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Charlie Chaplin City Lights Julie Sorensen, Conductor

2017-18 CONCERT SERIES 208-282-3595

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 audiencemates 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 tax-deductible 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 With the above in mind, please sit back, relax, and enjoy the music! 


October 13, 2017 Program Charlie Chaplin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . City Lights Joseph C. and Cheryl H. Jensen Grand Concert Hall L.E. and Thelma E. Stephens Performing Arts Center

Tonight’s Concert Co-Sponsors

Season Sponsor

Media Sponsors

City Lights©  Roy Export S.A.S. Music for City Lights Copyright©  Roy Export Company Ltd. and Bourne Co. except “Va Violetera”©  Jose Padila. All rights reserved. 3


Community Family Concert

A “frightening-ly good time“ with Halloween-inspired selections!

SATURDAY MATINEE October 28, 2017

10:00 a.m. - Pre-concert Activities Concert - 11:00 a.m. $20/Family or $5/Individual Costumes Encouraged! This year’s annual Halloween Concert will be a special treat as we bring you two community Ensembles to delight and fright! Bring your kids an hour before the concert to join in the instrument petting zoo! All may wear costumes, and young musicians will encourage them to try the various instruments. It’s a hands-on good time for kids of all ages. Then, we’ll head into the Jensen Grand Concert Hall for some Spook-tacular performances by:

Snake River New Horizons Band Idaho Gateway Chorus Come take a spook-tacular journey through the sounds that make us jump in our seats! 




Saturday, October 28, 2017 Halloween Family Concert

10:00 am Pre-concert Activities 11:00 am Concert – Community Entertainment Costumes encouraged!

Friday, November 10, 2017

Beethoven Symphony #2 & Zuill Bailey, cello Mendelssohn – The Hebrides Saint-Saëns – Cello Concerto in A minor Massenet – Meditation from Thaïs Beethoven – Symphony No. 2 in D Major

Friday & Saturday, December 8 & 9, 2017 Joy to the World: an ISU Christmas Vivaldi – Gloria, RWV 598 and Other Holiday Favorites

Friday, February 9, 2018

Rachmaninoff: Natalia Lauk, piano Mozart – Overture to The Magic Flute Wagner – Prelude to Tristan und Isolde Barber – Medea’s Dance of Vengeance Rachmaninoff – Piano Concerto No. 2 in C minor

Friday, April 27, 2018

Double Orchestra: BOLERO! with Idaho Falls Symphony Bach/Stokowski – Passacaglia and Fugue in C minor Williams – Fantasia on a Theme of Thomas Tallis Ravel – Bolero Mahler – Totenfeier Tchaikovsky – 1812 Overture

Tickets available through Stephens Performing Arts Center Box Office Monday – Friday 10am – 4pm  •  (208) 282-3595 • 5

Julie Sorensen Conductor

Maestra Baton Sponsor: John and Kate Fornarotto, Gina Hall Julie Sorensen joined the music faculty at Idaho State University in the fall of 2011 as an Assistant Lecturer in Music Theory, Aural Skills, Music Appreciation and History. In the fall of 2015 Julie 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. Julie is also an adjudicator for both flute and orchestra in and around southeast Idaho. As a chamber and orchestral musician, Julie performs with the City Creek Winds faculty wind quintet and is the principal flute for the Idaho State-Civic Symphony. While at ISU, Julie 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 Julie was appointed as the artistic director and conductor for the Idaho State-Civic Symphony Youth Orchestra. She actively participates in the ISU marching band camps, as well as the Summer Institute for Piano and Strings. Julie comes to ISU from Lubbock, Texas, where she studied for her Ph.D in Fine Arts with a specialty in Orchestral Conducting from Texas Tech University. While in Lubbock, Julie 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. Julie holds a B.A. in Music and Flute performance from the University of Wyoming and a M.M. in Orchestral Conducting from the University of Nebraska-Lincoln. ď ´


