MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
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2020
SEASON
2021
RESIDENT ORCHESTRA GREEN MUSIC CENTER
SHARE EVERY
MOMENT
FRANCESCO LECCE-CHONG
Music Director
srsymphony.org 54-MUSIC (707) 546-8742
M ODER N I Z I NG M ISSISSIPPI
E X PL OR AT ION
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2 Santa Rosa Symphony R E S I D E N T O R C H E S T R A
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| W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Serving Sonoma County musicians
and their families since
1947
Serving Sonoma County musicians
and their families since 1947.
STANROY MUSIC CENTER
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(707)545-4827
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2020 – 2021 Season 3
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4 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
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sYMPHONY
F RANC E SC O L E C C E - C H ONG MUS IC DIRECTO R
Contents
Francesco Lecce-Chong Welcome. . . . . . . . . . 7
Welcome from the Association Chair . . . . . . . . 9
Welcome from the President & CEO. . . . . . . . . 9
Board of Directors and Staff. . . . . . . . . . . . . . 10
Francesco Lecce-Chong Biography . . . . . . . . 12 HELPING
Orchestra Roster . . . . . . . . . . . . . . . . . . . . . . 13
Ellen Taaffe Zwilich. . . . . . . . . . . . . . . . . . . . . 14
Program Notes Begin. . . . . . . . . . . . . . . . . . . 16
Ways to Watch. . . . . . . . . . . . . . . . . . . . . . . . 27
Heritage Society. . . . . . . . . . . . . . . . . . . . 34-35
Encore Society. . . . . . . . . . . . . . . . . . . . . . . . 36
Business, Corporate, Foundation
& Government Donors. . . . . . . . . . . . . . . . 37
Annual Campaign Major Donors. . . . . . . . 38-39 sonomalandtrust.org
Tributes, Memorials, In-Kind Gifts &
Volunteer Support . . . . . . . . . . . . . . . . . . . 40
Subscriber Benefits . . . . . . . . . . . . . . . . . . . . 41
2020-2021 Season Schedule . . . . . . . . . 42-43 Family Law Offices of
League Supporters. . . . . . . . . . . . . . . . . . . . . 44
Symphony League President . . . . . . . . . . . . . 45 Carol A. Gorenberg
Youth Ensembles Concert Schedule. . . . . . . . 47 www.cagfamilylaw.com
Institute for Music Education . . . . . . . . . . 50-53
Orchestrating your
For Your Information. . . . . . . . . . . . . . . . . . . . 54
UU compassion
family law matter with
Index of Advertisers . . . . . . . . . . . . . . . . . . . . 57
UU experience
Visit us at srsymphony.org for the most up-to-date UU integrity
information on all of our concerts and programs. UU respect
Also find and engage with us on Facebook, Instagram UU creative solutions
and Twitter.
Program 2544 Cleveland Avenue, Suite 202
Editor: Sara Obuchowski-Mitchell Santa Rosa, CA 95403
Design: Performance Printing Center
tel. 707.523.1810
Advertising: Ann Hutchinson
carol@cagfamilylaw.com
Program Notes: Elizabeth Schwartz
Printing: Performance Printing Center divorce | child custody | adoptions
Cover Design: Dennis Bolt
Cover Photos: Susan and Neil Silverman Photography
2020 – 2021 Season 5
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6 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Francesco Lecce-Chong, Music Director & Conductor
Thank you so much for joining the Santa Rosa Symphony in a new
year as we come together to celebrate the power of music to connect
us—bringing joy, hope and comfort to our lives. We may not be
in the Green Music Center in person, but imagine that across our
community, we will all be gathering for a performance—in living
rooms and backyards, on phones and TVs, with family or maybe some
neighbors. In the face of the difficulties behind us and the struggles
ahead, we will share the same uplifting musical experience together
as we have always needed during past crises from 9/11 to the Tubbs
fire. This is truly an historic moment in our Symphony's long history
and we are so glad you will be a part of our first concerts, specifically
programmed, directed and filmed for you to enjoy in your homes.
If you are a long-time subscriber, this will be your chance to see
our musicians up close on stage, from many different angles, and fea-
tured in unique formations. And if you are new, you will be immersed
SUSAN AND NEIL SILVERMAN PHOTOGRAPHY
in our story, as you will get to know our musicians and learn about
the many ways the Santa Rosa Symphony is a centerpiece of our community. This entire undertaking
is a love letter to our community, while also being a statement to the world about what can be achieved
through goodwill, trust and a commitment to building a brighter future together.
In this new series of five concerts, we welcome Pulitzer Prize-winning composer Ellen Taaffe Zwilich
as our first ever “Artistic Partner.” Through presentations, interviews and online interactions with our
viewers, Ellen will be giving us an incredible inside look at her artistic process as we travel through
five of her works written across four decades. I have long been inspired by Ellen’s work and it is such
a thrill to collaborate with her so closely. We will also move on from Beethoven to several 19th-century
masterworks by Dvorak, Wagner, Brahms and Tchaikovsky. And, finally, several of our works will utilize
our beautiful concert hall by using unique set-ups and letting our film crew get creative!
I would like to finish with a personal note of gratitude. None of this would have been possible without
an unwavering commitment to keeping our music alive, even under the most difficult of circumstances,
from all our stakeholders—musicians, staff, board, donors, volunteers, ticket holders, the Green Music
Center, Sonoma State University and many public officials. From the bottom of my heart – THANK YOU!
Sincerely,
Francesco Lecce-Chong
2020 – 2021 Season 7
8 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Alan Silow, President & CEO Al Seidenfeld, Chairman of the Board
This is my 19th year of As we begin our 93rd
writing a season welcome symphony season, we
column to all of you as remain steadfastly com-
the administrative leader mitted to bringing music
of this beloved symphony of the highest caliber to
orchestra. Yet it is my first, our community. We have
knowing it will be read as been presented unprec-
part of our brave, new, edented pandemic-re-
virtual world, to modify lated adjustments this
a phrase from Aldous past year: cancelled and
Huxley. That is the least of the changes that have re-scheduled concerts, re-imagined repertoire,
befallen us since mid-March 2020. and re-formatted music education experiences
No matter what our particular challenges, and for our children and youth. Yet, none of this has
there have been many, with the advent of the dissuaded us from our primary goal of making and
COVID-19 pandemic, heat waves and wildfires, we sharing beautiful music.
all find ourselves in a unique space between "the The Santa Rosa Symphony is one of the finest,
no longer" and "the not yet." In this space of crisis, best-managed orchestras in the U.S. While many
the Santa Rosa Symphony has found opportunity. other symphonies have gone dark, we are a shin-
The opportunity to reimagine our performance ing example of perseverance. We have an engaged
model, while staying focused on the big picture Board of Directors, a competent and caring staff,
of enriching your connection to our music. a dynamic music director, who delivers spirited
And yes, of course, given this pandemic, it con- concert performances in tandem with gifted
tinues to be virtual, not in person, for the second musicians, and distinguished guest artists. Our
half of our season. But virtual hasn’t meant worse. Symphony is, simply stated, a gem.
