2018-19 CONCERT SERIES
Season Premier Mendelssohn: Violin Concerto
Guest Artist
H Y E RI C H O I VI O L I N
Featured Visual Artists W E N D Y R OBERT S & BIL L BYBEE
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Idaho State-Civic Symphony
WELCOME TO AN EVENING WITH THE SYMPHONY When should I clap?
Short answer: Whenever you feel like it. Long answer: A tradition has emerged in classical performance not to clap between movements (subsections of larger pieces; you can see them listed on the program page). There are a number of justifications for this, both good and bad, but it’s a relatively recent practice and it’s not set in stone. (In Brahms’s day, dead silence between movements was taken, and intended, as an insult.) We’re not in the business of stifling genuine displays of emotion; in fact, we’re trying to do the opposite: inspire them. If you’re moved to laugh, then laugh. If you’re moved to cry, cry. And if you’re moved to applaud, by all means applaud. No performer ever said, “What a terrible audience – they clapped too much.”
Audience Protocol
Generally speaking, the “rules” of attending a classical performance are the same as a movie theater. Don’t be afraid to react sincerely to what you hear. Just remember that the people around you are trying to listen too. So, out of respect to your audience-mates and performers, please refrain from whispering during the music and put your phone away. For the same reason (along with intellectual property issues), photos and audio/video recordings during the performance are prohibited. Please, no children under six (except at our annual Halloween Family Concert), and we ask that you respect instructions from our ushers, who may have you wait for a break in the music to be seated or reseated. The instant the music is over, we hope you’ll shout from the rooftops – phone use encouraged! – about all the wonderful things you heard. We just ask that you save it until it won’t be a distraction for the people around you.
Ticket Return Policy
Once purchased, tickets may not be returned for reimbursement. However, if you find you are unable to use your tickets for any concert, you may return them for a possible taxdeductible donation to The Symphony. Simply return your unused tickets to the Box Office at least 24-hours prior to the concert. You will receive a thank you letter acknowledging the return as a contribution to The Symphony in the amount of the face value of the ticket(s). The Symphony very much appreciates your extra effort in making unused tickets available for other patrons.
Tickets for the Remainder of the Season
Single concert tickets may be purchased directly through the Stephens Performing Arts Center Box Office at (208) 282-3595 or reserved online at www.isu.edu/tickets.
With the above in mind, please sit back, relax, and enjoy the music!
Julie Sorensen, Artistic Director & Conductor
FRIDAY, SEPTEMBER 21, 2018
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Season Premier Joseph C. and Cheryl H. Jensen Grand Concert Hall L.E. and Thelma E. Stephens Performing Arts Center
Guest Artist H YE R I C H O I , V I O L I N
Tonight’s Concert Co-Sponsors
Arlo & Jackie Luke Featured Visual Artists W E N D Y R O BE R T S & W I L L I A M ( BI L L ) BY BE E
Season Sponsors
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Idaho State-Civic Symphony
WELCOME DR. HYERI CHOI Born in Busan, Korea, Dr. Hyeri Choi is Assistant Professor of Violin at Idaho State University where she coordinates the string program, teaches violin, viola, and related academic courses, and directs the string division of the ISU Summer Institute for Piano and Strings. Hyeri holds Doctor of Musical Arts (DMA) and Masters of Music (MM) degrees in Violin Performance and Literature from Eastman School of Music, received her Bachelor of Music (BM) from Ewha Womans University in Korea, and she earned her Orchestra Performance Certificate as a full scholarship and stipend recipient at TOHO Orchestra Academy. Choi is a passionate orchestra, solo, and chamber musician. As an orchestral musician, she has served as Concertmaster of the Idaho-Civic Symphony since 2016. She was a guest concertmaster of the Williamsport Symphony Orchestra in 2016, assistant concertmaster of the Orchestra of the Southern Finger Lakes in 2012-16, and principal second violin of the Seoul Metropolitan Youth Orchestra in Korea. As a soloist, Hyeri made her New York debut at Weill Recital Hall, Carnegie Hall as the First Prize Winner of the 2014 American Protégé International Strings and Piano Competition. During her Eastman years, she gave a solo recital in the Musicales Concert Series at George Eastman House in 2012. As a chamber player, Dr. Choi is a violinist of the Monarch Piano Trio at ISU, a member of the duo “Raon”, and the Piano Trio “Dante Deo”, created by Eastman Alumni. She was invited to perform at the 2017 Grand Teton Music Festival Summer Season Preview Concert, and also was a full scholarship fellow of the 1st and 2nd New Mexico Chamber Music Festivals in Albuquerque. Hyeri has participated internationally in various summer festivals with full scholarships: Kirishima International Music Festival (Japan), Music Alp Festival (France), and the Music Academy of the West (USA) with renowned artists. In addition, as a conductor, she served the Zion choir at Rochester Korean United Methodist Church (RKUMC) by taking conducting classes at Eastman. Dr. Choi was on the faculties of Mansfield University of Pennsylvania, Mason Gross School of the Arts—Extension Division at Rutgers—The State University of New Jersey, and the NY String Academy in Fort Lee, NJ. Her primary teachers include Mikhail Kopelman (USA), Hamao Fujiwara (Japan), and JaeKwang Song (Korea).
