Concert Etiquette

• Showing up late or leaving early is unfair to the artists and the remainder of the audience. If you must leave, enter and exit your seat only between selections. If possible, wait until the audience is applauding before moving.

• Food or drinks are not permitted in the Performing Arts Center.

• Talking during a performance is rude. Please reserve your conversations for during applause, set changes or after the concert.

• Technology is an important part of today’s society but even so please refrain from texting, surfing the web and all other activities on your electronic device. Your entertainment for this evening is on stage.

• Be sure your phone is set to silent or turned off completely.

• Please avoid capturing the moment with large display screen tablets. This detracts from everyone’s enjoyment of the concert and is most likely blocking someone’s view of the performance.

• Please escort loud or unruly children out of the venue. The student musicians have worked hard on their repertoire so please respect their efforts. Limit your visits in the venue; it is disturbing to other audience members.

• Whistling, yelling or otherwise congratulating the performers is generally not appropriate for the classical music concerts. Show your appreciation for the musicians by applauding at the conclusion of each piece.

The Tompkins HS orchestras are happy that you have decided to spend your evening with us. Please be respectful to our student musicians as you listen to their performances. Please take note of the following requests:

Tompkins Orchestra Friends Executive Board

TOF Committee Chairs

President | Dr. Anna ChenVice President | Suzanne Sherman

Secretary | Amisha ChudasamaTreasurer | Yean Chew

Assistant Treasurer | Daisy FujiwaraParliamentarian | Florencia Indrati

Uniforms | Jennifer Rivera & Sanober MirzaHistorian | Stephanie Herrmann

Orchestra Director | Matthew Porter

Hospitality | Claudia HernandezDuck Race Chair | Suzanne Sherman

Donor Circle | Cristy LiangSpirit Night | Stephanie Hermann

Upcoming Events

December 13thCommunity Holiday Tour(Symphony Strings)

December 20thWhite Elephant Gift Exchange

December 16thEnsemble Presentations Begin

January 27thHolocaust Remembrance Concert 7 PM

December 18thSolo/Ensemble Entry Form/Fees Due

January 30thOTHS Fine Arts Masterworks Concert 7 PM

Program

Philharmonia OrchestraWinter Holiday Medley ............................................................................... Traditional & Dutch Hymn/ arr. Jan Farrar-RoyceGod Rest Ye Merry, Gentlemen .......................................................................... 19th Centry English Carol/ arr. Bruce HealeySnow Day Sleddin’ .......................................................................................................................................................Stephen Bulla

Cambiata OrchestraWe Come A-Caroling.................................................................................................................................. arr. Matthew NaughtinLet It Snow, Let It Snow! ..........................................................................................................................................arr. Kirt MosierAll I Want For Christmas Is You ...................................................................... Mariah Carey/W. Afanasieff/ arr. Brady Lanier

Symphony StringsA Christmas Feast ....................................................................................................................................... arr. Matthew NaughtinWe Wish You a Merry Christmas .............................................................................................................. arr. Matthew NaughtinChristmas Angels ........................................................................................................................................ arr. Matthew Naughtin

Lyrica OrchestraHoedown at the Holidays ...................................................................................................... Traditional/ arr. Chris M. BernotasPachelbel’s Christmas .............................................................................................................................................arr. Larry MooreDueling Jingle Strings ..................................................................................................James Pierpont/ arr. Andrew Dabczynski

Camerata OrchestraWinter Reverie ................................................................................................................................................... Kathryn GriesingerTwo Hebrew Songs ....................................................................................................................... Traditional/ arr. Robert S. Frost I. Mo’az Tzur II. S’VivonWenceslas....................................................................................................................................................Deborah Baker Monday

PersonnelOrchestra Directors

Matthew PorterNatalie Rochen, Interim Assistant Director

Lyrica OrchestraViolin: Jeremy Bennikutty, Arantza Cabrera, Neelanjana Chakrabarty, Bhavika Chandak, Yuwei Cheng, Abhirit Das, Stanley Huynh,