Sheltered in the safety of your home, our virtual From humble beginnings, the Santa Rosa
performances to date gave every patron a more inti- Symphony has grown to become a cultural force
mate concert experience, with closeups of our fine in our community. Besides being the acclaimed
musicians and our charismatic conductor Francesco Resident Orchestra of the renowned Weill Hall
Lecce-Chong, plus commentary and more, all cap- of the Green Music Center, we have community
tured by a professional video production team. The outreach programs for students of all ages. Our
results have been impressive and validating – we Institute for Music Education reaches approxi-
had more viewing patrons, a younger demographic mately 30,000 students per year. And, no matter
and more first-time donors than ever before. whether we are in the concert hall live or offering
"Plan and adjust" has been our mantra built professionally-produced streaming, we will con-
upon a foundation of artistic and educational tinue to bring you the finest in musical enjoyment.
excellence, fiscal ingenuity and community We are immensely grateful for you, our devoted
engagement. Yes, we have no doubt that substan- audience, for your continuing support as patrons
tial challenges remain to be faced as we continue and donors. Your contributions help us create
our ambitious and creative artistic plan. Yet for memorable musical experiences, educate our
now, we are delighted that with your participation community's next generation and navigate what-
we can continue a season like no other. ever challenges lie ahead. Your loyalty, and the
Let us never forget the one thing that is abso- dedication of board members, staff, volunteers
lutely clear: Our music has been and always will and the artistry of our musicians allow for great
be an essential antidote to the trauma of our times. things to happen.
Alone/Together Again With gratitude,
Alan Silow, President & CEO Alan Seidenfeld, Chairman of the Board
2020 – 2021 Season 9
Board of Directors, Emeritus Board and Staff 2020-2021
Officers Henry Hersch Artistic Staff
Al Seidenfeld James Hinton Francesco Lecce-Chong
Chairman of the Board Judith Howard Music Director
Corinne Byrd Sandra Jordan Bruno Ferrandis
Vice Chairman Carol Libarle Conductor Laureate
Sean Pryden David Marsten Jeffrey Kahane
Treasurer Art Matney Conductor Emeritus
Garth Bixler Grant Miller Corrick Brown
Secretary Doug Morton Conductor Emeritus
Jamei Haswell Sonne Pedersen Jenny Bent
Immediate Past Chairman Martha Prouty Choral Director
Sharon Robison Michael Berkowitz
Directors Eric Rossin Principal Pops Conductor
Susan Adams Bobby Rogers
Judge Laurence Sawyer
Cory Antipa Youth Orchestra Conductor
Charles Schlangen
Hallie Beacham Jennifer Huang
Diane Schoenrock
Marty Behr Aspirante Youth Orchestra Conductor
Dennis Verity
Liz Bippart Luis Zuniga
Ellen Wear
Keven Brown Debut Youth Orchestra Conductor
Creighton White
Pam Chanter Aaron Westman
Sara Woodfield
Mark Dierkhising Young People’s Chamber Orchestra Director
Timothy Zainer
Nancy Doyle
Jack Dupre Past Chairmen Administrative Staff
Susan Dzieza Jamei Haswell 2017-2019 Alan Silow
Betty Ferris Sara Woodfield: 2015-2017 President & CEO
Judith Gappa James Hinton: 2013-2015 Timothy L. Beswick
John How Charlie Schlangen: 2012-2013 Artistic Operations Director
Mark Jacobson Eric Rossin: 2010-2012 Wendy Cilman
Charles J. Abbe: 2008-2010 Education Director
Sara Kozel
Betha MacClain Sam Brown: 2006-2008 Kathleen Gebhardt
Anne Benedetti: 2004-2006 Finance and Administration Director
Valerie Marshall
P. Kirk McAfee Pam Chanter: 2002-2004 Sara Mitchell
Marne Olson: 2000-2002 Marketing and Communications Director
Bob Melder
Creighton White: 1998-2000 Ben Taylor
Shelby Milanez
Diane Schoenrock: 1997-1998 Development Director
Carol Spindler O’Hara
Phyllis Apfel: 1995-1997 Lynn Bollinger
John Reed
Dennis Kuba: 1993-1995 Patron Services Associate
Harry Rubins
Harrison Comstock: 1991-1993 Nathan Duckworth
Jacques Schlumberger Development Associate
Barry Silberg Yale Abrams: 1987-1991
Nancy Berto: 1985-1987 Brenda Fox
Irene Sohm
Al Mansoor: 1983-1985 Patron Services Manager
Barb Spangler
Jack Dupre: 1981-1983 Ann Hutchinson
David Stare Marketing Associate
Mark Wardlaw James Benefield: 1979-1981
Carol Ziegler: 1977-1979 Kate Matwychuk
Jerry Wunderlich Simply Strings Manager
Robert Nicholson: 1976-1977
Emeritus Board Ambrose Nichols: 1974-1976 Matt Payne
Charles J. Abbe W. Donald Walker: 1972-1974 Youth Ensembles Manager
Gary Bayless John van Dyk: 1970-1972 Enid Rickley-Myres
Leland Levinger: 1968-1970 Executive Assistant/Donor Liaison
Anne Benedetti
Nancy Berto Evert Person: 1966-1968 Jane Shelly
Mrs. Elzo McClusky: 1946-1966 Education Outreach Coordinator/Youth
Gordon Blumenfeld
Orchestra Manager
Corrick Brown George Cadan: 1943-1946
Pat Clothier Jerome Cross: 1942-1943
Jack Dupre Harold Bostock: 1940-1942
Jane Dwight J.A. Tedford: 1937-1940
Peggy Elliott Mrs. Joseph Grace: 1935-1937
John Friedemann Ernest L. Finley: 1933-1935
Robert Hayden Larry Zuur: 1929-1933
James Sweet: 1927-1929
10 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E RE
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- SAT10AM - 6PM• •SUN
10AM- 6PM SUN11AM - 5PM• •WWW.MVSHOPS.COM
11AM- 5PM WWW.MVSHOPS.COMFrancesco Lecce-Chong, Music Director & Conductor
Conductor Francesco with interviews with musicians. The programs
Lecce-Chong is the will include music by living composers Jessie
Music Director of the Montgomery, Gabriella Lena Frank and Chen Yi.
