called concertante, and of the five works Mozart may have begun concert-master Antonio Brunetti, with that title, only this one is preserved complete. Its descendants are such works as the violin, and Mozart, viola Beethoven Triple Concerto and the Brahms Double. published by J. Andre Mozart himself was to play the viola part. To put the soloists on an equal footing—so the (Offenbach, 1802; parts only). conventional explanation goes—he calls for the violist to tune all four strings up a half-step. Inexpensive score: Wolfgang Amadeus The idea was to provide the solo part an extra measure of brilliance, that it not be engulfed Mozart: The Violin Concerti and by the two separate viola lines in the orchestra. (Considerations of this sort are less urgent now than in the days of small violas and old-fashioned bows and strings.) In any case, the the Sinfonia Concertante, K. 364, in combination of the princely violin with its more reticent sibling, along with the five-part Full Score (New York: Dover, 1986) string textures in the orchestra, results in an engaging and altogether unique tone color.