Pamela Ilagan, Shreya Joy, Rohan Kancherla, Euijin Kim, Jaden Kim, Min Kyo “Jessie” Kim, Sahil Lalani, Rebecca Liu, Chetna Mandurai, Monisha Muruganandam, Madison Napoleon, Megha Natarajan, Doan Nhi Nguyen, Alexander Orot, Rushil Patel, David Payare,

Marisol Pfitzinger, Uma Phadke, Sihi Rao, Sydney Rivera, Harshith Sadhu, Harshini Srinivasan, Abhishta Thota, Sweda VijayViola: Hayaa Azmi, Shinjini Chakrabarti, Tiffaney Green, Leah Howard, Michelle Ikeocha, Kaushik Jayaprakash, Venkata Serwani Mannava,

Mahita Marri, Adeeba Mohammed, Joffre Savino, Jiya ShahCello: Connor Augustine, Whitney Boykin, Kristen Bryant, Aliyah Delgado, Gauravaram Sudhakar, Mikaela Ilagan, Matthew Kim,

Seungkyu Lee, Andy Liu, Andrew McKee, Andres Quesada, Christian Sadler, Shifa Shaik, Jongyun Shin, Olivia Walker, Sourish Wawdhane

Piano: Serena Liu

Camerata OrchestraViolin: Nikhila Anand, Maira Athar, Brianna Barnett, Sahaj Biyani, Michelle Carreno Garcia, Alejandro Cortes Hernandez, Sarthak Das,

McKenna Hayden, Hayden Hill, Austin Hoop, Elsa Joy, Karman Kaur, David Kerger, Viswaretas Kotra, Siri Krothapalli, Lohitashwa Kumar, Logan McNeely, Tarana Nagarajan, Nihara Nambiar, Kayley Ong, Rakshaa Ramalingam Subbulakshmi, Sydney Ramsamooj, Punpreet Sahni,

Madhumitha Santhosh, Rahul Saravanakumar, Rajadharshini Saravanan, Aarush Sarkar, Aksitha Vijayraj, Julianna Zavala, Shawn ZhangViola: Ermina Azmi, Franco Durana, Jose Hernandez De Leon, Zahrah Jilani, Bonnie Man, Vishnu Nayak,

Sushmita Shankar, Kaili ZhangCello: Nouma Ali, Luna Delgado, Sarah Garrett, Benjamin Herrmann, Vihaan Mehta, Natalie Salmeron, Connor Wood

Bass: Mayowa Adesina, Ethan Grabill, Michael Okeowo

Philharmonia OrchestraViolin: Emma Bolling, Valeria Cabrera, Alicia Carrillo, Javier Cavazos Ingram, Kavya Chowti, Maahin Chudasama, Alwin Clase,

Brence Clase, Victoria Clemente, Preesha Desai, Priyanka Ganesan, Alicia Garcia, Luciana Garza, Poorvi Govindaraju, Wyatt Imes, Bhavika Kamma, Yasha Kaushal, Rahul Kelwada, Sarah King, Kalyan Konduru, Samantha Lao, Seela Martinez, Lakshmi (Advaita) Modali,

Makaila Monauni, Nairi Reyna, Harkeertan Singh, Abhinav Someswar, Akkshita Sundar, Shreya Sunil, An Vo, Sipei WangViola: Lakshya Gupta, Adithi Kundhavaram, Kaitlyn Le, Sebastian Lugo-Castillo, Raymond Ma, Leiah Melton, Isabelle Menin,

Lucas Sangiorgio Colina, Alyssa Toperosky, Srihitha Valluri, Hannah VerdunCello: Alessandro Avendano, Luis Baeza, James Burden, Samantha Evaristo Velez, Matthew King, Grayson Pickard,

Annabella Quesada, Trinity WardleBass: Christopher Allison, James Molloy, James Newton

Piano: Sophia Zhong

Cambiata OrchestraViolin: Ethan Bennikutty, Vaishnavi Bhat, Gabriella Carlos, Varun Chapa, Daniel Chen, David Deichl, Matthew Finn, Mia Gigliotti,