SUSAN AND NEIL SILVERMAN PHOTOGR APHY
Santa Rosa Symphony The Santa Rosa Symphony will also celebrate
and the Eugene Beethoven’s 250th with performances of his first
Symphony in Oregon. three symphonies.
The press has described Following the paths of renowned music direc-
him as a “fast rising tal- tors of the Eugene and the Santa Rosa sympho-
ent in the music world” nies, including Marin Alsop, Giancarlo Guerrero
with “the real gift” and and Jeffrey Kahane, Lecce Chong has made his
recognized his dynamic mark with the two orchestras, introducing a series
performances, fresh programming, deep com- of new music and community initiatives. In 2019,
mitment to commissioning and performing new the orchestras announced Lecce-Chong’s “First
music, as well as to community outreach. Lecce- Symphony Project,” commissioning four major
Chong has appeared with orchestras around the orchestral works by young composers – Matt
world, including the San Francisco Symphony, Browne, Gabriella Smith, Angélica Negrón and
New York Philharmonic, National Symphony, Michael Djupstrom - to be performed over sev-
Atlanta Symphony, Pittsburgh Symphony, Toronto eral seasons, accompanied by multiple composer
Symphony, St. Louis Symphony, and Hong Kong residencies and community events. In Eugene, he
Philharmonic and collaborated with top soloists has reinitiated family concerts and presented a
including Renée Fleming and Itzhak Perlman. number of innovative projects such as an original
In spring 2019, Lecce-Chong debuted in multimedia performance of Scriabin’s composi-
subscription concerts with the San Francisco tions, engaging light and color.
Symphony. The San Francisco Chronicle called During his successful tenures as Associate
his conducting “first rate” praising the “vitality Conductor with the Milwaukee Symphony under
and brilliance of the music-making he drew from Edo de Waart and the Pittsburgh Symphony under
members of the San Francisco Symphony.” Other Manfred Honeck, Lecce-Chong also dedicated his
recent subscription debuts included the Colorado time to opera, building his credentials as staff con-
Symphony, Louisville Orchestra, Louisiana ductor with the Santa Fe Opera, and conducted
Philharmonic and Xi’An Symphony Orchestra. Madama Butterfly at the Florentine Opera with the
Lecce Chong also returned to conduct the Civic Milwaukee Symphony.
Orchestra of Chicago, Milwaukee Symphony Lecce-Chong is the recipient of several distinc-
Orchestra and San Diego Symphony. The 2019- tions, including the prestigious Solti Foundation
2020 season marked his debut with the New Award. Trained also as a pianist and composer,
York Philharmonic as part of the legendary Young he completed his studies at the Curtis Institute of
People’s Concert Series. Music with Otto-Werner Mueller, after attending
In the 2020-2021 season, an unprecedented the Mannes College of Music and Accademia
one for live orchestral music, Lecce-Chong will Musicale Chigiana in Italy. He has had the privilege
conduct virtual concerts with both the Santa of being mentored and supported by celebrated
Rosa and the Eugene symphonies, specifically conductors including Bernard Haitink, David
created for online audiences. The performances Zinman, Edo de Waart, Manfred Honeck, Donald
will be streamed worldwide and will take a unique Runnicles and Michael Tilson Thomas.
form of a cohesive musical journey, complete
12 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E RSanta Rosa Symphony
Francesco Lecce-Chong, Music Director & Conductor
Bruno Ferrandis, Conductor Laureate
Jeffrey Kahane, Conductor Emeritus
Corrick Brown, Conductor Emeritus
Michael Berkowitz, Principal Pops Conductor
First Violin Viola Flute Trombone
Joseph Edelberg, Elizabeth Prior, Principal Kathleen Lane Reynolds, Bruce Chrisp, Principal
Concertmaster Dr. Gary Soren Smith and Principal Amy Bowers
David Charles Johnston Chair Barbara Faye Smith Chair Alice Coleman Chair
Kurt Patzner,
Jay Zhong, Meg Titchener, Stacey Pelinka, PICCOLO BASS TROMBONE
Associate Concertmaster Assistant Principal
Carmen Lemoine
Robert B. Leard, PhD. Chair Tuba
Heather J. Powell,
Assistant Concertmaster Meg Eldridge Oboe Scott Choate, Principal
Kathryn Marshall Alexander Volonts Laura Reynolds, Principal
Jane and Nelson Weller Chair Timpani
Marcia Lotter Darcy Rindt
Jesse Barrett, Andrew Lewis, Principal
Mark Neyshloss Tiantian Lan
ENGLISH HORN
Eugenia Wie Cello Percussion
Bennie Cottone
Darren Sagawa Adelle-Akiko Kearns, Allen Biggs, Principal
Emanuela Nikiforova Principal Clarinet Susan Jette
Tamara Voyles Evert B. Person Memorial Chair Roy M. Zajac, Principal Stan Muncy
Thomas Yee Robin Bonnell, Mark Wardlaw
Harp
Barbara Schaefer Assistant Principal Mark Shannon,
Dan Levitan, Principal
Natasha Makhijani Wanda Warkentin BASS CLARINET
Aromi Park Corinne Antipa Piano/Celesta
Bassoon
Kelley Maulbetsch Kymry Esainko, Principal
Second Violin Carla Wilson, Principal
Vanessa Ruotolo
Karen Shinozaki Sor, Karla Ekholm Orchestra Librarian
Rebecca Roudman
Principal Shawn Jones, Karen Zimmerman
Henry Trione Memorial Chair
Elizabeth Vandervennet
CONTRABASSOON
Dieter Wulfhorst Stage Manager
Michelle Maruyama,
Assistant Principal Horn David Badella
Contrabass
Meredith Brown, Principal
Edmond Fong Andy Butler, Sound Engineer
Jeanette Isenberg Acting Principal Alex Camphouse
Krieg Wunderlich
Zinovy Zelichenok Suzanne Chasalow
Andrew McCorkle
Calvin E. Lewis, Jr. Henry Viets Recording Engineer
Karen Zimmerman
Laurie Moore Caitlyn Smith Franklin Mark Lemaire
Raymond Vargas
Claudia Fichera Jon Keigwin Trumpet Piano Technician
William R. Williams Kale Cumings, Larry Lobel
Claire-Jeanne Martin Acting Principal
Artist Liaisons
Stephanie Bibbo Scott Macomber
David Hanes
Roy Payment
* Leave of Absence Michelle Sikora
+ Acting Member
Santa Rosa Symphony Musicians are members of the American Federation of Musicians, represented by Local 6.
2020 – 2021 Season 13Meet the Symphony’s
Artistic Partner 2020
Ellen Taaffe Zwilich!
SEASON
2021
The Symphony welcomes Pulitzer Prize-winning composer Ellen Taaffe Zwilich as
its SRS @ Home Artistic Partner. One of her works will be included in each SRS @ Home
concert. She will also engage with SRS @ Home audiences and the community throughout
the 2020-2021 season.
