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N i n t e e n t h S e a s o n
2010 ~ 2011R. Joseph Scott
Conductor & Music Director
BENAROYA HALLSpecial Location
Welcome to today’s performance of the Sammamish Symphony Or-
chestra.
This season marks my 12th year with this gifted group of musicians. The Orchestra continues to grow in artistic excellence, and the dedication of each member is evi-dent in the ever-improving quality of this fi ne musical ensemble.
The Northwest Associated Arts organi-zation has again invited the Sammamish Symphony to take part in a special appear-ance at Benaroya Hall in Seatt le. We will perform Carl Orff ’s masterpiece Carmina Burana with several Puget Sound choral
Orchestra Management
Board of Directors
Founding Director
Joyce Cunningham
Music Director & Conductor
R. Joseph Scott
President
Miranda Thorpe
Vice-President
Myrl Venter
Treasurer
Pat Hebner
Secretary
Cathy Grindle
Directors-at-Large
Dennis HelppieRenee Kuehn
Andy HillTim Winter
Honorary Board Members
Don GerendMayor, City of Sammamish
Cheryl Pfl ugWashington State Senator
Skip RowleyChairman, Rowley Properties
Nancy Whitt enDeputy Mayor, City of Sammamish
Personnel
Librarian
Myrl Venter
Section Librarians
Eric Daane, Shelby Eaton, Jonathan Feil, Dennis Helppie, Libby Landy, Shannon Nelson
Grants
Miranda Thorpe
Personnel
Jonathan Feil
Concert Program
Jonathan FeilEmaugo Creative
Colleen Venter
Webmaster
Mary Corder
Youth Concerto Competition
Andy Hill
Lobby Volunteer Coordinators
Kathy Boudreau-StroudMariana Vail
Concessions Manager
Jill Nichols Hicks
Sound Recording
Kent Harrison
2
A native of Eastern Oregon, R. Joseph Scott has been a dynamic leader in the Northwest musical community for over 40 years. He att ended the University of Oregon, School of
Music and studied conducting with Eugene Furst and Wolfgang Martin of the Portland Opera.
After relocating to Seatt le, Mr. Scott continued his studies with Henry Holt of the Seatt le Opera, Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol of the Seatt le Youth Symphony. He founded the Bellevue Philharmonic Orchestra, serving as Music Director, Conductor and General Manager from 1967 – 1997. He is currently observing his 12th year with the Sammamish Symphony Orchestra.
Maestro Scott has conducted concerts featuring a diverse array of artists, including Metropolitan Opera star Roberta Peters; violinist Pamela Frank; the Seatt le Opera Chorus; the Empire Brass Quintet; the Seatt le Symphony Choral; and vocalists Anna Maria Alberghett i, Lou Rawls, Maureen McGovern and Marni Nixon.
Mr. Scott is Resident Conductor of Lyric Opera Northwest, and has appeared with numerous musical ensembles, including the Bellevue Opera. He has conducted world premieres of works by Alan Hovhaness, Vaclav Nelhybel and various regional composers.
R. Joseph Scott
R. Joseph Scott
groups. I look forward to conducting this exciting work on our third collab-oration with the N.A.A. It is an honor for our Orchestra to participate in this extraordinary event.
The Sammamish Symphony Orches-tra’s 2010/2011 season off ers a dynam-ic array of musical selections includ-ing our season opener which featured Famous Overtures with George Stew-ard performing the exciting trumpet concerto in F minor by Oskar Bohme. Today’s Holiday POPS concert will feature a variety of seasonal works with special guests from the Saman-tha Smith Elementary School Choir. In February, enjoy a performance of the Rachmaninoff Piano Concerto No. 2, with soloist Deborah Dewey. In March, we will join a 250 voice chorus and soloists to fi ll Benaroya Hall with the powerful musical explosion that is Carl Orff ’s Carmina Burana. Winners of our annual Youth Concerto Com-petition will be showcased in April and our June POPS concert will enter-tain you with works from Academy Award winning fi lm scores: Music from the Oscars!
Now, I invite you to sit back and enjoy the concert!
