Santa Barbara City College Symphony
First Violins
David Stone,
Concertmaster
Kathy Leer
Victor Gasser
Henry Null
Kevin Kishiyama
Diana Andonian
Veronica Fortier
Clark Leslie
Aubrey Spilde
Jeon Richard
Second Violins
Joel Schwimmer,
Principal
Tammie Wrocklage
Alice Green
Leonard Chen
Irwin Maguire
DeeDee Nussmeier
Sara Tennant
Elvira Tafoya
Susie Thielmann
Jessica Sahagun
Devin Barry
Stephane Detournay
Violas
Terence Geoghegan,
Principal
Kathleen Feldman
Esther Frankel
Helena McGahagan
Martin Shapiro
Sherrill Pfeiffer
Julia Webb
Molly Clark
Francisca Lara
Cellos
Carol Roe,
Principal
Jacqueline Greenshields
Hugh Snyder
Jeannot T. Maha’a
Michael Burridge
Claudia Scott
Carol Sipper
Karen Spechler
David Roe
Gerrie Fausett
String Basses
Dege Donati,
Principal
Nick Carlson
Andrew Saunders
John Ahern
Flutes
Mary Maguire,
Principal
Monica Bucher-Smith
Ritchie Gonzales
Piccolo
Ritchie Gonzales
Oboes
Louis Grace,
Principal
Adelle Rodkey
Elizabeth Turner
English Horn
Adelle Rodkey
Clarinets
Peggy Liborio,
Co-Principal
Kathryn Woolf
Co-Principal
Carol Simon
Bassoons
Hap Russell,
Principal
Kristen Smith
French Horns
Sherry Trujillo,
Co-Principal
Johann Trujillo
Co-Principal
Margaret LaFon
Susan Miller
Trumpets
James Labertew,
Principal
Scott Pickering
Alex Feldman
Trombones
Michael Evans,
Principal
Hisashi Masui
Donald Faith
Steve Larios
Tuba
Howard Simon
Timpani
Charles Hamilton
Percussion
Nick Moore
Peter Hathaway
James Mooy holds music and education degrees from UCLA (B.A. and M.A.). His trumpet performance studies have been with Jimmy Valves, Ron Thompson, Tony Plog, and Mario Guarneri. A Music Academy of the West alumnus, he has toured the U.S. and Japan as a professional trumpet player. James taught the band and orchestra program at R.A. Millikan High School in Long Beach for five years. During that time he freelanced regularly in the Los Angeles area and held a full-time position as a Disneyland musician. Mr. Mooy currently conducts the Lunch Break Jazz Ensemble, and the Symphony Orchestra at Santa Barbara City College. Additional teaching duties include Music Appreciation and Music Technology. He has served as an adjudicator for numerous solo, chamber, wind ensemble, string ensemble, and jazz ensemble festivals. He has repeatedly served as conductor for honor bands and orchestras. He has served as guest conductor for the Santa Barbara Schools String Festival and the SB Youth Symphony.
Program
*************************************
Academic Festival Overture, Op. 80
Johannes Brahms (1833-1897)
Prelude to “The Afternoon of a Faun”
Claude Debussy (1862-1918)
Intermission
Symphony No. 3 in D Major, Op. 29
Peter Ilich Tchaikovsky (1840-1893)
James D. Mooy, Director
Special thanks to:
Martin Shapiro, Program Notes
Esther Frankel, Post Concert Reception
James Watson, Program
Pamela Lasker, Tickets
Jason Flynn
Luke Theater Staff
Program Notes
Academic Festival Overture
Johannes Brahms (1833-1897)
For a fellow who never went to college, Johannes Brahms was quite an academic achiever. In 1876, at the ripe old age of 43, Brahms received an invitation to travel to Cambridge University, in England, to receive an honorary Doctorate of Music degree. However, since he suffered terribly from sea-sickness, he decided to stay put in Germany, and he relinquished the degree. But then, in 1879, deja vu. This time it was a more local institution, the (German) University of Breslau. They were prepared to offer Brahms a prestigious Ph.D., or Doctor of Philosophy degree, and all he had to give them in return was the Dedication of a brand new major work, on the scale of a substantial symphony or concerto. Imagine the surprise in Breslau, then, when Brahms arrived to accept his Doctorate with nothing more to offer than a "boisterous potpourri of student drinking songs."
So Brahms might never have been a college student, but he sure knew all the good tunes. The Academic Festival Overture consists of four continuous sections, each built around a familiar German student drinking song.
1- Allegro: this opening section begins in minor with intense, driving rhythms. Three trumpets then introduce the noble "Wir hatten gebauet ein stattliches Haus" (We have built a stately house).
2- Maestoso: the violins and violas introduce "Der Landesvater" (The Father of our Country).
3- Animato: this one is fun. The bassoons, backed by off-beat (syncopated) violas and cellos, play a traditional "freshman song," "Was komm dort von der Hoh'" (What comes from afar). This is the longest, most symphonic section.
4- For the grand finale, the entire orchestra (and it is the largest in any of Brahms' works) joins together for a rousing version of "Gaudeamus igitur," (Therefore, let us be merry). Not exactly Beethoven's 9th, but a moving, spiritual ending nonetheless.