A prolific composer in virtually all media, Ellen Taaffe Zwilich’s works have been
performed by most of the leading American orchestras and by major ensembles abroad.
Her works include five symphonies and a string of concertos commissioned and performed
over the past two decades by the nation’s top orchestras.
Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer
Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague
Coolidge Chamber Music Prize, the Arturo Toscanini Music Critics Award, the Ernst von
Dohnányi Citation, an Academy Award from the American Academy of Arts and Letters,
a Guggenheim Fellowship, four Grammy nominations, the Alfred I. Dupont Award, Miami
Performing Arts Center Award, the Medaglia d’oro in the G.B. Viotti Competition, and the
NPR and WNYC Gotham Award for her contributions to the musical life of New York City.
Among other distinctions, Zwilich has been elected to the American Classical Music Hall of
Fame, the Florida Artists Hall of Fame, the American Academy of Arts and Sciences, and
the American Academy of Arts and Letters. In 1995, she was named to the first Composer’s
Chair in the history of Carnegie Hall, and she was designated Musical America’s Composer
of the Year for 1999. Zwilich, who holds a doctorate from The Juilliard School, currently
holds the Krafft Distinguished Professorship at Florida State University.
Watch this introductory video
on the Symphony’s YouTube channel.
14 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E RSanta Rosa Symphony
Francesco Lecce-Chong, Music Director & Conductor
Bruno Ferrandis, Conductor Laureate
Jeffrey Kahane, Conductor Emeritus
Corrick Brown, Conductor Emeritus
Enhanced concert experience streamed on
Sunday, January 24, 2021 3 pm
Music Recorded at the Green Music Center expressly for this concert
Francesco Lecce-Chong, conductor
JOHANN SEBASTIAN BACH / MARIANNA MARTÍNES
ANTON WEBERN, arr. Sinfonia in C major
Ricercare à 6 from Das Musikalische Allegro con spirito
Opfer [The Musical Offering] Andante ma non troppo
ELLEN TAAFFE ZWILICH Allegro spiritoso
Concerto Grosso 1985 for Chamber
Orchestra [after Handel]
WOLFGANG AMADEUS MOZART
Symphony No. 39 in E-flat major, K. 543
Maestoso
Adagio – Allegro
Presto
Andante con moto
Largo
Menuetto (Allegretto) e Trio
Presto
Finale: Allegro
Maestoso
Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors
Concert Sponsor: Willow Creek Management
Francesco Lecce-Chong underwritten by David and Corinne Byrd
Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat
See page 27 for Ways to Watch
2020 – 2021 Season 15January 2021 Program Notes by Elizabeth Schwartz
JOHANN SEBASTIAN BACH / Anton Webern, arranger
Ricercare à 6 from Das Musikalische Opfer [The Musical Offering]
COMPOSER: J. S. Bach was born on March 21, 1685 in Eisenach, and died on July 28, 1750 in Leipzig. Anton Webern
was born on December 3, 1883 in Vienna, and died on September 15, 1945 in Mittersill, Austria.
WORK COMPOSED: Bach began The Musical Offering in May 1747 and finished it two months later. It is dedicated to
Frederick the Great, who provided the original theme. Webern orchestrated it in 1934-1935, on a commission
from Universal Edition, and dedicated it to BBC music producer Edward Clark.
WORLD PREMIERE: Webern conducted the first performance on a live broadcast of the BBC on April 25, 1935,
in London.
INSTRUMENTATION: flute, oboe, English horn, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, timpani
and strings
ESTIMATED DURATION: 8 minutes
In 1747, Johann Sebastian Bach traveled to No one would ever mistake a work of Bach’s
Potsdam to visit his son Carl Philipp Emanuel, for that of Webern, or vice versa, but despite their
who was employed as a musician in the court of dissimilar styles, the two composers had much
Frederick the Great. When they met, Frederick in common. Both loved musical puzzles and had
presented the elder Bach with a rather long and a penchant for manipulating pitches – Bach with
complex theme (Thema Regium), and by way of palindromes or number symbology, and Webern
a challenge, asked Bach to improvise a three- with the 12-tone rows he constructed, reversed
voiced fugue on the spot, using one of his new and inverted. When Webern set himself the task
“pianofortes” – a precursor to the modern piano. of orchestrating Bach’s six-voiced ricercare, he
Bach complied, whereupon Frederick demanded a wanted to showcase both the Thema Regium and
six-voiced fugue. Bach assented, using a theme of the distinctive timbres of the orchestra’s different
his own, but after he returned home to Leipzig, he instruments. He wrote, “The theme throughout
composed another 6-voiced fugue with the Thema must not appear disintegrated. My orchestration
Regium. Two months later, Bach completed a col- tries (here I am speaking of the whole work) merely
lection of 13 keyboard canons, fugues and a trio to reveal the motivic coherence.”
sonata, all based on the Thema Regium, and sent Webern highlights Bach’s pitches by use of an
it to Frederick as “a musical offering.” orchestration technique he learned from his teacher
In a 1999 essay in the New York Times, the late Arnold Schoenberg, known as Klangfarbenmelodie
pianist and musicologist Charles Rosen described (tone-color melody). A muted solo trombone intones
the 6-voiced fugue, or ricercare, as “among the the opening notes, followed by trumpet, then horn.
greatest achievements of Western European civ- As the theme repeats, different instruments, from
ilization.” Like many of Bach’s masterpieces, it flute to oboe to strings, play brief fragments before
transcends the time, place and instrumentation passing the melody along. In this manner, the
for which it was originally conceived. Several com- interlocking structure of the music and the unique
posers have arranged it for orchestra, but Anton colors of each instrument gradually emerge until
Webern’s 1935 version stands head and shoulders the Offering is completely revealed.
above the rest.
16 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E RELLEN TAAFFE ZWILICH
Concerto Grosso 1985 for Chamber Orchestra [after Handel]
COMPOSER: Born April 30, 1939, Miami, FL
WORK COMPOSED: 1985. Commissioned by the Washington Friends of Handel to mark the 300th anniversary of
George Frideric Handel's birth.
WORLD PREMIERE: Stephen Simon led the Handel Festival Orchestra (now the Washington Chamber Symphony) at
the Kennedy Center in Washington, D. C. on May 9, 1986.
INSTRUMENTATION: flute, 2 oboes (1 doubling English horn), 2 horns, harpsichord and strings
ESTIMATED DURATION: 15 minutes
In our January through May concerts, the Santa both inspired by Handel’s sonata and, I hope, imbued
Rosa Symphony is showcasing music of Ellen Taaffe with his spirit.”