A Message from Our Board President Welcome to the Idaho State-Civic Symphony 2017-18 Season! We are off to a fabulous start as we have grown and spread our wings to include many new faces, as well as new programs! To begin, one of our best and brightest moments is to recognize our first female Maestra, Julie Sorensen. She is not only a talented musician, but she rises to the top as an accomplished and confident conductor. Julie will also serve in her second season as the Youth Orchestra Conductor and is an avid education enthusiast! We are bringing back the Volunteer League! The League is the perfect way to get involved, make a contribution, and have fun! If you have always wanted to help in some way, please contact our League Chairman, Michelle Clinger. We are very much looking forward to seeing this group take flight! Our Community Outreach has also risen to a whole new level! For the past four years we have been researching how best to support and help our school districts build their music programs! Carnegie Hall has developed a program called “Link Up”, which, through a generous grant, provides a year-long music curriculum which will culminate in an opportunity for the area 4th graders to play alongside our orchestra. This program is about building musical experiences and appreciation amongst our youth. As many of you know, these types of experiences are the ones that contribute to healthy self-esteem and make better all-round students! We are investing in our community, one student at a time! Our ISCS Association is truly an exceptional organization that strives at every opportunity to serve better and align ourselves with our community as we celebrate our beautiful home! To have such a magnificent place as Pocatello, Idaho, to “Live, Learn, and Play” is a blessing we do not take for granted. On behalf of the ISCS Board, thank you for your continued support! It is our honor to serve! Blessings,

Kate M. Fornarotto, Idaho State-Civic Symphony, Board President 7

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. $75 per person includes: • wine • light hors d’oeuvres • musical entertainment • Symphony wine glass


Special Music Guest: Zuill Bailey, cellist FOR TICKETS: call 208-234-1587

visit or email


2017-2018 Idaho State-Civic Symphony Board of Directors President Kate Fornarotto Treasurer Stephanie Albano Secretary Denise Romriell Artistic Director & Conductor Julie Sorensen* Youth Orchestra Director Julie Sorensen* Executive Director Heather Clarke* Administrative Assistant Stephanie Moore*

John Abreu John Alexander Diane Bilyeu Ron Bolinger Carol Burnett Michelle Clinger Dan Davis Gabe Flicker Linda Groom Shelley Hardin Karen Hartman Cynthia Hill Thom Hasenpflug* Elissa Jones Phil Joslin George W. Katsilometes

Paul Link Arlo Luke Maggie Malinowski Lorie Murray Mark Neiwirth Kathleen Pressler-Hall Roger Wheeler Orchestra Representatives George Adams Joan Collett Emeritus William Brydon Lloyd Call Jay Kunze *Ex-Officio


Fall Concert

Spring Concert

Fri., November 17th • 7:30pm Wed., April 25th • 7:30pm Stephens Performing Arts Center JULIE SORENSEN, MUSIC DIRECTOR ISCS Youth Orchestra Sponsored by:



Idaho State-Civic Symphony Volunteer Opportunities Volunteers play essential roles within the Symphony, and their work helps the Symphony maintain high levels of service to the general community. Current open volunteer positions include the following: School Concerts Usher students at the Stephens Performing Arts Center as they arrive and depart for these special concerts. Education & Community Engagement Assist with programs for families and students prior to our annual Saturday Community Halloween Family Concert. Fundraising/Special Events Volunteer at many levels: address invitations, help with decorations, and more. Fundraising volunteers are needed periodically at varying days and times. Greeters Our Greeter program provides an opportunity for our volunteers to interact directly with the patrons attending the concerts. Ushers Assist in the Jensen Grand Concert Hall at the Stephens Performing Arts Center for concert performances. Coat Check Assist prior to the concert, and remain available after the concert. All tips collected are yours. We seek volunteers who are and will be committed to the success of the Symphony. Interested in becoming an Idaho State-Civic Symphony Volunteer? Please contact the Idaho State-Civic Symphony at 11

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The Symphony League JOIN US for the 2017-2018 Season! Individual membership - $20 per 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 Symphony, Children’s Concert, Summer Institute for Piano and Strings; Organize fundraising events on behalf of The Symphony Link Up after Summer Institute for Piano and Strings.