2 01 8 -19
ID AHO STATE-CIV IC SY MPHO NY
Concert Series
Julie Sorensen, Artistic Director & Conductor
Saturday • October 27, 2018 Halloween Family Concert Video Game Favorites!
10:00 am Pre-Concert Activities 11:00 am Symphony Concert
*Friday • November 2, 2018 Young Artist Concert
Guest Artists: Young Artist Competition Winners Beethoven: Symphony No. 7
Wednesday • December 5, 2018 Youth Orchestra Fall Concert
*Friday & Saturday December 7 & 8, 2018 Joy to the World
An ISU Christmas
*Friday • February 8, 2019 Valentine Concert Evening of Jazz Guest Artist: Kobie Watkins Grouptet
Friday • March 15, 2019 POPS Concert
Featuring: Acoustic Eidolon
Wednesday • April 17, 2019
Featuring Regional Artists throughout the Season
208-282-3595 www.thesymphony.us
Youth Orchestra Spring Concert
*Friday • April 26, 2019 Season Finale
Celebration of Idaho Dvorak: Symphony No. 9 The New World Symphony
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Idaho State-Civic Symphony
JULIE SORENSEN
Artistic Director/Conductor Maestra Baton Sponsor: John and Kate Fornarotto, Gina Call Dr. Julie Sorensen comes to ISU from Lubbock, Texas, where she earned her Ph.D. in Fine Arts with a specialty in Orchestral Conducting from Texas Tech University. While in Lubbock, Sorensen served as the assistant conductor for the Lubbock Symphony Orchestra where she conducted for family, children’s, and holiday concerts. She has also served as the assistant director for symphonies at Texas Tech University and the University of Nebraska-Lincoln. Sorensen holds a B.A. in Music and Flute Performance from the University of Wyoming and an M.M. in Orchestral Conducting from the University of Nebraska-Lincoln. In the fall of 2011, Sorensen joined the music faculty at Idaho State University as an Assistant Lecturer in Music Theory, Aural Skills, Music Appreciation and History. In the fall of 2015, Sorensen became the applied instructor of flute at ISU, where she teaches a strong studio of flutists and is the artistic director of the ISU flute choir. Sorensen is also an adjudicator for both flute and orchestra in and around southeast Idaho. She actively participates in the ISU marching band camps as well as the Summer Institute for Piano and Strings. As a chamber and orchestral musician, Sorensen performs with the City Creek Winds faculty wind quintet and served as the principal flute for the Idaho State-Civic Symphony. While at ISU, Sorensen has also been the conductor for the ISU productions of Into the Woods and Double Blind Sided. In 2012 she organized and directed the first full student chamber symphony orchestra at ISU. In 2016, Sorensen was appointed as the artistic director and conductor for the Idaho StateCivic Symphony Youth Orchestra, a position which she still holds. For the 2017-18 season, she served as the interim conductor for the Idaho State-Civic Symphony. After a nationwide search, she was selected as the permanent artistic director and conductor of the Idaho StateCivic Symphony beginning with the 2018-19 season.
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Julie Sorensen, Artistic Director & Conductor
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JULIE SORENSEN (cont) Welcome to the Idaho State Civic Symphony and our 2018-19 season! As the new artistic director and conductor, I am incredibly excited to share this fantastic season with you, as the symphony celebrates the remarkable talents that we have right in our own backyard! This season we are bringing together both world class musicians and visual artists from all around Idaho to create immersive events that will be truly extraordinary. I invite you to come early to each concert and stroll through the amazing art, sculpture, photographs and more. Come say hello and enjoy the pre-concert sneak-peak and hear about the music that will be performed. Then relax and enjoy the main event as the symphony performs a night of unforgettable music. There is something for everyone this season with familiar favorites and engaging new pieces on each concert. The symphony is a wonderful way to connect with those around you and we are excited to have you with us. Bring your friends, your family, your colleagues, as we celebrate you, our wonderful community! Thank you for your support and we’ll see you at the symphony!
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Sincerely, Julie Sorensen
MESSAGE FROM GINA/HEATHER Text to come.