R. Joseph Scott
PROGRAM ~s
R. JOSEPH SCOTT, MUSIC DIRECTOR AND CONDUCTOR
SUNDAY OCTOBER 17, 2010 2:00 P.M. EASTLAKE PERFORMING ARTS CENTER
famous Johannes Brahms
Don Gillis Giuseppe Verdi Carlos Surinach
Richard Wagner
OskarBohme
Englebert Humperdinck Franz von Suppe
Academic Festival Overture, Op. 80 Short Overture to an Unwritten Opera Overture to the Opera Nabucco Drama Jondo, Overture for Orchestra
Prelude to the Opera Die Meistersinger von Niirnberg
INTERMISSION
Concerto in f minor for Trumpet and Orchestra, Op. 18
Allegro moderato Adagio religioso - Allegretto
Rondo-Allegro scherzando George Steward, Trumpet
Overture to the Opera Hansel and Gretel Overture to the Opera Light Cavalry
Steinway piano provided by Sherman Clay, Bellevue, Washington
Please turn off all cell phones and pagers.
No audio/video recording or flash photography is allowed during the performance.
3
PERSONNEL __ _
FIRST VIOLIN Dennis Helppie, Concertmaster
. Marianna Vail, Assistant Concertmaster
Sandy Anuras Ian Backman
David Drassal Kristin Edlund Domitille Feret Lynne Martinell Heather Raschko Haley Schaening
Tim Strait Tim Winter
SECOND VIOLIN Shelby Eaton,
Principal Feather Asmussen Assistant Principai
Alexandra Chois Barbara Ethington
Cathy Grindle Jonathan Kuehn
Paula Chester Libes Donna Mansfield
Fran Pope Miranda Thorpe
Carly Ann Worden Richard Zong
VIOLA Libby Landy,
Principal Barb Thorne,
Assistant Principal Kathryn Boudreau-Stroud
Dan Pope JanRider
Amanda Salmick Lorraine Terpening
Myrl Venter
CELLO Leslie Nielsen,
Principal Elizabeth Clawson, Assistant Principal
Andy Hill Loryn Lestz
Michelle Miller Maxima Patashnik
James Poirson Gail Ratley
Joyce Sanford Sandra Sultan
BASS Jarod Tanneberg,
Principal Natalie Johnson
Ramon Salumbides Harmony Young
FLUTE Melissa Underhill,
Principal Tori Berntsen
Elana Sabovic-Matt
PICCOLO Elana Sabovic-Matt
OBOE
Dennis Calvin, Principal
David Barnes, Co-Principal
Gretchen Geyer
ENGLISH HORN David Barnes
CLARINET Jayne Marquess,
Principal Kathy Carr
THE SAMMAMISH SYMPHONY ORCHESTRA
WOULD LI KE TO THANK
THE CITY OF SAMMAM ISH
FOR THE ! R SUPPORT
BASS CLARINET
Linda Thomas
BASSOON Shannon Nelson,
Principal Sheldon Woodle
CONTRA-BASSOON Gordon Brown
FRENCH HORN Evelyn Zeller,
Principal Nels Magelssen, Acting Principal
Chris Caneva Mary Corder
TRUMPET Jonathan Feil,
Principal Jeremy Jordan
Stas Zakharenko
TROMBONE Scott Sellevold,
Principal Matt Stoecker
BASS TROMBONE Gerald Larkins
TUBA Mark Wiseman
Principal '
TIMPANI EricDaane, Principal
PERCUSSION David Brooks,
Principal Craig Wende
Brian Yarkosky
PIANO/ KEYBOARD Catherine Lowell
HARP Allison Austin,
Principal Alisha Joubert
CALL FOR VOLUNTEERS!
If you would like to help
participate in a fun and
rewarding experience,
please call (206) 517-7777.
4
niel Halsey 10
George Steward is a full-time trumpet performer and instructor. During the 2010-2011 season, he will be soloist with the Skagit Symphony, Sammamish Symphony, North
west Wind Symphony, and Octava Chamber Orchestra.
Currently principal trumpet in the Everett Philharmonic, Everett Symphony, Cascade Symphony, and Octava Chamber Orchestra, George has previously been principal trumpet in the Elmhurst Symphony, New Philharmonic Orchestra (both in Illinois), and Evergreen City Ballet, and assistant principal in the Eastern Connecticut Symphony and Bellevue Philharmonic. He has also performed with orchestras including Civic Orchestra of Chicago, the New Haven, Hartford, Springfield and Seattle Symphonies, Seattle Opera, Tacoma Philharmonic, Philharmonia Northwest, and Orchestra Seattle.