Ideal members: Men/women, Music aficionados/the musically-challenged, Thinkers/doers, Artists/writers, Financial wizards/party planners, Leaders/eager 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


Meet the Idaho State-Civic Symphony Performers Violin



Hyeri Choi, Concertmaster

Donald Colby*, Principal

Sarah Houghton, Principal

Dr. Gregory and Andrea Ford Chair

Anonymous Chair

Jon Treasure

Robert Wilson, Principal Second

Mark Holbrook


Anna Alexander*


Nicole Hasenpflug, Principal

Lyman Asay* Madison Folkman Dorithy Frandsen Alyssa Gardner Sue Holbrook Micah Kenney

Laura Alley, Interim Principal Jay and Kristine Kunze Chair Oboe Susan Hughes,*** Principal Christopher Daniels Chair

Rumeng Liao


Ardith Moran****

Erin Armstrong, Acting Principal

Erika Murphy

Peter and Linda Groom Chair

Marissa Orgill

Brandon VanOrden

Hannah Rasmussen

Chris Rhoades, bass clarinet

BreAnna Ward



George Adams, Principal

Sandra Kenney,*** Principal Dwight and Denise Romriell Chair Morgan Betts Kathryn Chojnacki Joan Collett**** Carson Taylor Debby Thiemann* Cello Brian Attebery,*** Principal

David and Pam Maguire Chair Saxophone Casey Emerson

Paul and Katie Link Chair Piano/Celeste Laura Larson, Principal Gate City Rotary Club Chair Guitar/Banjo Sherrod Parkhouse Harp Laurie Orr*, Principal Loren and Joyce Weaver Chair Timpani Thom Hasenpflug,* Principal Spaulding Foundation Chair Percussion Thaddeus Ferrin, Principal College of Arts and Letters Chair

Owen Flannagan Jonathan Armstrong Trumpet Thomas Banyas,*** Principal Centennial Rotary Club Chair

Personnel Manager Michael Helman Librarians Stephanie Moore

Shawn McLain

Kathryn Chojnacki

Ulises Ramirez


Eleanor Christman Cox, Asst Principal


Chris Rhoades

Elizabeth Cartwright*

Michael Helman*, Principal

Brandon VanOrden

Rayna Valentine and Harold Wilkes Chair

Tyresha Hale Jerrel Martin

Chris and Rod Jenneiahn Chair Aaron Hayes

*Denotes 10 years of service each.


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Proud season sponsor of the

Idaho State-Civic Symphony ď ´ 14


Tonight’s Concert Co-Sponsors

The arts enrich all our lives. A community is more than a collection of homes and businesses. It’s also the institutions that improve our lives through art, music, dance, and theater. KeyBank supports a wide range of arts organizations, because we know that a vibrant cultural scene is vital to bringing the people of our communities closer through their shared appreciation of the diverse talents they provide. That’s why KeyBank is a proud supporter of the Idaho State Civic Symphony. KeyBank helps people and businesses thrive. Learn more. Visit your local branch. is federally registered service mark of KeyCorp. ©2016 KeyCorp. KeyBank is a Member FDIC. 3638884


October 13, 2017 Charlie Chaplin’s City Lights CHAPTERS 1. Civic Pride 2. Window-shopping 3. A Flower Girl 4. Lifesaver 5. “I’ll Live!” 6. Burning up the Town 7. “Am I Driving?” 8. A Different Man 9. Party for the Tramp

10. The Morning After 11. Odd Job 12. Lunch with a Millionaire 13. Easy Money 14. Not So Easy 15. Money for the Girl 16. “This is for Your Eyes” 17. A Flower Shop 18. Color Bars