Symphony No. 3 - "Polish"
Peter Ilich Tchaikovsky 1840-1893
There's an old Tchaikovsky joke that goes like this: Q. How many symphonies did Tchaikovsky write? A. He wrote three - numbers 4,5, and 6. The joke, of course, is that for many years, and throughout the 20th century, whenever a Tchaikovsky symphony would be performed, whether in concert or on a recording, it was always number 4, 5, or 6 that would be selected. Back in the sixties, when Eugene Ormandy and the Philadelphia Orchestra released an LP collection titled Tchaikovsky's Great Symphonies, it only included numbers 4,5, and 6. But fortunately we now live in more progressive times, and musically we can enjoy a new attitude - that the early works of Haydn, Mozart, and, yes, Tchaikovsky, can offer much listening pleasure.
Tchaikovsky wrote his Third Symphony in 1875 while staying at the estate of a wealthy friend and traveling companion, Vladimir Shilovsky. (Tchaikovsky famously preferred the companionship of men.) The symphony gets it's "Polish" nickname from the fifth or last movement, which employs some Polish rhythms in its main theme.
First Movement - Introduzione ed Allegro. Moderato assai (Tempo di marcia funebre). The "Introduction" is actually a brief funeral march that leads to the lengthy Allegro. Now, just about every symphony, string quartet, concerto, sonata, etc., ever written has a first movement in traditional sonata (allegro) form, and Tchaikovsky's Third is no exception. The Allegro presents several striking themes in its Exposition section, Develops them (development section) by slicing and dicing them (cutting them up into fragments, or motives, and tossing them around the orchestra). And then comes the Recapitulation (Recap) - like in one of those great old Hollywood musicals, the Happy Ending. The original themes return in their original form and style, and the first movement comes to a lengthy but joyous close.
Second Movement - Time for another joke. Q. When do you have five movements in a symphony? A. Pretty rarely. There's Berlioz' colorful Sinfonie Fantastique, Beethoven's rustic Pastoral Symphony (#6), and - Tchaikovsky's Symphonie #3. It's the dance-like second movement that's the extra one. Most symphonies go directly from an energetic first movement to a relaxing slow movement. Here the slow movement comes in third; Alla tedesca (In the German style). The second movement opens with an awkward little waltz in the flutes, which eventually broadens into a lush, romantic passage in the strings. Both melodies return several times throughout the movement, alternating with a lively "chattering" passage in the woodwinds.
Third Movement - Andante elegiaco. The third movement, one of the most romantic in the entire symphonic literature, begins as a slow lament (andante elegiaco) in the winds, and step by step introduces a series of expressive melodies, culminating in one of Tchaikovsky's most inspired moments - a series of ascending sequences (rising passages) in the strings that in their beauty rival the love music in Romeo and Juliet. Listen for this inspired music again towards the end of the movement - Tchaikovsky repeats the entire first half of the Andante, with stunning effect.
Fourth Movement - Scherzo (Allegro vivo). This quick little movement (it's the shortest of the five) is something of a joke (Scherzo in Italian means "joke.") Scherzos (Scherzi), which replaced the Classic minuet of Mozart's time, are always in 3 (triple meter). But this Scherzo has only two beats to the measure, and the tempo marking - Allegro vivo, is so fast that it must be conducted and played in 1 (one beat per measure). Some joke! The movement consists of 3 sections: 1- A treacherously fast dialogue between the strings and the winds, using wispy little figures, continuing almost non-stop. 2- The Trio (middle section) is a March with crisp rhythms (originally written for a tribute to Czar Peter the Great). 3- Section 1 returns, but now includes some of the March with crisp rhythms.
Fifth Movement - Allegro con fuoco (fire), tempo di Polacca. Musically the Finale is a tale of two themes. The first is the Polish one, using changing rhythms. Pay attention to this scrambling theme - it returns, in whole or in part, throughout the movement, and really dominates the entire Finale. The second theme is quite contrasting, with long lyrical (song-like) notes in the winds against a scrambling string accompaniment. It returns only once, but it's terrific - the entire orchestra is playing their hearts out, fortissimo. But the last word goes to the Polish theme, still full of changing rhythms, and full of vim and vigor.
Prelude to "The Afternoon of a Faun"
Claude Debussy (1863-1918)
Once upon a time there was a faun, a mythical free spirit who lived in the forest primeval, and who passed the time playing his flute and thinking about the beautiful nymphs who temptingly surrounded him. In 1876 a famous French poet, Stephane Mallarme, published an extended poem about the faun, in Symbolist style, where words don't mean what they ordinarily mean. The poem was a smashing critical success and was read at poetry readings year after year. In 1894, in celebration of the poem's continued success, a young composer, Claude Debussy (he had only composed for piano thus far) was asked to write a 3-part orchestral triptych to be played during an all-star reading of the poem. There would be a Prelude, to be played before the reading of the poem, an Interlude, played intermittently during the reading, and a Finale, for after the reading. Unfortunately - Debussy didn't have time to complete the project. All that he was able to finish was the Prelude, but what a suburb Prelude it is. The Prelude begins with a most famous solo flute melody which represents the faun meditating on wine, women, and song, but especially women (nymphs). Here are the opening words of Mallarme's poem, in translation:
“Those nymphs, I want to make them permanent. So clear their light flesh-pink, it hovers on the atmosphere - oppressed by stuffy sleep. Was it a dream I loved?"
And here's what Debussy himself thought about his Prelude:
"The music of this prelude is a very free illustration of Mallarmé's beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature."
Sweet dreams, faun.
Dr. Martin Shapiro
[pic][pic][pic]
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.
Related searches
- baltimore city college high school
- baltimore city college related people
- baltimore city college website
- city college high school baltimore
- iowa city college bars
- city college of baltimore city
- baltimore city college facebook
- city college special education
- city college baltimore md
- baltimore city college wikipedia
- city college high school
- santa rosa community college jobs