Zwilich, an acclaimed American composer whose The Concerto Grosso features a five-movement
work has earned her numerous prizes and honors. arch structure. The first and final movements
The first female composer to win the Pulitzer Prize include direct quotes from Handel’s violin sonata,
in 1983 for her Symphony No. 1, Zwilich has also interspersed with Zwilich’s contemporary style. To
received the Elizabeth Sprague Coolidge Chamber highlight the sectional quality of the music, Zwilich
Music Prize; the Arturo Toscanini Music Critics Award; indicates in the score that the “Handelian” and
the Ernst von Dohnányi Citation; a Guggenheim “Zwilichian” contrasts be emphasized as much as
Fellowship; and four Grammy nominations. In 1995, possible. The second and fourth movements, marked
Zwilich was named to the first Composer’s Chair in Presto, are free-flowing and slightly agitated; they
the history of Carnegie Hall; Musical America named serve as frames for the central third movement.
her Composer of the Year for 1999. Zwilich describes this keystone section, marked
In 1984, the Washington Friends of Handel asked Largo, as “the emotional peak, the most personal
Zwilich to write a commemorative work in honor of movement of the concerto. It, too, is a free fantasy,
George Frideric Handel’s 300th birthday. Zwilich inspired by Handel’s theme, but without the direct
immediately thought of Handel’s D major violin quotations I used in movements one and five.
sonata. “I performed the work many years ago,” Throughout the work, I found myself using compo-
she said, “and I especially love the opening theme sitional techniques typical of the Baroque period,
of the first movement – the striking head motive and including terraced dynamics, repeated melodic
the beauty of the generative tension between the phrases, and suspension-like constructions. These
theme and the elegant bass line.” Zwilich describes are techniques I would not normally use, but I felt
her Concerto Grosso as a “20th-century response to inspired to do so because of the fact that this piece
the spirt of George Frideric Handel. My concerto is was based on Handel.”
MARIANNA MARTÍNES (MARIANNE VON MARTINEZ)
Sinfonia in C major
COMPOSER: Born May 4, 1744, Vienna; died December 13, 1812, Vienna
WORK COMPOSED: 1770
WORLD PREMIERE: Undocumented
INSTRUMENTATION: 2 flutes, 2 oboes, 2 horns, 2 trumpets, timpani, harpsichord and strings
ESTIMATED DURATION: 12.5 minutes
Vienna in the latter half of the 18th century Marianna Martínes was a product of Vienna’s
overflowed with music, musicians, composers, musical ferment. Before relocating to Vienna,
aficionados, poets and patrons. All the best of Martínes’ father Nicolo lived in Italy, where he
Europe came to Vienna – either to stay or at least became lifelong friends with a poet named Pietro
to visit – which made the city a focal point for Trapassi, better known as Metastasio. As an opera
creativity, just as the Italian city of Florence had librettist, Metastasio achieved great fame. In
emerged as the center of Renaissance art, music, 1730, he relocated to Vienna, where he lived with
literature and science some 350 years earlier. Nicolo and his six children for the rest of his life.
2020 – 2021 Season 17The Martínes family lived in a multistoried building by her beloved mentor Metastasio, which she also that still stands on the Michaelerplatz, an elegant performed. A polished, highly intelligent woman, city square near Vienna’s historical city center. Other Martínes spoke multiple languages: German, residents of the building included a young and largely French, Italian and English. unknown composer named Joseph Haydn; the dow- As an adult, Martínes managed to do something ager princess of the aristocratic Esterházy family; even Mozart could not achieve: build a successful and the renowned Italian composer and singing career teaching music lessons and composing her teacher, Nicola Porpora. All of these neighbors, along own works without benefit of a royal patron. She with Metastasio, became acquainted and also influ- and her sister cared for Metastasio until the old enced the musical development of young Marianna. man died; in gratitude and love for the woman In a letter from 1773, Martínes wrote, “I was Metastasio considered his adopted daughter, the born in the year 1744 on the 4th day of May. In poet left his considerable estate to Marianna. This my seventh year they began to introduce me to gave her economic security and independence, a the study of music, for which they believed me rarity for women in those times. inclined by nature. Its rudiments were taught me by Martínes never married, and music remained Signor Giuseppe Haydn, now Maestro di Cappella the central focus of her life. She hosted regular to Prince Esterházy … But in all my studies, the evenings of music in her home, which were chief planner and director was always, and still is, attended by Vienna’s finest musicians, including Signor Metastasio, who, with the paternal care he Mozart and Haydn (Martínes was also one of takes of me and all of my numerous family, renders Mozart’s favorite duet partners). Sometime during an exemplary return for the incorruptible friendship her 50s, Martínes opened a singing school, where and tireless support which my good father lent him she taught many of Vienna’s best musicians. up until the very last days of his life.” Martínes’ Sinfonia in C Major (also known as Martínes more than fulfilled her youthful the Overture in C major) from 1770 is the only potential. She became a skilled composer in many known classical symphony composed by a wom- genres, including sacred oratorios and masses; an. Written when Martínes was 26, the music choral and solo vocal pieces; and instrumental exudes a fresh elegance, featuring singable mel- music for orchestra. She regularly set texts written odies and lively dance rhythms. WOLFGANG AMADEUS MOZART Symphony No. 39 in E-flat major, K. 543 COMPOSER: Born January 27, 1756, Salzburg, Austria; died December 5, 1791, Vienna WORK COMPOSED: Summer 1788 WORLD PREMIERE: Undocumented INSTRUMENTATION: flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings ESTIMATED DURATION: 29 minutes When 25-year-old Wolfgang Amadeus Mozart success both in Vienna and abroad, the income arrived in Vienna in 1781, he astonished every- they generated did not offset the enormous costs one with his dazzling skill as a pianist. He quickly of production. Furthermore, Mozart was notori- became the most sought-after performer in town ously incapable of managing money. and people flocked to his concerts. In the beginning of the summer of 1788, Mozart By 1787, however, Mozart’s fortunes had found himself in dire financial circumstances. He shifted. His numerous attempts to secure a royal wrote a series of anguished letters to friend and court appointment, which would have provided a fellow Freemason Michael Puchberg, pleading for steady living, had proved unsuccessful. Mozart loans. Mozart also pawned several valuables, tried also stopped writing and performing piano con- to get advances from his publisher, and attempted certos for his subscription concerts in order to to sell his manuscripts; these humiliating efforts concentrate on the greater creative rewards of to raise funds yielded little. opera. Although Mozart’s operas met with some Continued on page 28 18 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Santa Rosa Symphony