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Idaho State-Civic Symphony
ISU Preparatory String Program
• ISU Music Students teaching violin, viola, cello, and bass • Semester starts August 27, 2018; late start tuition prorated • Visit isu.edu/stringprep to register or contact Dr. Eleanor Christman Cox coxelea@isu.edu, 208-282-1423 • Tuition includes 13 lessons for the semester, end-ofsemester recital, and accompanist for the recital. $182 for 30-minute lessons $273 for 45-minute lessons $364 for 1-hour lessons
Julie Sorensen, Artistic Director & Conductor
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FIRST TIME SUBSCRIBERS 2018-2019 SEASON Suzanne Price Household Julie Colt Household Alice Swenson Household John Davis Household Chris Young Household Kevin and Margaret Satterlee Bank of Commerce
Elizabeth O’Donnell Household Catherine Sorensen Household Jim Trost Household Marlyn Brunkow Household A. J. Weinhold Household
Lance Holladay Household Louis Spencer-Smith Household Andrew Rush Household Craig Yadon Household Kristine Rudd Household Mark Stutzman Household
WELCOME EMMA RUBINSTEIN This Evening’s Guest Concert Master
Violinist Emma Rubinstein has appeared in concerts both nationally and internationally – in locations including Berlin, Paris, Madrid, Salzburg, Helsinki, Stockholm, Seoul, Tokyo and Tel Aviv – as a guest soloist and chamber musician. In addition, she has had many guest teaching engagements in the U.S. and abroad. Emma makes her home in Idaho Falls and is currently serving her 11th season as concertmaster of the Idaho Falls Symphony. Prior to arriving in IF, she was Assistant Professor of Music and first violin of the Oxford String Quartet at Miami University of Ohio. Beginning in the fall of 2007 she served a two-year appointment at BYU-Idaho as Visiting Professor of Violin. In addition, Emma spent three seasons (2005-08) as assistant concertmaster of the highly acclaimed CityMusic Cleveland, one of the mid-west’s premier chamber orchestras. She is the former first violinist and founding member of the Anacapa String Quartet. Based in Santa Barbara, CA, the quartet gave concerts across the U.S., including at the Phillips Collection in Washington D.C., the Lively Arts Series at Stanford University, the Los Angeles County Museum of Art, and the Rockport Opera House, among others. The quartet received numerous honors, awards and commissions throughout its career. Born and raised in Chicago, Emma received her Master of Music degree at Yale University, and her Bachelor of Music degree at Boston University. Emma maintains an active private violin studio and volunteers her time with the Idaho Falls Youth Symphony.
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Idaho State-Civic Symphony
LEGACY GIVING Give the Gift of a Lifetime! Make a Legacy Gift to the Symphony and invest in the future of generations to come and the ISCS. It is as simple as including us in your will. Call 208-234-1587 or drop us a note at symphony@isu.edu!
The Idaho State Civic Symphony 2018-19 Season is excited to launch our Symphony Serves initiative serving our community by bringing music outside the concert hall.
WELCOME PRESIDENT SATTERLEE The Symphony extends a warm welcome to ISU’s new President, Kevin Satterlee. We hope you and your family will come to love the arts and musicianship that Idaho State University and our community has to offer.
VIDEO GAME FAVORITES
Super Mario•Zelda•Sonic•World of Warcraft•Kingdom Hearts
CONCERT
SATURDAY, OCTOBER 27 Stephens Performing Arts Center
10:00 am PRE-CONCERT ACTIVITIES 11:00 am SYMPHONY CONCERT $10 Adult / $5 Child
Concert Sponsor
®
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I D A H O
Idaho State-Civic Symphony
S T A T E - C I V I C
S Y M P H O N Y
After-concert Receptions Meet and Greet the Featured Artists Receptions will be held in the Rotunda immediately following each concert with beverages and hors d’oeuvres served. This evening’s reception, however, will be held at Portneuf Medical Center. $15/person or FREE to donors ($125+)
Professional Graphic Design LOGOS • NEWSLETTERS • ADS • BOOKS • POSTERS • EVENT CAMPAIGNS • PLUS MORE
www.graphicimages.design graphicimages2007@gmail.com • 208.380.0671
LAUGHTER, CULTURE, TRADITIONS
MUSIC JULY 10-14, 2019 P OC ATE L LO, IDAHO
Jensen Hall | Goranson Hall | First Presbyterian Church | United Church of Christ | Trinity Episcopal Church
idahointerchoralfest.org
Julie Sorensen, Artistic Director & Conductor
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MEET THE IDAHO STATE-CIVIC SYMPHONY PERFORMERS Violin I
Dr. Gregory and Andrea Ford Chair Emma Rubinstein, Guest Concert Master Anna Alexander* Rumeng Liao Erika Murphy Marissa Orgill Mary Green*** Madeline Rogers Lyman Asay* Kathleen Campbell Jessica Perry* Amy Bachman
Violin II
Jared and Michelle Clinger Chair Amy Boese, Principal Violin II Madison Folkman Dorithy Frandsen Sue Holbrook Ardith Moran**** Maggie Price Karen Wadsworth BreAnna Ward Denette Wolfe*
Viola
ATS – High Speed Internet Chair Sandra Kenney,*** Principal Morgan Betts Kathryn Chojnacki Garrett Christensen Joan Collett**** Marcus Hall Ruth Mussler* Debby Theimann* Katelynn Reece Emma Wood
Cello
Rayna Valentine and Harold Wilkes Chair Eleanor Christman Cox, Interim Principal Brian Attebery,*** Asst Principal Karen Bechtel Patty Bolinger* Elizabeth Cartwright* Heather Clarke * Tyresha Hale Taylor Kneip Jerrel Martin Matt Van Leuven
Bass
Anonymous Chair Donald Colby,* Principal Katey Gutman Mark Holbrook
Flute
Jay and Kristine Kunze Chair Megan Tholen, Principal Linda Rankin* Hugh Gale, piccolo
Oboe
Christopher Daniels Chair Susan Hughes,**** Principal Hailey Dawson Adriene Pavek
Clarinet
Rayna Chatfield* Aaron Hayes Kyle Peck
Trumpet
Centennial Rotary Club Chair Thomas Banyas,*** Principal Shawn McLain Audrey Waddell
Trombone
Roger and Nancy Wheeler Chair Sarah Houghton, Principal Jon Treasure Caleb Renner, bass trombone
Tuba
Paul and Katie Link Chair Nicole Hasenpflug, Principal
Timpani
Spaulding Foundation Chair Thom Hasenpflug,* Principal
Percussion
Rotary Club of Pocatello Chair Thaddeus Ferrin, Principal Brian McKibben Pamela J.S. Hutchinson* Jacob Knievel
Piano/Celeste
Musicians West Chair Laura Larson, Principal
Peter and Linda Groom Chair Shandra Helman,* Principal Brandon VanOrden
Harp
Bassoon
Personnel Manager
Diane Bilyeu Chair George Adams, Principal Jan Eddington ** Dillin Diggie, contra bassoon
Horn
Chris and Rod Jenneiahn Chair Michael Helman,* Principal
Loren and Joyce Weaver Chair Laurie Orr,* Principal Michael Helman
Librarian
Kathryn Chojnacki
Properties
Brandon VanOrden Jerrel Martin *Denotes 10 years of service each
Arlo & Jackie Luke are Proud to Sponsor the Idaho State-Civic Symphony
Shining a spotlight on creativity. The arts enrich all our lives and are an integral part of our culture and heritage. It’s why we support arts organizations within our community. They inspire, entertain, move, and inform us in so many ways. Without the arts our community would not be the vibrant and diverse place we enjoy today. KeyBank thanks Idaho State Civic Symphony for making a difference.