George is currently a member of the quintet Brass Reflections. He has also performed with other chamber groups, including Second City Brass, Evanston Brass Quintet, Millar Brass Ensemble, Brass Ring, King's Brass, and Brass Knuckles (his favorite name for a brass group).
Among the ensembles with which George has soloed are the Wheaton Summer Symphony, Central Connecticut State University Chamber Orchestra, and Clinton Symphony. Locally, he has been soloist with Brass Band Northwest, Boeing Employees Concert Band, Cascade Symphony, and Everett Symphony. He has also performed solos live on KING-FM.
George earned a Bachelor of Music at Wheaton Conservatory of Music and a Master of Music at Yale School of Music. While at Yale he received the Keith Wilson Scholarship for Outstanding Wind Player and earned Honorable Mention in the concerto competition. Also, while at Yale, he performed in France and at the 1987 New York Brass Conference. His trumpet teachers includes Terry Schwartz at Wheaton, Ross Beacraft of the Chicago Brass Quintet, William Scarlett of the Chicago Symphony, Robert Nagel of the New York Brass Quintet and trumpet professor at Yale, and David Gordon of the Seattle Symphony.
George teaches private students at his home studio in Lynnwood and Spotlight Studios in Woodinville.
ADD A TOUCH OF CLASS TO YOUR PARTY OR EVENT. FOR INFO CALL 206-517-7777 The Sammamish Symphony Orchestra offers small chamber groups for private functions.
HAMMOND ASHLE
VIOLINS
BRYCE VAN PARYS GENERAL MANAGER
425.392.3963 I BRYCE@HAMMONDASHLEY
320 3RD AVENUE NORTHEAST, (SSAQUAH WA 9
Are you interested in playing with us?
The Sammamish Symphony Orchestra is composed of adult volunteer musicians dedicated to performing concerts and
maintaining outreach programs serving Eastside communities.
Rehearsals: Thursdays 7:15-9:45 p.m. Eastlake High School
Please call 206-517-7777 or go to www.sammamishsymphony.org
Sales
~en1"y Bischofbe-rge1" Violins
Appraisals Repairs
Third Generation Violin Maker
·voted Evening Magazine's Best olHestem WA lor Z()]8!'
Rentals
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Holiday Pops! Featuring the Samantha Smith Elementan; School Chorus
Saturday December 11th 2010 at 7:30 pm
Sunday December J2<h 2010 at 2:00 pm
at the Eastlake Performing Arts Center
_5_
Save the dates! We invite you to join us for our 2010-2011 Season
Holiday Pops Featuring the Samantha Smith Elementary School Chorus
Saturday, December 11th 2010 7:30 pm Sunday, December 12th 2010 at 2:00 pm
Eastlake Performing Arts Center
Rachmaninoff Featuring Deborah Dewey, Piano
Sunday, February 27th 2011 at 2:00 pm Eastlake Performing Arts Center
Carmina Burana Featuring the Kirkland Choral Society,
Bellevue Chamber Chorus, Cantare Vocal Ensemble,
and the Northwest Associated Youth Chorus Sunday, March 2ih 2011 at 2:00 pm
Benaroya Hall, Seattle
Extraordinary Young Soloists Saturday, April 30th 2011 at 7=30 pm
Mary Queen of Peace Church, Sammamish
2011 Dinner Auction: An Evening in Paris
Saturday, May 14th 2011 at 6:oopm The Plateau Club, Sammamish
Music from The Oscars: Award Winning Film Scores
Sunday, June 12th 2011 at 2:00 pm Eastlake Performing Arts Center
.... --p -::: -_- = c= . . ~3
=- BECOME A SUBSCRIBER!
Apply today's ticket toward the purchase of a season ticket series.
Includes Carmina Burana at Benaroya Hall and one free concert!
_6_
PROGRAM NOTES
Overture
mid-13c., "an introductory proposal," from Old French overture "opening, proposal," from Latin apertura "opening," from aperire "to open, uncover" (see overt). Orchestral sense first recorded in English 1660s.