Francesco Lecce-Chong, Music Director & Conductor
Bruno Ferrandis, Conductor Laureate
Jeffrey Kahane, Conductor Emeritus
Corrick Brown, Conductor Emeritus
Enhanced concert experience streamed on
Sunday, February 28, 2021 3 pm
Music Recorded at the Green Music Center expressly for this concert
Francesco Lecce-Chong, conductor
WILLIAM GRANT STILL ANTONÍN DVOŘÁK
Serenade for Small Orchestra Czech Suite in D major for Small
Orchestra, Opus 39
RICHARD WAGNER Preludium (Pastorale): Allegro moderato
Siegfried Idyll for Small Orchestra
Polka: Allegretto grazioso
ELLEN TAAFFE ZWILICH Sousedská (Minuetto): Allegro giusto
Prologue and Variations for String Romance: Andante con moto
Orchestra Finale (Furiant): Presto
Prologue – Andante misterioso
Variations
Allegro
Lento
Presto
Tempo Primo – Andante misterioso
Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors
Concert Sponsor: Joseph A. and Judith M. Gappa
Concert Supporting Sponsor: Exchange Bank
Francesco Lecce-Chong underwritten by David and Corinne Byrd
Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat
See page 27 for Ways to Watch
2020 – 2021 Season 19February 2021 Program Notes by Elizabeth Schwartz WILLIAM GRANT STILL Serenade for Small Orchestra COMPOSER: Born May 11, 1895, Woodville, MS; died December 3, 1978, Los Angeles, CA WORK COMPOSED: 1957, for the Great Falls High School Orchestra in Great Falls, MT WORLD PREMIERE: Paul Schull led the Great Falls High School Orchestra on May 7, 1958 INSTRUMENTATION: flute, clarinet, harp and strings ESTIMATED DURATION: 7.5 minutes Known as “the dean of African American Communist affiliations made him an ongoing target composers,” William Grant Still composed music for vindictive anti-Communist and racist attacks. in a wide variety of genres: symphonies, opera, Still, who had been battling the white-dominated chamber music, choral works, solo songs, and cultural establishment for years in his efforts to get concertos. As a young man, he made his living his music performed, had now alienated himself playing commercial music on violin, oboe, and from the black community, as well as from liberal banjo. Over the span of his six-decade career, whites who had formerly championed Still’s work. Still worked as a performer, arranger, orchestrator, As Leon Botstein explains, “In the 1950s, during conductor, and composer. the nascent years of the civil rights movement, the A black man who took pride in his race and also effective alliance was between liberal and progres- refused to be limited by it, Still’s career is peppered sive white America that had severe doubts about the with Afro-American “firsts:” first to have a sympho- saber rattling and arms race of the Cold War, and ny performed by a major orchestra; also the first to the [political and cultural] leadership of the black conduct a major symphony orchestra when Still led community. Still, in what was considered to be an the Los Angeles Philharmonic Orchestra in a concert appalling betrayal of Black American progressivism of his own compositions at the Hollywood Bowl in at the time, sided with the enemy by embracing 1936; first to have one of his operas produced by the traditions of a rigid, suspicious, and somewhat a major company, when New York City Opera pre- intolerant anti-Communism.” As a result, Still’s sented Troubled Island in 1949; and the first to see music was effectively if unofficially blacklisted by one of his operas televised on a national network. record companies, orchestras, opera companies, In the early 1950s, Still’s professional life the media, and the black community from the early derailed. He was a staunch anti-Communist who 1950s until the late 1980s. offered to name Communists and Communist sym- The Serenade was originally conceived as part pathizers for Joe McCarthy’s House Un-American of a cello concerto undertaken at the suggestion of Activities Committee in 1951. Two years later, Still cellist Gregor Piatigorsky. Written for young amateur publicly denounced prominent Communists, includ- players, the music is both technically approachable ing the acclaimed singer Paul Robeson, whose and full of expressive melodies and lush textures. RICHARD WAGNER Siegfried Idyll for Small Orchestra COMPOSER: Born May 22, 1813, Leipzig; died Feb. 13, 1883, Venice WORK COMPOSED: 1870 WORLD PREMIERE: Wagner led a small ensemble of 13 musicians in the premiere on his wife Cosima’s birthday, December 25, 1870. The ensemble performed on the stairs outside Cosima’s bedroom in Tribschen, the Wagners’ home in Switzerland. INSTRUMENTATION: flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet and strings ESTIMATED DURATION: 17 minutes Unlike Richard Wagner’s heroic, larger-than-life Written as a combined Christmas and birthday gift music dramas, the Siegfried Idyll has a tender for his wife Cosima, Wagner’s original title was intimacy not commonly found in Wagner’s music. “Tribschener Idyll, with Fidi’s Birdsong and Orange 20 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Sunrise, as a Symphonic Birthday Greeting from it had died away, R. came into my room with the five
Richard to Cosima.” (Tribschen was the Wagners’ children and gave me the score of his ‘Symphonic
home on Lake Lucerne in Switzerland; Fidi was Birthday Greeting’ - I was in tears, so was everybody
the nickname of their 18-month-old son Siegfried.) in the house. R. had placed his orchestra on the
staircase, and thus our Tribschen is consecrated
Wagner surprised Cosima with the Idyll, going to
for all time.”
great lengths to keep his rehearsals secret. At dawn
on Christmas Day 1870, Cosima was awakened by
Scholar and critic Ernest Newman describes the
a small ensemble of 13 musicians arranged on the
Idyll as “a series of domestic confidences.” Most
stairs and landing outside her bedroom.
of its themes are found in the opera Siegfried;
The Idyll, a musical love poem, is full of private
the opening melody comes from Act III, but it
references known only to Wagner and Cosima.
actually originated in a string quartet Wagner
Cosima’s reaction to her husband’s gift was so
wrote for Cosima six years earlier. Similarly, the
profound she could not find words to describe her
German folk lullaby “Schlaf’, Kindchen, schlafe,”
feelings. In her diary, Cosima wrote:
played by solo oboe, was assumed to refer to
baby Siegfried; however, Newman discovered it
“I can tell you nothing about this day, my children,
nothing about my feelings, nothing about my mood, was actually linked to the Wagners’ older daughter
nothing, nothing. I shall merely inform you, plainly Eva. These and other musical references, whose
and simply, of what took place. A sound awoke me meaning remained hidden for many years, reveal
which grew ever stronger; I knew I was no longer the Idyll’s levels of personal significance for both
dreaming, there was music, and what music! When Wagner and Cosima.
ELLEN TAAFFE ZWILICH
Prologue and Variations for String Orchestra
COMPOSER: Born April 30, 1939, Miami, FL
WORK COMPOSED: Work commissioned by the Chattanooga Symphony Orchestra in 1983.
WORLD PREMIERE: Richard Cormier led the Chattanooga Symphony on April 10, 1984.