CREDITS Directed, produced, and written by Charles Chaplin Assistant directors Cinematography Second camera operators Production design Music composed by “La violetera” composed by Musical arrangement by Musical direction by Editors Sound Casting Script supervisor Production manager Press agent

Harry Crocker Henry Bergman Albert Austin Roland Totheroh Gordon Pollock Mark Marlatt Eddie Gheller Charles D. Hall Charles Chaplin José Padilla Arthur Johnston Alfred Newman Charles Chaplin Willard Nico Theodore Reed Allan Garcia Della Steele Alfred Reeves Carlyle Robinson 17

This Evening’s Concert Co-Sponsor


October 13, 2017 Charlie Chaplin’s City Lights CAST A blind girl Her grandmother An eccentric millionaire His butler A prizefighter A tramp Superstitious boxer The tramp’s opponent Eddie Mason Fight referee The tramp’s second Other boxers Street sweeper/Burglar Mayor/Blind girl’s neighbor Newsboys Burglar Man on street elevator Extra in cabaret Woman who sits on cigar Doctor Man who throws away his cigar Cop Flower shop assistant

Virginia Cherrill Florence Lee Harry Myers Allan Garcia Hank Mann Charlie Chaplin Victor Alexander Tony Stabenau Eddie McAuliffe Eddie Baker Emmett Wagner Tom Dempsey Willie Keeler Joe Herrick A.B. Lane Cy Slocum Ad Herman Jack Alexander Albert Austin Henry Bergman Robert Parrish Austen Jewell Joe Van Meter Stanley “Tiny” Sandford Jean Harlow Florence Wicks T.S. Alexander Spike Robinson Harry Ayers Mrs. Hyams


Program Notes By James M. Keller City Lights Charles Chaplin We’re all familiar with Charlie Chaplin, one of the towering icons of film history, central to the field of film as a producer, director, and actor, instantly recognizable to people around the world for his signature character The Tramp. In 1999 the American Film Institute placed him on its list of the greatest male movie stars of all time (at No. 10, if you care about that sort of ranking), and it also acknowledged his film City Lights as one the 100 best American films ever made (at No. 76, just beating out his Modern Times at No. 81). Chaplin’s musical inclinations went back to his earliest years, and as a young man he achieved competence as both a singer and an instrumentalist. In My Autobiography (Simon and Schuster, 1964) he wrote of the vaudeville tour with the Karno IN SHORT Company that first brought him to the Born: April 16, 1889, in East Lane, United States in 1910. (That troupe also Walworth, England included among its members another young Englishman who was Chaplin’s Died: December 25, 1977, in Vevey, roommate — Arthur Stanley Jefferson, Switzerland who later altered his name to Stan Work composed: Chaplin produced Laurel.) Chaplin recalled: his film City Lights from December On this tour I carried my violin 28, 1928, to the final months of 1930, and my cello. Since the age of composing its music near the end sixteen I had practiced from four of that span. Musical arrangements to six hours a day in my bedroom. were entrusted to Arthur Johnson and Each week I took lessons from musical direction to Alfred Newman. the theatre conductor or from World premiere: The film was someone he recommended. As I premiered January 30, 1931, at the Los played left-handed, my violin was Angeles Theatre in Los Angeles, and strung left-handed with the bass was released for distribution by United bar and sounding post reversed. I Artists Corporation on March 7, 1931. had great ambitions to be a concert Estimated duration: ca. 86 minutes artist, or, failing that, to use it in a vaudeville act, but as time went on I realized that I could never achieve excellence, so I gave it up. 