Key.com is a federally registered service mark of KeyCorp. Š2018 KeyCorp. KeyBank is Member FDIC. 171005-170606 - 8585092
key.com
Julie Sorensen, Artistic Director & Conductor
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FRIDAY, SEPTEMBER 21, 2018
The Program
Star Spangled Banner
Lyrics: Francis Scott Key, 1814 Music: John Stafford Smith, c. 1773 Elyssa Jones, vocalist
Festive Overture, A major, Op. 36 (1802) 6 min Symphony No. 2 in B minor (1876) 30 min
Dmitri Shostakovich (1906-1975) Alexander Borodin (1833-1887)
Intermission (15 minutes) Symphony in B minor (1880) 12 min Violin Concerto in E minor, Op. 60 (1844) 28 min Guest Artist Hyeri Choi, violin
Claude Debussy (1862-1918) Felix Mendelssohn (1809-1847)
Tonight’s Concert Co-Sponsors
Arlo & Jackie Luke
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Idaho State-Civic Symphony
PROGRAM NOTES Festive Overture, Op. 96 Dmitri Shostakovich Born September 25, 1906, in St. Petersburg, Russia Died August 9, 1975, in Moscow, USSR The work was given its earliest performance on November 6, 1954, by the Bolshoi Theater Orchestra conducted by Alexander Melik-Pashayev. It is scored piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, and strings. An optional brass expansion of four horns, three trumpets, and three trombones may be used in addition to the already large orchestra. The final sentence of Dmitri Shostakovich’s autobiography, entitled Testimony, is: “I wanted to put this down in order to save future generations from the bitterness which has turned my whole life grey.” Always the master of powerful statements, Shostakovich usually reserved them for his music. Coming of age during the earliest years of the Soviet Union, he was indoctrinated with a mistrust of the former Tsarist regime that had ruled Russia for over three centuries. As his precocious musical gifts led him to occasional glimpses of the outside world, Shostakovich began to see his government’s deception and he lost faith in Josef Stalin, who was then the leader of the USSR. In 1947 he reached the breaking point, as he was forced to denounce his own music before all of his colleagues at an assembly of the Union of Composers. From that moment on, Shostakovich lived in fear, but felt duty-bound to fill his works with cynicism for a regime whose actions he had learned to despise. Miraculously, he was permitted to survive and he lived in the USSR until his death in 1975. Soviet composers were expected to exist on a type of artistic island. No European or American influences were permitted in their music. Likewise, most colleagues who had moved to the West—most notably Stravinsky who was traveling outside Russia during the Revolution of 1917—were not allowed to return to the country. Soviet composers, when they were deemed too western, were met with institutionalized criticism and censure from the Union of Composers. Shostakovich suffered this fate first in 1936 the day after Stalin attended his opera, Lady MacBeth of the Mtsensk District. The review in Pravda concluded with the following lines: “Our theatres have expended a great deal of energy on giving Shostakovich’s opera a thorough presentation. The actors have shown exceptional talent in dominating the noise, the screaming, and the roar of the orchestra. With their dramatic action, they have tried to reinforce the weakness of the melodic content. Unfortunately, this has served only to bring out the opera’s vulgar features more vividly. The talented acting deserves gratitude, the wasted efforts - regret.” In many ways, the composer never recovered from this criticism. His works grew more sarcastic—always hiding behind the satirical façade of party loyalty. He kept a bag packed
Julie Sorensen, Artistic Director & Conductor
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by the door of his apartment in case an escape was necessary from the Black Mariahs, the mysterious limousines that carted away dissenters in the middle of the night. When Stalin died in 1953, Shostakovich was elated. He composed his Tenth Symphony in a celebratory mood. The following year, Shostakovich was asked to provide a short orchestra work for the thirty-seventh anniversary of the October Revolution. His vivacious Festive Overture was composed during a three-day flurry of creativity. As each page of the score was finished, copyists carefully took the still-wet pages to extract individual parts for the players. The result is a ceremonial and festive miniature that thrills listeners from the opening fanfare until the final flourish. In the middle is some of Shostakovich’s most sardonic music, filled with the rushing scales and percussive accents that have endeared this music to audiences for over fifty years.