INSTRUMENTATION: String orchestra
ESTIMATED DURATION: 13 minutes
The Pulitzer Prize for Music was first awarded in This subtle change indicates Zwilich’s expansive
1943, to William Schuman. Exactly 40 years later, approach to what constitutes a variation. Typical
the Pulitzer committee chose Ellen Taaffe Zwilich’s theme-and-variations begin with a theme, usually
Symphony No. 1 for the top honor. Zwilich, the first a straightforward melody, often well known – think
woman to receive the prize, also became the first of Mozart’s famous variations on “Twinkle Twinkle
woman to earn a doctorate in composition from Little Star” – and continue with a series of increas-
the Juilliard School of Music. The Pulitzer brought ingly florid elaborations on that theme.
Zwilich’s music to national attention, establishing Zwilich’s Prologue is a series of musical ideas
her as a significant American composer. and contrasting tempos. Most prominent among
In a 1985 New York Times interview, Zwilich these is Dmitri Shostakovich’s famous musical
told critic Tim Page, “It is not enough to manip- signature D. SCH, which corresponds to the notes
ulate abstract forms and ideas. A composer must D-E-flat-C-B in German notation (Zwilich helpfully
also provide color, thrust, and purpose, allowing places these four notes at the very beginning of the
a work to unfold gradually over a length of time. Prologue, and follows them with a brief pause; the
As such, composition is both a written and a per- D. SCH theme recurs throughout).
forming art – it must sound.” This compositional The four variations all use material from the
credo perfectly describes Zwilich’s Prologue and Prologue, but, as Zwilich explains in her comments
Variations for Orchestra, one of the first works in the published score, “these are not ‘variations’ in
she composed post-Pulitzer. Note the use of the the traditional sense … In using the word ‘Prologue,’
word “Prologue” rather than “Theme” in the title. I meant to suggest a dramatic analogy, because, in
2020 – 2021 Season 21a way, the function of the Prologue in this work that the drama unfolds. Another important aspect
is to introduce ‘characters’ (musical ideas), some of Prologue and Variations is that it celebrates the
of which are drawn rather fully, while others are special sonorities, character, and expressiveness
only suggested. It is in the ensuing … ‘Variations’ of the string orchestra.”
ANTONÍN DVOŘÁK
Czech Suite in D major for Small Orchestra, Opus 39
COMPOSER: Born September 8, 1841, Nelahozeves, near Kralupy (now the Czech Republic); died May 1, 1904, Prague
WORK COMPOSED: April 1879
WORLD PREMIERE: Adolph Čech led the Provisional Theatre Orchestra in Prague on May 16, 1879.
INSTRUMENTATION: 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings
ESTIMATED DURATION: 23 minutes
An artist has his country, in which he must have firm of one’s native soil, without prideful defiance.
faith and an ardent heart.” – Antonín Dvořák The five movements of the Czech Suite incor-
porate dance rhythms primarily from Bohemia and
Music publisher Friedrich August Simrock, Moravia. These rhythms would be recognizable to
known as Fritz, had a keen sense of what music anyone who lived or spent time in these regions.
his customers would buy. When Johannes Dvořák uses these rhythms in a series of original
Brahms’ Hungarian Dances became a bestseller melodies that sound like folk tunes, even though
for Simrock in 1869, the publisher realized region- they are the composer’s invention. The opening
al and ethnic music were obvious gold mines. Prelude welcomes the listener with a gentle
Antonín Dvořák first came to Simrock’s introductory melody. The Polka, a dance that
attention via Brahms, who had introduced the originated in the Czech region before evolving into
two men by correspondence. In an 1877 letter its better-known Polish version, has little oom-
to Simrock, Brahms mentioned Dvořák’s talent pah; instead it features two contrasting sections:
and versatility, and took particular note of “a vol- one with a graceful theme in the strings, the other
ume of duets for two sopranos with pianoforte, emphasizing a lively forward-rushing tempo. The
which seem to me all too pretty, and practical central Sousedska, a slower dance in ¾ time,
for publication … The value of the duets will be features a distinctive 2-note rhythm that sounds
obvious to you, and they might become a ‘good like a bird chirping. This little motive punctuates
commodity’ … please know … that I don’t make the melody throughout, as it meanders through a
recommendations hastily.” series of harmonies and is traded back and forth
Simrock shrewdly gambled on the young and among the instruments. In the Romanza, flute and
largely unknown Bohemian composer, and pub- oboe take turns with a lilting tune, while the strings
lished Dvořák’s Moravian Duets, which became pulse gently beneath. The closing Furiant, a fiery
an instant hit, followed by the first set of Slavonic dance with a tempo to match, picks up energy and
Dances, Op. 46. Once published, Op. 46 made motion as it progresses, before concluding with a
Dvořák an international composer-celebrity. shout from trumpets and timpani.
Musical nationalism – the widespread 19th cen- Interestingly, although Simrock was Dvořák’s
tury practice of incorporating specific regional or primary publisher – he had right of first refusal
national melodies and rhythms to evoke a particu- for all of Dvořák’s music initially – he passed on
lar place – can result in statements of grandiosity, the Czech Suite. Schlesinger, a firm in Berlin,
punctuated by military marches and other sorts of published Op. 39 in 1881.