The concept of an orchestral overture dates at least as far back as the 17th century operas of Peri and Monteverdi. By the tum of the 19th century, opera overtures were beginning to be performed as separate items in the concert hall. While the specially composed overture continued to rule in opera, two other overture variations emerged. Many 19th century operettas and light operas substituted a potpourri of airs based on the tunes of the songs that were to follow. Overtures accompanying Broadway musicals almost always follow this pattern. At the other reach, the concert overture, intended specifically as an individual concert piece without reference to stage performance, began to appear early in the Romantic era. Tchaikovsky's 1812 Overture is the most popular example of that genre. Our program this afternoon includes both traditional opera overtures (the pieces by Humperdinck, Suppe, Verdi, and Wagner) and concert overtures (the pieces by Brahms, Gillis, and Surina ch).
Johannes Brahms Academic Festival Overture Op. 80
Academic Festival Overture was one of a pair of contrasting concert overtures writteP. l:>y Johannes Brahms (1833-1897), the other being the Tragic Overture, Op. 81. Brahms composed the Academic Festival Overture during the summer of 1880 as a musical thank-you to the University of Breslau, which had awarded him an honorary doctorate the previous year.
In the German title, the word "Festouvertiire" connotes a festive or celebratory overture. This clarifies that it is the overture that is festive, not the academic festival occasioning it. With a masterful balance of serious and light-hearted elements, the emphasis is on the "festival" rather than the "academic" in an overture that brims with an irrepressible sense of fun. The work also sports the most extravagant orchestral forces the composer ever employed. Brahms himself described the piece as "a very boisterous potpourri of student songs." Excerpts from four student beer-hall tunes play a significant role in the orchestral texture.
The composer himself conducted the premiere at a special convocation held by the University on January 4, 1881. Due to its easily-grasped structure, lyrical warmth, excitement, and humor, the work has become a staple of today's concert-hall repertoire.
Academic Festival Overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, and contra bassoon; four horns, three trumpets, three trombones, and tuba; timpani and percussion (bass drum, cymbals and triangle); and strings.
7
Don Gillis Short Overture to an Unwritten Opera
Don Gillis (1912-1978) was a prolific composer, arranger, and music educator. He began his career in radio in Dallas, Texas, in the 1930s and rose to become a well-travelled conductor and composer in the 1940s and a radio producer for NBC' s Symphony of the Air during the Toscanini era. In the 1960s and 1970s he was vice-president of Interlachen Music Camp and joined the faculties of Southern Methodist University, Dallas Baptist College, and the University of South Carolina. Gillis composed in virtually all contemporary styles and genres. His music is accessible, engaging, humorous, and often satirical with whimsical titles (such as his "Gone With the Woodwinds" and "Symphony No. 5Vz, A Symphony for Fun," and his book of anecdotes "The Unfinished Symphony Conductor"). He employed American musical idioms of jazz, bebop, and the blues, and his compositions often reflect a wonderful sense of regional flavor and Americana.
Short Overture to an Unwritten Opera (1945) was the first number of Gillis' s ever played by the NBC Symphony. The "unwritten opera" surely would have had to be a comedy; its overture is energetic, jazzy, sassy, and over almost before you know it.
Short Overture to an Unwritten Opera is scored for two flues, two oboes, two clarinets, bass clarinet, and two bassoons; three horns, three trumpets, three trombones, and tuba; timpani, percussion (xylophone, cymbals, triangle, claves, snare drum); harp; and strings.
Giuseppe Verdi Overture to the Opera: Nabucco
Nabucco is an opera in four acts by Giuseppe Verdi (1813-1901) to an Italian libretto by Temistocle Solera, based on the Biblical story in Jeremiah and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue. It is Verdi's third opera and the one which is considered to have permanently established his reputation as a composer.
Nabucco follows the plight of the Jews as they are assaulted, conquered, and subsequently exiled from their homeland by the Babylonian King Nabucco (in English, Nebuchadnezzar). The historical events are used as background for a romantic and political plot.
The first performance of the opera took place on March 9, 1842 at the Teatro alla Scala, Milan under the original name of Nabucodonosor. The definitive name of Nabucco for the opera (and its protagonist) was first used at a performance at the San Giacomo Theatre of Corfu, in September, 1844.
Nabucco's Overture is scored for two flutes (second doubling on piccolo), two oboes, two clarinets, and two bassoons; four horns, two trumpets, two trombone, and tuba; timpani and percussion (snare drum and bass drum); and strings.