Symphony No. 2 in B Minor Aleksandr Porfir’yevich Borodin Born November 12, 1833, in St. Petersburg, Russia Died February 27, 1887, in St. Petersburg, Russia This work was first performed in 1877 in St. Petersburg. It is scored for two piccolos, three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings. After Glinka’s successes in the 1840s as the first Russian composer of consequence, many musical amateurs began to take an interest in Russian subjects. Although Glinka’s music was flavored with some folk elements, nowhere does it truly emulate the real music of the Russian countryside. The idea of an authentic Russian musical style created by and for native Russians was too attractive to dismiss. However, the Germanic musical forms that Glinka brought back from his studies in Berlin were clearly not satisfactory for these purposes. Likewise, any true reform would not come from the musical establishment that had fully espoused Glinka’s style. The answer would come from a motley crew of musical amateurs whose leader was a minor composer of meager successes. Mily Balakirev, a protégé and student of Glinka, had once held great promise as a pianist and composer, but a bout with encephalitis had stolen his career. However, his influence drew into his circle of influence four young followers who would change Russian music forever. Nikolai Rimsky-Korsakov was a naval bandmaster who would later teach the composers Stravinsky and Glazunov. The group was completed by César Cui, an army officer; Modeste Mussorgsky, an alcoholic civil servant; and Aleksandr Borodin, a physician and a lecturer in chemistry at the Academy of Medicine. Together they were known as Mogushaya Kuchka, or “Mighty Handful” (sometimes called “The Russian Five”). Although this loose-knit group revered Glinka, they were even more enthusiastic about the possibility of producing original music drawn from the folk traditions of Russia. They provided support and advice for each other as they each worked toward higher goals. This group was able to explore Russian folk material largely because they were not mired by Germanic traditions and could compose without restrictions.
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Idaho State-Civic Symphony
Aleksandr Borodin described himself to musical acquaintances as “a Sunday composer who tries to remain obscure.” His duties as a doctor of medicine and a lecturer in chemistry at the Academy of Medicine kept Borodin from musical endeavors during the work week. Although he had little time for composition, his colleagues managed to encourage him to compose many important works, including several small pieces for piano, some art songs, and a handful of chamber works. However, Borodin’s most important legacy is heard in his three operas— Bogatyri, The Tsar’s Bride, and Prince Igor—and his three symphonies. The First Symphony was the composer’s first mature work, but it received lukewarm reviews at its premiere. Borodin’s Third Symphony was left unfinished at his death, but was completed by composer Aleksandr Glazunov from just a few sketches and resulted in a piece that is more Glazunov than Borodin. Nearly everyone considers the Second Symphony as Borodin’s most important orchestral work. Filled with all of the hallmarks of the Russian folk style, Borodin’s Second Symphony, completed in 1876, is one of the jewels of Russian romanticism. The work opens with an incisive motto figure in the unison strings and low winds that pervades the opening movement. This brooding and quietly triumphant music is contrasted by a more lyrical second melody first heard in the woodwinds. As the movement unfolds, the mood alternates between severity and tenderness, but always with the clarity of orchestration that makes Borodin’s intentions unmistakable. A quicksilver scherzo boasts an ample measure of rhythmic interplay, foiled only by a contrastingly tender oriental-tinged trio section. Borodin’s poignant third movement, marked andante, contains some of this symphony’s greatest musical delights, from the exquisite solos for clarinet and horn to the ravishing climax for full orchestra. The rhythmic and propulsive finale is imbued with a Slavic festiveness that is undeniable. Particularly interesting is the use of asymmetrical phrases that lend the character of a Russian peasant dance. A more lyrical melody, first heard in the woodwinds, combines with the opening dance in the final measures of the symphony to create a dazzling flurry of orchestral fireworks.