full-length sound musical, and a cheap dull scores w affair it was, but a stupendous box-office films, b success. That wasfilms, the twilight silent films. in a bac After working his way through mostly forgettable silent in 1919ofChaplin It was a pity, for they were beginning to imco-founded (along with Mary Pickford, Douglas Fairbanks, and D.W. Griffiths) the on curr prove. … But I was determined to continue film distribution company United Artists. As he turned to producing his own films, sometim making silent films, for I believed there was gies of p Chaplin enjoyed an unusual degree of artistic independence, which gave rise to the room for all types of entertainment. Besides, scenes, nine films from his years of mastery: A Woman of Paris (1923), The Gold Rush (1925), I was a pantomimist, and in that medium I chases, The Circus (1928), City Lights (1931), Modern Times and, (1936), The Great was unique without falseDictator modesty, a never h master. So I continued with the production music t of another silent picture, City Lights. screenin SCORE RESTORATION Chap This performance of City Lights presents original score as restored and silent control Of the course, silent films were rarely reconstructed by conductor Timothy Brock in were 2004, screened. at the behest the Chaplin when they Mostoftheaters em- even du ployed musicians sometimes pianist compili estate. In an interview on the official Charlie Chaplin — website at theonly time,a Brock or organist, but often a fair-sized orchestra — to compan related: accompany the films. In some cases music was Lights p Score restoration is a very precise and exact science,that andcould the City Lightsorscore, captured on records be more less his invo

we felt, needed some careful attention … I wanted to transcribe as much of the incredible delicacy in City Lights notational ornamentation and other the Conductor’s Words general intricacies of the 1930sIn Hollywood musician … Over a year’s period I was able to complete the restoration into a final edition, which I hope This performance of City Lights presents the original score as re encompasses most of what Chaplin composed heard inofthe othy Brock in 2004,and at the behest thestudio. Chaplin estate. In an inte at the time, Brock related:

Brock did have to make one adjustment to the instrumentation, for practical reasons: Score restoration is a very precise and exact science, and the C

attention … I wanted to transcribe as much of the incredible de

Chaplin had engaged three reed players to cover 12 different wind instruments. and other general intricacies of the 1930s Hollywood musician … As an example, the first reed player was bring toedition, each session 5 encompasses m the required restorationto into a final which I hope the studio. instruments, consisting of B-flat clarinet, alto clarinet, soprano sax, alto sax and baritone sax. Which means for Brock each reel (they always recorded instrume each reel in one pass) this Chap player would have around his 12 dif first r neck two saxes, on his lap both sion clarinets and the baritone sax alto c at his side, all at the ready for sax. recor him to grab with three to four have seconds notice in order to clarin perform the upcoming passage ready in time. It’s quite unbelievable notice in tim when you follow his part and part a try to imagine how quickly he betwe had to go in between different meets the blind flower girl ingirl City . The Tramp meets the blind flower inLights City Lights. instruments in complete silence! The Tramp 32 | NEW YORK PHILHARMONIC


(1940), Monsieur Verdoux (1947), Limelight (1953), and A King in New York (1957). In 1929 he witnessed Hollywood’s introduction of featurelength “talkies” with some regret. He recalled in his autobiography: M-G-M produced The Broadway Melody, a full-length sound musical, and a cheap dull affair it was, but a stupendous box-office success. That was the twilight of silent films. It was a pity, for they were beginning to improve. … But I was determined to continue making silent films, for I believed there was room for all types of entertainment. Besides, I was a pantomimist, and in that medium I was unique and, without false modesty, a master. So I continued with the production of another silent picture, City Lights.

TEAM EFFORT Although Chaplin proved adept as a composer of film music, his scores were, in effect, communal compositions. His protestation that he was essentially concerned with melodies seems entirely realistic, and there is little doubt that his musical directors were very much involved in expanding Chaplin’s ideas into fully harmonized and orchestrated scores. Even in these areas, however, studio archives make clear that Chaplin was remarkably “hands-on,” assessing suggestions made by his associates and expressing his own ideas freely. In the case of City Lights, the musical arranger was Arthur Johnson and the musical director was Alfred Newman (1900–1970), who had by then studied composition with Rubin Goldmark in New York and soon would become a pupil of Arnold Schoenberg’s in Hollywood. Newman had arrived in Hollywood only in 1930, following a decade of involvement with musicals on Broadway; he would go on to work on 450 films and win nine Academy Awards.