Carlos Surinach Drama ]ondo, Overture for Orchestra
Barcelona-born Carlos Surinach (1915-1997) was among this century's premier composers for the dance. His works combined the fiery imagery of his native Spain with the technical sophistication of his German musical education. Studies in composition at the Barcelona Conservatory were followed by advanced work at the Diisseldorf Conservatory, the Cologne Hochschule, and Berlin's Prussian Academy as well as at lectureseminars under Strauss. He was conductor of the Barcelona Philharmonic and the Orchestra of the Gran Teatro del Liceo before moving to the United States in 1951 where he gained renown as both composer and conductor.
In the United States, Surinach's scores were quickly picked up by choreographers and dance companies including Martha Graham and the Joffrey Ballet. Graham included his Acrobats of God and Embattled Garden in her Edinburgh Festival programs and the Joffrey programmed his Feast of Ashes for their Russian tour in 1963. Surinach taught at Carnegie Mellon University and received commissions and grants from the Louisville Orchestra, Ricordi, the Rothschild Foundation, Martha Graham, MGM Records, and many other institutions. He was awarded England's Bax Society Medal for Non-Commonwealth Composers in 1966 and the Spanish title of Knight Commander of the Order of Isabella I of Castille in 1972.
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8
Surinach's Drama Jondo was commissioned for the Milwaukee Symphony, which premiered the work in 1965. From the composer's preface to the published score:
Drama Jondo is an overture without any theatrical work to follow. I call it overture merely because it is a musical short piece more or less adjusted to the traditional patterns of the classical overture. My intention, though, is to associate my own style, prosody, and rhythmical structure ... to the established form of an overture.
Within the title, the word "drama" is not casual. It is very deliberate. Since the word "drama" means also action, effect, and motion. It is not, then, an overture to an unknown drama, but rather an overture with dramatic implications in its musical content. On the other side, the word "jondo" (a derivation from the Spanish Flamenco, meaning "deep") is to be associated with the idiom of the work, which is - as most of my music - predominantly Spanish. It is, I think, a new assimilation of the Flamenco physiognomy into the serious music (which I am trying to establish throughout my entire work). I do not intend, then, to write custom-made folk music, but rather to give my own interpretation to an ethnical feeling which I try to use with utmost technical freedom.
Drama Jondo Overture is scored for three flutes (second and third on pie-
Myrl Venter 425-·1 l 7-05 19 [email protected]
colo), three oboes (third on English Horn), three clarinets (third on bass clarinet), and two bassoons; four horns, three trumpets, three trombones, and tuba; timpani, percussion (xylophone, military drum, bass drum, cymbals, pandero (a large tambourine without jingles), and snare drum); harp; and strings.
Richard Wagner Prelude to the Opera: Die Meistersinger van Nurnberg
Die Meistersinger von Niirnberg (The Mastersingers of Nuremberg) is an opera in three acts, written and composed by Richard Wagner (1813-1883). It is one of the most popular operas in the repertory, and is among the longest still commonly performed today, usually taking around four and a half hours. It was first performed at the Konigliches Hof-und NationalTheater in Munich, on June 21, 1868. The conductor at the premiere was Hans von Biilow.
Die Meistersinger is a musical composition in which the composition of music is a pivotal part of the story. The story takes place in Nuremberg during the middle of the 16th century. At the time, Nuremberg was an Imperial Free City, and one of the centers of the Renaissance in Northern Europe. The story revolves around the real-life guild of Meistersinger (Mastersingers), an association of amateur poets
and musicians, mostly from the middle class and often master craftsmen in their main professions. The Mastersinger developed a craftsmanlike approach to music-making, with an intricate system of rules for composing and perform-ing songs. The work draws much of its charm from its faithful depiction of the Nuremberg of the era and the traditions of the Mastersinger guild.
Die Meistersinger von Niirnberg occupies a unique place in Wagner's oeuvre. It is the only comedy among his mature operas, and is his only opera centered on a historically well-defined time and place rather than a mythical or legendary setting. It is the only mature Wagner opera to be based on an entirely original story, devised by Wagner himself. It is also the only one of Wagner's mature operas in which there are no supernatural or magical powers or events. It incorporates many of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias, choruses, a quintet, and even a ballet.