musical chest-thumping. Dvořák was a devoted © 2021 Elizabeth Schwartz
Czech patriot who championed use of the Czech (see bio and terms of use on page 28)
language despite the oppressive policies of the
Austro-Hungarian Empire, which ruled Bohemia
during his lifetime. Dvořák’s musical nationalism,
however, expresses itself as a deeply rooted love
22 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E RSanta Rosa Symphony
Francesco Lecce-Chong, Music Director & Conductor
Bruno Ferrandis, Conductor Laureate
Jeffrey Kahane, Conductor Emeritus
Corrick Brown, Conductor Emeritus
Enhanced concert experience streamed on
Sunday, March 28, 2021 3 pm
Music Recorded at the Green Music Center expressly for this concert
Francesco Lecce-Chong, conductor
Zuill Bailey, cello
JESSIE MONTGOMERY CHARLES IVES
Starburst for String Orchestra The Unanswered Question for Chamber
Orchestra, S. 50
SAMUEL BARBER
Adagio for Strings, Opus 11 JOHANNES BRAHMS
Serenade No. 2 in A major
ELLEN TAAFFE ZWILICH for Orchestra, Opus 16
Concerto for Cello and Orchestra
Allegro moderato
I. Scherzo: Vivace
II. Adagio non troppo
III. Quasi menuetto
Rondo: Allegro
Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors
Concert Sponsor: Jim Lamb
Francesco Lecce-Chong underwritten by David and Corinne Byrd
Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat
See page 27 for Ways to Watch
2020 – 2021 Season 23March 2021 Program Notes by Elizabeth Schwartz JESSIE MONTGOMERY Starburst for String Orchestra COMPOSER: Born December 8, 1981, New York City WORK COMPOSED: 2012 for the Sphinx Virtuosi WORLD PREMIERE: September 2012 by the Sphinx Virtuosi at the New World Center in Miami, FL INSTRUMENTATION: string orchestra (originally for string quartet) ESTIMATED DURATION: 3 minutes In December 2020, the Santa Rosa Symphony time laureate of the annual Sphinx Competition presented acclaimed composer Jessie and was awarded a generous MPower grant Montgomery’s Source Code (2013), an homage to assist in the development of her 2016 debut to the work of African American artists during album, Strum: Music for Strings (Azica). In 2019, the Civil Rights era. On this concert, we continue the New York Philharmonic selected Montgomery showcasing Montgomery’s innovative voice. as one of the featured composers for its Project Her work combines classical language with 19, which marks the centennial of the ratification elements of vernacular music, improvisation, of the 19th Amendment granting American women language and social justice. The resulting music the right to vote. has earned Montgomery rave reviews for her “This brief one-movement work for string “vibrantly inventive original works for strings” orchestra is a play on imagery of rapidly changing (ClassicsToday.com ) and numerous awards, musical colors,” Montgomery writes of Starburst. including the ASCAP Foundation’s Leonard “Exploding gestures are juxtaposed with gentle, Bernstein Award. Montgomery’s works are per- fleeting melodies in an attempt to create a multidi- formed frequently around the world by leading mensional soundscape. A common definition of a musicians and ensembles. starburst— ‘the rapid formation of large numbers Since 1999, Montgomery has been affiliated of new stars in a galaxy at a rate high enough to with The Sphinx Organization, which supports alter the structure of the galaxy significantly’— young African-American and Latinx string players. lends itself almost literally to the nature of the She currently serves as composer-in-residence performing ensemble who premiered the work, for the Sphinx Virtuosi, the Organization’s flagship the Sphinx Virtuosi, and I wrote the piece with professional touring ensemble. She was a two- their dynamic in mind.” SAMUEL BARBER Adagio for Strings, Opus 11 COMPOSER: Born March 9, 1910, West Chester, PA; died January 23, 1981, New York City WORK COMPOSED: The Adagio for Strings was originally the second movement of Barber’s String Quartet in B minor, which he composed in Europe in 1936. It was first performed on December 14 of that year in Rome. Two years later, Barber arranged it for string orchestra. WORLD PREMIERE: Arturo Toscanini led the NBC Symphony in the orchestral version of the Adagio on November 5, 1938. INSTRUMENTATION: string orchestra ESTIMATED DURATION: 7 minutes Plato’s Republic, which concerns itself with the Certainly Samuel Barber’s Adagio for Strings, disposition of a “just society” and the education perhaps the most recognizable work written by an of its citizens, has a lot to say about music. Plato, American classical composer, would be included speaking through Socrates, even goes so far as to in Plato’s list of objectionable music. Its ability to suggest banning certain modes (scales) because evoke profound sadness makes it what one broad- their melancholy qualities trigger feelings of weak- caster has called our “national funeral music.” ness in the listener. Americans associate the Adagio with the deaths 24 Santa Rosa Symphony R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
of Franklin D. Roosevelt and John F. Kennedy, launch him onto the national stage. Biographer
the bombing of the federal building in Oklahoma Barbara Heyman writes, “Toscanini’s broadcasts
City in 1995, and the attacks on 9/11. Many also were generally regarded with almost religious
connect it with the Vietnam War, thanks to Oliver reverence, but the ten o’clock broadcast on the
Stone’s 1986 film, Platoon, which featured the evening of November 5, 1938, held additional sig-
Adagio in its score. Plato, with his emphasis on nificance, for it marked recognition by the Italian
reason over emotion, perhaps did not appreciate conductor that there was enough merit in works
the cathartic role such music plays in assuaging by an American composer to bring them to the
grief, but there is little doubt Barber’s Adagio has attention of a national audience.”
both moved and comforted many in mourning. In his later life, Barber regretted that so much
The Adagio began as the second movement of his musical reputation rested on the Adagio.
of Barber’s String Quartet in B minor. Two years According to scholar Thomas Lawson, in his
later, Barber arranged it for string orchestra and book The Saddest Music Ever Written, “After the
gave the score to Arturo Toscanini, in hopes lament took musical wing in 1936, it became an
that the conductor would perform it on the radio emotional albatross from which he was never
with the NBC Symphony. Twenty-eight-year- free … Barber even forbade the Adagio from
old Barber was a rising star, whose music had being played at his funeral, so that at least in
already attracted favorable notice, but he knew death he would be free of it.”
that Toscanini’s endorsement of his work would
ELLEN TAAFFE ZWILICH
Concerto for Cello and Orchestra
COMPOSER: Born April 30, 1939, Miami, FL
WORK COMPOSED: Commissioned by the South Florida Symphony Orchestra. Dedicated to its music director, Sebrina
María Alfonso, and cellist Zuill Bailey in 2019-2020.
WORLD PREMIERE: Alfonso led the South Florida Symphony Orchestra, with soloist Zuill Bailey, on March 5, 2020.
INSTRUMENTATION: solo cello, string orchestra
ESTIMATED DURATION: 15 minutes
At a time when the musical offerings of the the human voice – from the lowest male voice to
world are more varied than ever before, few com- the highest soprano (I particularly like its mezzo
posers have emerged with the unique personality soprano). But I sometimes refer to string instru-
of Ellen Taaffe Zwilich. Her music is widely known ments as ‘singers on steroids’ because of the
because it is performed, recorded, broadcast, and power they give to a composer to explore virtuosity
– above all – listened to and enjoyed by all sorts as well as expressivity.
of audiences the world over. “My Cello Concerto engages both the lyrical,
Zwilich’s works include five symphonies and singing nature of the instrument and its technical
a string of concertos commissioned and per- possibilities. Throughout the piece, the orchestra
formed by the nation’s top orchestras. In 1983, plays a significant role with many interactions,
her Symphony No. 1 earned her the Pulitzer Prize, including some unusual dialogues (e.g. between
making Zwilich the first woman so honored. the cello and a trumpet).”
Among her many honors are membership in the The concerto was commissioned by the South
American Academy of Arts and Sciences and the Florida Symphony Orchestra, and Zwilich notes that
American Academy of Arts and Letters. it is "dedicated to conductor Sebrina María Alfonso
“One of the things I love about the cello,” says and cellist Zuill Bailey, and written in memory of
Zwilich, “is that it has virtually the entire range of [cellists] Leonard Rose and Mstislav Rostropovich.”
2020 – 2021 Season 25You can also read