Symphony in B minor Claude Debussy Born August 22, 1862, in St. Germain-en-Laye, France Died March 25, 1918, in Paris, France This work was composed in 1880, but not published until 1933. It was originally scored for piano four-hands. In the late nineteenth century, the music of Richard Wagner was generally regarded as the newest and most progressive in Europe. In Vienna, Paris, and a few other cities, a younger generation of composers began to write in reaction to Wagner’s music—some following his model, and others rejecting it to produce newer styles. One of the newer fashions in music
Julie Sorensen, Artistic Director & Conductor
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was that of Impressionism, which presents a dream-like atmosphere, loose flowing rhythms, diffuse textures, and mysterious tone colors. The first composer to gain prominence writing in this style was Claude Debussy. However, he should not be grouped solely with the Impressionists. Debussy had a varied career beginning with his admission to the Paris Conservatoire at the age of ten. His first compositions date from seven years later when he began to write art songs. Soon afterward, he was hired as a tutor by Nadezhda von Meck, the wealthy widow who became Tchaikovsky’s patroness shortly thereafter. After returning from Russia, Debussy found a mentor in famous French composer Charles Gounod. After winning the coveted Prix de Rome in 1884 for his dramatic cantata L’enfant prodigue (The Prodigal Son), Debussy was on course for an illustrious career as a composer. He composed piano pieces, art songs, and an opera, and was constantly searching for new methods of depicting the texts and vast varieties of images associated with his numerous compositions. In the early years, Debussy lived in Paris with little money and almost no critical notice. The Prelude to the Afternoon of a Faun, the piece in which Debussy introduced his mature impressionistic style, would achieve slight success in 1894. Other important works followed, including the opera Pelleas et Melisande and the symphony La Mer. Although many believe La Mer to be Debussy’s only foray into symphonic form, there was an earlier work that shows an early mastery of the form. In 1880, when he was working for von Meck, Debussy outlined a short symphony in the key of B minor and created a four-hand piano version of the piece, which he sent to his patroness. At the beginning of the next year, she wrote a simple note of thanks for the “charming symphony.” Although the symphony was not published until 1933, it is generally assumed that Debussy and von Meck played the work together in her salon. In the eyes of more hard-line scholars, this work does not qualify as a symphony, as it was an early, almost juvenile, work of an 18 year-old music student and was never orchestrated. However, it must be remembered that French organists regularly composed works under that title for their instrument, such as the famous Symphony by Widor. In Debussy’s case, the work shows an undisputed command of harmony and development, as well as early experimentation with form, as it is cast in one movement with three distinct sections. A few different orchestrators, including Tiny Finno and Noamh Sheriff, have produced performance versions of the work. The symphony opens with surges of melody that bring to mind moments in Tchaikovsky’s ballets. This delightful music unfolds gradually, but quite pleasantly. A second section is much gentler in nature and features some elements that would find their way into Debussy’s mature style, most notably the passages that are repeated, both melodically and harmonically, a whole-step apart. The final section of the symphony is perhaps the most involved with its distant fanfares and more complete development. Debussy’s final measures are grand and triumphant, but with more gestures to romanticism than to the impressionism that would occupy him a short decade later.
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Idaho State-Civic Symphony
Concerto in E minor for violin and orchestra, Op.64 Felix Mendelssohn Born February 3, 1809, in Hamburg, Germany Died November 4, 1847, in Leipzig, Germany This work was first performed on March 13, 1845, in Leipzig, Germany, with Ferdinand David as soloist and Danish composer Niels Gade conducting. It is scored for solo violin, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. The most intensely Romantic music is often represented as having been written by composers whose personal lives were fraught with misfortune. The heroic character of Beethoven’s middle period is often depicted as springing from the pen of the master who fought against impending deafness to produce heartfelt art from his anguish. Any number of Romantic composers may be plugged into a similar formula and, in a few cases, the paradigm even holds true – but not in the case of Felix Mendelssohn. Coming from a wealthy family, Mendelssohn had no financial worries. His banker father, although a converted Lutheran, was the son of the pre-eminent Age of Enlightenment Jewish philosopher Moses Mendelssohn. Felix, along with his sister Fanny, received the best musical education money could buy. As an adult the composer’s personal life was the model of domestic bliss with his joyful marriage to Cecile Jeanrenaud, the daughter of a minister in the French Reform Church. An undisputed giant in Europe’s musical community, Mendelssohn was much sought-after as a composer and conductor, having begun his tenure with the Leipzig Gewandhaus Orchestra in 1836 at the tender age of twenty-seven. Every aspect of his life was nearly perfect, but such a shining star could only burn out quickly. Mendelssohn died at the age of thirty-eight, probably from a stroke – the same malady that killed Fanny less than a year before. Mendelssohn’s Violin Concerto in E minor is a late work, dating from the end of 1844, although much of the piece was sketched over the course of the previous decade. By 1835 he had resolved to compose a work for his friend, the virtuoso violinist Ferdinand David. However, the composer’s many conducting obligations and extensive travels forced him to shelve the project for nine years. The resulting work is a gem of the solo repertoire. Opening immediately with the soloist and completely foregoing the customary orchestral exposition, the piece begins with a charming melody that has become the signature of this concerto. Cast in traditional sonata form, the movement shows Mendelssohn’s expertise at paring down the orchestral fabric, allowing smaller groups of instruments to accompany the soloist. The first movement is fused to the second by a single sustained note in the bassoon, leading to a lyrical andante theme. In this middle movement, Mendelssohn skillfully exploits the legato capabilities of the violin while accompanying these passages with multiple stops of considerable difficulty – all played simultaneously by the soloist. The finale is a brilliant and elegant romp – a clear gesture of homage to the virtuoso tradition of solo violinists.
Getting you back to
Music a Physician Owned Hospital
208.557.2700
2325 Coronado St. • Idaho Falls, ID 83404 www.MountainViewHospital.org
The Symphony League The Symphony JOIN US League NEXT Season! JOIN US Individual membership $25 per season NEXT Season! Couples membership $35 per season What we do: • Promote awareness of and support for The Symphony; • Encourage interaction between orchestra members and the community; • Welcome guest artists through luncheons with League and Board members; • Support The Symphony’s youth outreach programs: Youth Orchestra, Children’s Concert, Summer Institute for Piano and Strings, Link Up;
Ideal members:
Men/women, aficionados/the musically-challenged, • Organize fundraising events onMusic behalf of The Symphony.
Thinkers/doers, Artists/writers, Financial wizards/party planners, Leaders/eager followers, Decorators/great cooks, Community-Spirited Lovers of the Arts!