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Prelude to Die Meistersinger is scored for piccolo, two flutes, two oboes, two clarinets, and two bassoons; four horns, three trumpets, three trombones, and tuba; timpani and percussion (bass drum, cymbals, and triangle); harp; and strings.
OskarBohme Concerto in F Minor for Trumpet and Orchestra, Op.18
Oskar Bohme (1870-1938) was born in Potschappel, a small town near Dresden, Germany, the son of Wilhelm Bohme, also a trumpeter, For much of his early career, after studying trumpet and composition in the Leipzig Conservatory of Music until graduating in 1885, it
The Sammamish Symphony
would like to thank
Gordon Brown and the
Gordon Brown Donation Fund
for the generous contribution
for music to build the
Symphony's library. Gordon
has been an active member and
contra-bassoon player with the
symphony for many years.
425-388-8333 4532 Klahanie Dr SE Issaquah, WA 98029
is unknown what Bohme' s musical activities were, though it is probable he concertized, playing in smaller orchestras around Germany.
From 1894-1896 he played in the Budapest Opera Orchestra and then moved to St. Petersburg, Russia, in 1897. Bohme played cornet for 24 years in the Mariinsky Theatre, turned to teaching at a music school on Vasilievsky Island in St. Petersburg for nine further years, from 1921-1930, and then returned to opera with the Leningrad Drama Theatre until 1934.
In 1934, however, the Great Ter-ror began under Stalin and in 1936 a committee was established to oversee the arts in Soviet Russia. According to its anti-foreign policies, Bohme was exiled to Orenburg on account of his German heritage. It is said that he died there in 1938, though he was also said to be seen working on the Turkmenistan Canal in 1941.
Bohme wrote in the Romantic style, primarily works for trumpet and brass instruments in general, of which the best known are his Brass Sextet and Trumpet Concerto. The Concerto (1899) was originally written in E Minor, probably for trumpet in A, but is today mainly performed in the key of F Minor, which is more readily played on today's B-flat trumpet. While, as a consequence of his exile, his works were neglected, Bohme is increasingly being rediscovered.
Concerto for Trumpet and Orchestra is scored for two flutes, two oboes, two clarinets, and two bassoons; four horns, two trumpets, three trombones, and tuba; timpani and percussion; strings; and solo trumpet.
Engelbert Humperdinck Overture to the Opera: Hansel and Gretel
The modem reputation of Engelbert Humperdinck (1854-1921) rests chiefly on his opera Hansel and Gretel, on which he began work in Frankfurt in 1890. He first composed four songs to accompany a puppet show his nieces were giving at home. Then, using a libretto by his sister Adelheid Wette rather loosely based on the version of the fairy tale by the Brothers Grimm, he composed a Singspiel of 16 songs with piano accompaniment and connecting dialogue. By January 1891 he had begun working on a complete orchestration.
The opera premiered in Weimar on December 23, 1893, under the baton of Richard Strauss, who called it "a masterpiece of the highest quality." With its highly original synthesis of Wagnerian techniques and traditional German folk songs, Hansel and Gretel was an instant and overwhelming success.
In 1923 the Royal Opera House in London chose Hansel and Gretel for their first complete radio opera broadcast. Eight years later it was the first opera transmitted live from the Metropolitan Opera in New York. It has been associated with Christmas since its earliest performances and today it is still most often performed at Christmas time. In Great Britain and the United States, it is often performed in English.
Hansel and Gretel Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinet, bass clarinet, and two bassoons; four horns, two trumpets, three trombones, and tuba; timpani and percussion (cymbal, triangle, and tambourine); harp; and strings.
Franz von Suppe Overture to the Opera: Light Cavalry
Towards the end of the 1850s Viennese audiences became captivated by the satire and exuberance of Jacques Offenbach's operettas. Far removed from the homespun fare of Austrian theatre repertoire of the time, these Parisian stage works led directly to the creation
10
of a specifically Viennese operetta school whose founder was the young conductor-composer Franz von Suppe (1819-1895).
In 1840 Suppe secured his first musical post in Vienna as third conductor at the Theater in der Josefstadt. Here he not only conducted but also composed the requisite incidental music to accompany many stage works. Suppe was a prodigious composer, creating some three hundred stage works besides a variety of instrumental, orchestral, and sacred music. Today, with the exception of a handful of his operettas which are still produced in Europe, comparatively few of his compositions are performed. His reputation lives on, however, in their superbly crafted, rousing overtures.