Huy Hathuc, Keyan Huang, Matthew Karim, Brandon Lee, Francis Li, Emily Liu, Isabel Liu, Tara Moorthy, Kamsie Obilo, Atharva Panse, Sakethva Pasumarti, Maya Piotrowicz, Gautham Rajesh, Luisana Techera, Alex Thompson, Nathan Turen,

Samhita Vemuri, Rachel Vincent, Kristine Vy, Regina WuViola: Anish Attarde, Mariana Gomez – Pardo, Chloe Meyer, Ishika Roy, Vashishta Sant, Sanjaya Singh, Vincent Xia

Cello: David Calderon, Andreanna Cisneros, Adrian Clase, Ana Cordova Palafox, Diana Gonzalez, Naga Srinidhi Kuruvada, Laura Le, Greg Lu, Thien (Bo) Nguyen, Dimitra Petritsis, Diego Salgado Rozenstein, Alex Shi, Samuel Wang

Bass: Hashim Amir, Tomisin BoyejoHarp: Elisabeth Mathis

Piano: Catherine-Le Sun

Sinfonietta OrchestraViolin: Daveraj Chakravarty, Michelle Chinke, Sneha Gudala, DaiQing (Selina) He, Joshua Karim, Gabin Kim, Reenu Kutty, Jennifer Lee,

Rebecca Lee, Shieun (Shirley) Lee, Jada Li, Kayla Smith, Eric Song, Christine Tran, Ama Udugamasooriya, Zhi-Wei ZengViola: Gayathri Ballingam, Kaushal Chamarthy, Surya Ghosh, Nicole Hernandez, Allison Kim, Max Liu, Pedro Prudencio

Cello: Armaan Chadha, Abhinav Ganesh, Michael (Ted) Kwee-Bintoro, Justin Liang, Daniel Liu, Meagan McKee, Diego Rivera, Joey See, Hannah Yi

Bass: Timothy (Deuce) Dore, Effaima Longe, Jordan RosamondPiano: Gabrielle Galicinao, Haley Parrish

Sinfonia OrchestraViolin: Tess Chan, Andrew Gerungan, Julia Hecht, Elleen Kim, Chris Li, Hee Won (Jessica) Lim, Akhil Nair, Athul Nair, Gaon (Eve) Ok,

Rachael Suh, Andrew Xia, Nicole XuViola: Yujin (Eugene) Chung, Timothy Kang, Derrick Kim, Michelle Lee, Adrian Ng, Madeline Porter

Cello: Bella Chan, Michael Chung, Masayo (Jojo) Fujiwara, Leann Kuchler, Gabriela Rincon, William Suh, Jenny XunBass: Christian Cole, John Moro Dutra, Jax Reavis

Piano: Ryan Chen, Nicholas Kao

Program Notes

Camerata OrchestraWinter Reverie (2019) - Kathryn Griesinger Winter Reverie captures the listener through its peaceful, legato tones and takes them on a journey through one nostalgic winter’s day. Kathryn Griesinger, a popular composer and arranger in the festival orchestra scene, uses her own experience to describe winter in a dreamlike way. Griesinger reveals the magic of winter with accidentals, drawing up a large picture of winter’s serenity.

Mo’az Tzur and S’Vivon (2008) – Hebrew folk songs, arr. Robert S. Frost “Mo’az Tzur” is a Jewish poem, written and sung as a hymn in Hebrew on Hanukkah after lighting the festival lights. Meaning “stronghold of rock,” the hymn religiously speaks as another name for God. “S’Vivon” is the name of the first of the three-part Chanukah Suite, a chorale work by Jewish composer Jason Robert Brown that blends traditional Hebrew song with rock and roll rhythms. With this innovative fusion, Robert S. Frost blends the Hebrew melodies within each of the works and unfies them under the Hanukkah backgrounds and under the common yet different “rock.”

Wenceslas (2015) – English carol, arr. Deborah Baker Monday Good King Wenceslas is a traditional Christmas Carol that chronicles the efforts of a generous Bohemian King who ventured into a snowstorm to give alms to a peasant on the Feast of Steven, which is the day after Christmas. The compassion and virtue exhibited by King Wenceslas resonates with the spirit of the season of giving. In Deborah Baker Monday’s arrangement of this ancient hymn, the carol is transposed into an eerie minor key. This darker portrayal of the story is dramatic and evocative, making for a more satisfying major finale.