Ideal members:
Men/women, Music aficionados/the For more information: Michelle Clinger (208)musically-challenged, 709-8495 or Thinkers/doers, Artists/writers, Financial wizards/party planners, SymphonyLeaders/eager Office at (208) 234-1587 followers, Decorators/great cooks,
Community-Spirited Lovers of the Arts!
For more information: Michelle Clinger (208) 709-8495 or Symphony Office at (208) 234-1587
Julie Sorensen, Artistic Director & Conductor
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Complimentary Workshop
Charitable Giving from A to Z. You are invited to attend Charitable Giving from A to Z, a complimentary, informational workshop, designed specifically to address the benefits of charitable giving.
You will learn: o o o o
the benefits to you and the charity of making charitable gifts how income tax deductions may reduce the cost of giving how life insurance can be a powerful charitable planning tool how to create and maximize a lifetime income stream with gifts to charity
We will also explore the basics of various charitable giving techniques, including split-interest gifts and planning strategies that can make your heirs the real winners when you make gifts to charities! Seminar Workshop and Insurance Sales Presentation
Sponsored By: Kate Reed and Allen Rupp Agent, New York Life Insurance Company Registered Representatives offering securities through NYLIFE Securities LLC, Member FINRA/SIPC, A Licensed Insurance Agency 654 S. Main St. Pocatello, Idaho 83204 208-220-4854
October 10, 2018 2:00pm ISU Student Union Building 1065 Cesar Chavez Pocatello, ID 83209 Heather Clarke - symphony@isu.edu This seminar and sales presentation is for informational purposes only. This represents an understanding of generally applicable rules. New York Life Insurance Company, its agents or employees may not give legal, tax or accounting advice. Attendees should consult their own professional advisors prior to implementing any planning strategies. Š 2015 New York Life Insurance Company. All rights reserved. SMRU 509936 (exp. 11.30.2019)
We support the Idaho State-Civic Symphony and everything it does for our community 109 N Arthur Ste 400 • Pocatello, ID 83204 (208) 232-5471
You have something that only you can offer… show ‘em your true colors.
Web • Social • Broadcast • Design • Video for Today’s Media-Filled World 208-530-8846 www.elliottcolorbox.com
WINE & MUSIC The Symphony invites you to an intimate evening with your friends to enjoy the fruits of the harvest and the company of fellow wine lovers. Lovely variety of wines have been selected to accompany each musical selection and a sommelier will be on hand to discuss the pairings. $60/person includes: wine, musical entertainment, light hors d’oeuvres, and a Symphony wine glass.
WEDNESDAY NOVEMBER 7, 2018 6:00–8:00PM BLACK BOX THEATRE
Special Guest Artist: Kobie Watkins Grouptet FOR TICKETS
call 208-234-1587 visit http://bit.ly/2eYqWAF or email symphony@isu.edu
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Idaho State-Civic Symphony
A SPECIAL THANK YOU The Idaho State-Civic Symphony receives financial support from three sources: ticket sales, grants, and individual/business contributions. We are proud to list those who have already pledged or contributed to the 2017–2018 concert season. If you have not yet made your contribution, we encourage you to do so and add your name to subsequent concert programs. Thank you for your continued support. Please visit www.thesymphony.us to make your tax-deductible contribution today. Contributions may also be mailed to: Idaho State-Civic Symphony, P.O. Box 8099, Pocatello, ID 83209. Contributions of at least $100/individual or $200/couple receive invitations to all post-concert receptions. Please alert The Symphony Office at (208) 234-1587 of any errors or omissions.
2018-2019 Maestro Circle ($10,000 and above)
Allstate Foundation/David Orthel
Diane Bilyeu
Season Sponsor
Bank of Idaho
Principal Oboe Sponsor
Season Sponsor
Citizens Community Bank
Principal Trumpet Sponsor
Conductor’s Circle ($2,500–$9,999)
D.L. Evans Bank
Principal Horn Sponsor
Portneuf Medical Center Mountain View Hospital
Bank of Idaho
Fiddle Competition Sponsor
J.R. Simplot Company
Classical Concert Co-Sponsor and Young Artist Competition Sponsor
Joseph C. Jensen
Link Up
Classical Concert Co-Sponsor Classical Concert Co-Sponsor Classical Concert Co-Sponsor
Hirning Buick GMC
Classical Concert Co-Sponsor
Idaho Central Credit Union Family Concert Sponsor
Key Bank of Idaho
Classical Concert Co-Sponsor