The "military operetta" Leichte Kavallerie (Light Cavalry) received its premiere at Vienna's Carl-Theater on March 21, 1866. The score combined Hungarian national music with that of Italy and Germany and was a considerable success. While much of the operetta remains in relative obscurity, the overture is one of Suppe's most well-known pieces. Many orchestral groups have the piece in their repertoire, and the main theme of the overture has been quoted numerous times by musicians, cartoons, advertising, and other media.
Light Cavalry Overture is scored for two flutes (second on piccolo), two oboes, two clarinets, and two bassoons; two horns, two trumpets, and three trombone; timpani and percussion (snare drum and bass drum); and strings.
CONTRIBUTORS IN ADDITION TO THE FOLLOWING DONORS WE GRATEFULLY ACKNOWLEDGE THOSE
INDIVIDUALS AND FAMILIES WHO PURCHASED DONATED GOODS AND SERVICES AT OUR SAMMAMISH SYMPHONY AUCTIONS.
BENEFACTORS ($500+)
Anonymous (2) Sandy Anuras
The Boeing Company Gordon Brown Foundation
·· David Campbell Shelby Eaton
Bob and Cathy Grindle Preben & Ruth Hoegh-Christensen
Paul and Robin Holland City of Issaquah Arts Commission
City of Sammamish King County 4Culture
King County Employee Giving Program Kevin and Lynne Martinell
Microsoft Corporation Estate of Eleanor Nein
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Cheri and Jay Tihinem Herman & Myrl Venter Pat and Allyn Hebner
Patrick and Debbie Mc.Cormick Kenneth Morse
SPONSORS ($100-499)
Arthur and Lora Lee Allan Aletha Barnes
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Judith Johnson Rosemarie Michaels
Leslie Nielsen Gail Ratley
String Instrument Specialists Tim Strait
Linda Thomas Barbara Thorne Miranda Thorpe
Paula Upjohn David Van Moorhem
Mark and Linda Wiseman Ann and John Backman
David Barnes and Melissa Underhill Annette and Les Eaton
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We are seeking donations from supporters like you to help us sustain and expand our programs. Please join the generous individuals and organizations who have provided support to enable us to make the music our audiences love to hear. All contributions are tax-deductible. Please
contact one of our representatives about how you can help.
To the Many Supporters of the Sammamish Symphony Orchestra, THANK YOU!
ACKNOWLEDGEMENTS
Many people have worked together to make our community orchestra possible. They have given of their time, talent, and energy. Thank you!
EQVIPMENT STORAGE Joyce Cunningham/Providence Point
PROGRAM DESIGN Emaugo Creative
REFRESHMENTS Safeway/Costco
Klahanie QFC/Pine Lake QFC FAC ILITIES
Eastlake High School
PIANO Sherman Clay
REHEARSAL SPACE Bellevue Christian School
PROGRAM NOTES Jonathan Feil
PERCUSS ION EQl,llPMENT Dave Pitt/Beaver Lake Middle School
RECORD ING ENGINEER Kent Harisson
The Sammamish Symphony Orchestra Association (SSOA) is a Non-Profit Corporation under Section 501(c)(3) of the Internal Revenue Service. For further information, contact the SSOA:
P.O. Box 1173, Issaquah, WA 98027 www.sammamishsymphony.org (206) 517-7777
11
SundayOctober 17th, 2010, 2:00 PM
Eastlake Performing Arts Center
Saturday & SundayDecember 11th, 2010, 7:30 PM
December 12th, 2010, 2:00 PMEastlake Performing Arts Center
SundayFebruary 27th, 2011, 2:00 PM
Eastlake Performing Arts Center
SundayMarch 27th, 2011, 2:00 PM
A SPECIAL BENAROYA HALLBENAROYA HALL EVENT200 University Street - Seattle
SaturdayApril 30th, 2011, 7:30 PM
Special LocationSpecial LocationMary, Queen of Peace Church
1121 228th Ave SE - Sammamish
SundayJune 12th, 2011, 2:00 PM
Eastlake Performing Arts Center
For more information please visit www.SammamishSymphony.orgThank you to our generous sponsors.
2010OCTOBER
2010DECEMBER
2010 ~ 2011 Season
2011FEBRUARY
2011MARCH
2011MARCH
2011JUNE