Philharmonia OrchestraWinter Holiday Medley (2014) - traditional and Dutch hymn, arr. Jan Farrar-Royce Winter Holiday Medley begins with a groovy melody that echoes the traditional song, Over the River and Through the Woods, creating an atmosphere of excitement and playfulness. The piece eventually transitions into a more relaxed melody of the Dutch hymn, We Gather Together. Through the piece’s contrasting use of rhythm, there is a sense of complexity in the music. The glissandos in the cello section represent the neighing of a horse that would be heard in the forest, and the piece ends off with the same glissando heard in the first melody.

God Rest Ye Merry, Gentlemen (2003) - 19th century, English Carol, arr. Bruce Healey God Rest Ye Merry Gentlemen begins with a beautiful opening melody, introduced by the first violins and cellos until all the instruments join in. With the addition of the bass pizzicato, the next part of the piece arrives with an adventurous start off. Bruce Healey creates a majestic tone through the harmonies throughout the orchestra and repeated notes from the upper strings. The vigorous, fast-paced middle section eventually leads to the resounding ending, finishing the piece off heroically.

Snow Day Sleddin’ (2007) - Stephen Bulla Through the piece’s fun and lighthearted melody, Snow Day Sleddin’ takes on small excerpts of traditional Christmas music and transforms them them into a new tune. The grand introduction leads to a mischievous melody echoed throughout the orchestra. The percussion accompanying the bouncing melody of the other string instruments resembles a raindeer’s hooves prancing through the snow. Near the very end, tremolo can be heard from almost every section, leading to the end of the fun journey in Snow Day Sleddin’.

Lyrica OrchestraHoedown at the Holidays (2019) - traditional, arr. Chris M. Bernotas Hoedown at the Holidays is a fun, Western rendition of classic holiday songs. After a short introductory phrase, audiences will recognize a short excerpt from Deck the Halls, as well as longer sections from Silent Night and Joy to the World. The use of glissando, or the sliding between two notes, steady, rhythmic accompaniment in the lower strings, and double stop passages, where musicians play two strings at once, all combine to add a country flair to Christmas favorites. It is easy to imagine cowboys on the cattle trail would enjoy this upbeat holiday treat.

Pachelbel’s Christmas (2004) - Johann Pachelbel, arr. Larry Moore Pachelbel’s Canon in D is one of the most famous classical pieces of music ever written. The traditional canon consists of an ostinato, or a repeated bass line phrase, and a theme repeated in a round between the higher strings. In this arrangement, Larry Moore has cleverly hidden other classic holiday melodies within Pachelbel’s famous theme. While Jolly Old Saint Nicholas and Up on the Housetop are clearly showcased, many other songs are woven into the delicate theme. See if you recognize any of them as you listen!

Dueling Jingle Strings (1990) – James Pierpont, arr. Andrew Dabczynski In another Western version of traditional Christmas music, Dueling Jingle Strings is an exciting arrangement of Jingle Bells. The piece opens with a slow call-and-response passage that sets the tone of the piece. After a ritardando and dramatic pause, the music launches into a fast paced melody full of embellishments that have come to define fiddling and country string playing. This exciting rendition of Jingle Bells is sure to leave you tapping your toes to the infectious beat!

Cambiata OrchestraWe Come A-Caroling (2002) - arr. Matthew Naughtin We Come A-Caroling is a medley of traditional Christmas carols tying closely to the origins of the holiday. Intended for a string quartet, the piece prompts great dynamic contrasts and variation within the orchestra, and provides a challenge in the key of E major. Matthew Naughtin, having arranged several different Christmas tunes, brings the compilation to life with adept rhythms and alternating time signatures.

Let It Snow, Let It Snow! - Jule Styne, arr. Kirt Mosier Following one of the most recognisable tunes of Christmas, Julie Styne’s Let it Snow, Let it Snow!, keeps the jazzy tune going through a medium swing. The piece is nothing short of fun, familiar, and festive. Kirt Mosier adds a unique element to the piece by writing several different ensemble parts for the solo section, so that you may never hear the same solo if you were to listen to the piece live again. Mosier also encourages each section to be adventurous and yet relaxed, capturing the idea of jazz perfectly.