Teton Auto Group
Children’s Concert Transportation
Classical Concert Co-Sponsor
US Bancorp Foundation
Classical Concert Co-Sponsor
F.M., Anne G., and Beverly B. Bistline Foundation in the Idaho Community Foundation
Classical Concert Co-Sponsor
Youth Orchestra Sponsor
Fine Arts Display Sponsor
Grand Benefactor ($1,000–$2,499) Allstate
Classical Concert Co-sponsor
Jackie and Arlo Luke Vogts
John and Kate Fornarotto and Gina Call Maestro Baton Sponsor
Principal Bassoon Sponsor
Christopher Daniels
Centennial Rotary Club
Chris and Rod Jenneiahn Roger and Nancy Wheeler Principal Tuba Sponsor
Paul and Katie Link
Principal Tuba Sponsor
Spaulding Foundation
Principal Timpani Sponsor
Rotary Club of Pocatello
Principal Percussion Sponsor
Musicians West
Principal Piano Sponsor
Loren and Joyce Weaver Principal Harp Sponsor
ATS – High Speed Internet Principal Viola Sponsor
Jared and Michelle Clinger
Principal 2nd Violin Sponsor
Dr. Gregory and Andrea Ford
Rayna Valentine and Harold Wilkes
Jay and Kristine Kunze
Anonymous
Peter and Linda Groom
Intermountain Beverage* Bohrer Family Foundation
Concertmaster Sponsor
Principal Flute Sponsor
Principal Clarinet Sponsor
Principal Cello Sponsor Principal Bass Sponsor
Julie Sorensen, Artistic Director & Conductor Benefactor
Karen Hartman and
($500–$999)
Zac Gershberg
Page 29 Ken and Eleanor Medley Erika Murphy
Brian and Jennifer Attebery
George and Merel Imel
Mel and Barbara Nicholls
Fred Belzer and Terry
Kimball and Karen Knowlton
Muriel Roberts
Steve and Brenda Knudson
Mark Romero and
Kaufmann William and Doris Brydon
Jim and Sharon Manning
Elizabeth Cartwright
Howard and Carol Burnett
Ronald and Joan McCune
Elaine and Richard Smith
Gina Call
Peter McDermott
Deborah Thiemann
Warren and Sally Davis
Loren and Kathleen Mercer
Jon Treasure
John and Kate Fornarotto
Patti Mortensen
Mary Vagner
Linda Groom
Bryan and Lorie Murray
Stephen Weeg and
Phillip and Edythe Joslin
Craig and Marjorie Nickisch
George and Betty Katsilometes
Priscilla R. Reis
Mike and Pat McCarthy
Mark Roberts
Mark and Eva Nye
Janet Schubert
David and Jennifer Parry
John and Judith Stewart
Bill and Anne Schroeder
Scott and Janet Turner
Gail and Nannette Siemen
Gayl and Phyllis Wiegand
Alan and Sherry Van Orden
Bob and Lyla Wolfenbarger
Sustaining Member
Sponsor
Sandra Kenney
($250–$499)
($100–$249)
Robin Kent
John and Sharon Abreu
Beverly Andersen
Ruth Mussler
John and Kathy Albano
Thomas and Virginia Baxter
Roselyn Pratt
Barbara Bain
Roger and Donna Boe
Ken and Margaret Barr
Marti Burnquist
Peter and Ronda Black
Allan and Stephanie Christelow
Douglas and Janet Boehm
Willis D. and Stephanie Evans
Ron and Patty Bolinger
Gary Ford
Dillon and Audrey Cole
Sallee Gasser
Paul and Joan DeLong
Rita Haggardt
Leland and Sonja Durney
Gail Higgins
Eric and Lynnette Evans
Geoff Hogander
Alan and Bonnie Frantz
Joe and Rebecca Hyde
Judy Grahl
Jim and Judy Liday
Creighton and Shelley Hardin
Cammie M. Luperine
Nancy Greco
Patron ($25–$99) Rayna Chatfield Elizabeth Dyer Michaela Ferrin Kerry Hong Sarah Jelley
Media Sponsors KPVI Channel 6 East Idaho Radio Idaho State Journal FM-91, KISU ISU Marketing and Communications Public Access, Channel 12 Staci Wheatley, Graphic Images Scott Elliot, Color Box *In-Kind
Page 30
Idaho State-Civic Symphony
2018-2019 IDAHO STATE-CIVIC SYMPHONY BOARD OF DIRECTORS
President Gina Call
President-Elect Ron Bolinger Treasurer Stephanie Albano Secretary TBD Artistic Director & Conductor Julie Sorensen* Youth Orchestra Director Julie Sorensen* Executive Director Heather Clarke* Administrative Assistant Stephanie Moore*
John Abreu John Alexander Diane Bilyeu Carol Burnett Michelle Clinger Dan Davis Kate Fornarotto Alan Frantz Linda Groom Shelley Hardin Karen Hartman Thom Hasenpflug* Cynthia Hill Phil Joslin George W. Katsilometes Paul Link Arlo Luke Maggie Malinowski
Lorie Murray Mark Neiwirth Dave Orthell Kathleen Pressler-Hall Janet Shubert Roger Wheeler
Orchestra Representatives Joan Collett Lyman Asay Emeritus Faye Booth William Brydon Lloyd Call Jay Kunze Rayna Valentine *Ex-Officio
ANNOUNCING 2018-2019 ISCS YOUTH ORCHESTRA SEASON
Fall Concert
Spring Concert
Wed., Dec. 5th, 7:30pm Wed., Apr. 17th, 7:30pm Stephens Performing Arts Center JULIE SORENSEN, MUSIC DIRECTOR ISCS Youth Orchestra Sponsored by:
Proud to the be a Proud to be Season Sponsor 2017-18 Season Sponsor
Thank You to all our 2018-19 Sponsors SEASON SPONSORS
CONCERT SPONSORS ®
Arlo & Jackie Luke
OTHER SPONSORS
East Idaho Radio GRANTS F.M., Anne G., and Beverly B. Bistline Foundation