All I Want For Christmas Is You (2018) - Mariah Carey/W. Afanasieff, arr. Brady Lanier If one song could be chosen to describe Christmas spirit as a whole, it would be none other than Mariah Carey’s All I Want for Christmas is You. At its beginning, Brady Lanier puts the infamous melody in the hands of the viola, which follows Carey’s words until the triplets come in, kicking the song off in an exciting, upbeat cheer. Lanier’s arrangement captures the original song’s thrill and energy, leaving you feeling like you don’t want a lot for Christmas!

Program Notes

Program Notes

Symphony StringsA Christmas Feast (2012) - arr. Matthew Naughtin Matthew Naughtin’s arrangement of Christmas Feast combines many tunes that may be unfamiliar to most people during the holidays, with five ancient carols for the strings. Opening up with Ding Dong! Merrily on High, Naughtin establishes a steady back-and-forth motion by the bass instruments that can resemble rocking on a boat. Building on top of it is the layering of violin and viola melodies that are reminiscent of pilgrim tunes. The roles are later swapped, with the upper voices maintaining the rhythm that the lower voices play to. The original rhythm later ends to allow for more layering among all the instruments and concluding in a drawn-out note. The pattern from the pieces opening, this time a little different, opens up the next carol, Verbum Caro Factum Est. A main characteristic is the echoing of the main melody introduced by the instruments of upper range and copied, yet altered by the lower instruments. Another playful element is the presence of turns, where the notes are played rapidly in a smooth fashion to resemble sliding. Gaudete takes a slower yet altogether enjoyable tune as the central carol. Built up with some nice harmonies and quick upper voice action, it moves right into the next piece, Carol of the Bagpipers. This peaceful, stately, carol has a singing atmosphere created by the constant sustaining of voices, acting as a pedal that unifies the sound. It also has some motifs heard from other carols, such as Away in a Manger. After concluding, the strings move down a half-step to introduce the minor key prevalent in the final carol, Coventry Carol. Sounding similar in the beginning to Gaudete, this conclusion focuses less on layering melodies but compounding the melody by unifying all of the instruments.

We Wish You a Merry Christmas (2002) - arr. Matthew Naughtin In this version of We Wish You a Merry Christmas, Matthew Naughtin takes a staple melody and transforms it using various Baroque and Classical techniques. The beginning starts as a Baroque/Renaissance fugue, opened by the violins. Instead of ending the phrase in the part where the words go “and a happy new year,” the last note moves up and continues to allow the next instrument, the viola, to continue on. A fugue starts with an opening theme played by one voice. After it is completed, another voice comes in and starts playing the theme while the original voices accompany it. After the viola finishes, another violin comes in as the new strongest voice, and finally the cello. The order is quickly reversed, from bass up to violin, in a section with less embellishments that sticks closer to the original melody. The remainder of the piece is more classical, though still having the terracing of phrases up and down the orchestra, and draws its motifs from Beethoven. It ends with a closing resembling Pachelbel’s Canon in D to delightfully tie We Wish You a Merry Christmas with another popular Christmas tune.

Christmas Angels (2002) - arr. Matthew Naughtin In this version of Christmas, Matthew Naughtin features the popular tunes of Hark! The Herald Angels Sing, The First Noel, and Deck the Halls. Opening simply and stately, the melody of Hark! The Herald Angels Sing is later enlivened with a quick scale. Naughtin creates a fast-walking bass line with the cello and bass sections and sustains the sound of the shoulder instruments to make a fuller, more enveloping sound. A beautiful transition led by the cello section marks the beginning to The First Noel. After closing out on a sustained note, led by nice upper harmonies, Deck the Hall comes. With many scalar patterns and “call and response,” where the parts alternate lines as if in conversation, Naughtin closes with an exciting and upbeat conclusion.

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Tompkins High School AdministrationMark Grisdale, Principal

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