Of course, silent films were rarely silent when they were screened. Most theaters employed musicians — sometimes only a pianist or organist, but often a fair-sized orchestra — to accompany the films. In some cases music was captured on records that could be more or less coordinated with the film action. Sometimes scores were composed specifically for these films, but far more often the performers filled in a background of all-purpose music that drew on current standards and popular classics, sometimes working their way through anthologies of pieces classified as appropriate for love scenes, slapstick sequences, high-speed chases, and so on. The film’s director almost never had the slightest involvement with the music that would eventually be attached to a screening of his film. Chaplin, however, did what he could to control this aspect of his films’ presentations, even during the silent era, and he did assist in compiling officially authorized scores to accompany a couple of his productions. But City Lights provided a new level of 


I tried to compose elegant and romantic Team Effort music to frame my comedies in contrast to the opportunity for his tramp character, for elegant music gave my Although Chaplin proved adept as a composer of film AT THE PREMIERE comedies an involvement: emotional dimension. Musical music, his scores were, in effect, communal composiarrangers rarely understood this. They tions. His protestation that he was essentially conCity Lights was acerned greatwith success when it received its and melodies seems entirely realistic, wanted to be funny. But I would exI triedthetomusic compose there is little doubt that his musical directors were very public premiere on March 7, 1931, at the Los Angeles plain that I wanted no competition, I wanted much involved in expanding Chaplin’s ideas into fully elegant and the first time a major motion picture the music to be a counterpointTheatre of grace— and harmonized and orchestrated scores. Even in these romantic music charm, to express sentiment, without which, areas, however, studio archives make clear opened in downtown Los Angeles rather than inthat Chapas Hazlitt says, a work of art is incomplete. lin was remarkably “hands-on,” assessing suggestions to frame my Hollywood. However, the opening of Chaplin’s film Sometimes a musician would get pompous made by his associates and expressing his own ideas wasintervals also the itself,theand, without musical arranger freely. In of thethe casetheater of City Lights, comedies in of the restricted with me and talk of opening was Arthur Johnson and the musical director was Alclearing its plans in advance, the management the chromatic and the diatonic scale, and I contrast to the fred Newman (1900–1970), who had by then studied would cut him short with a layman’s remark: abruptly stopped the filmwith halfway toNew runYork an and composition Rubin through Goldmark in tramp character, “Whatever the melody is, the rest is just a soon would become a pupil of Arnold Schoenberg’s in announcement extolling the glories of the new venue. vamp.” After putting for elegant musicmusic to one or two pic- Hollywood. Newman had arrived in Hollywood only in A near riot ensued, and although “it took a reel before tures I began to look at a conductor’s score 1930, following a decade of involvement with musicals gave my comedies Broadway; go on work on 450 films and laughter intoheitswould stride” (asto Chaplin related), with a professional eye and to the know whether gotonback win nine Academy Awards. a composition was over-orchestrated or not. an emotional the premiere continued to an enthusiastic conclusion.


Chaplin’s guests at the premiere were Mr. and Mrs. Albert Einstein, whom he had befriended several years “During the finaleonscene, “I Therarely understood City Lights was a great success whenearlier. it received its public premiere March”7,reported 1931, at theChaplin, Los Angeles in Hollywood. However, atre — the first time a major motion picture opened in downtown Los Angeles rather than noticed Einstein wiping his eyes — further evidence this. They wanted the opening of Chaplin’s film was also the opening of the theater itself, and, without clearing its plans in advance, aretoincurable sentimentalists. the management film scientists halfway through run an announcement extolling ”the glories of the the musicabruptly to stopped thethat

At the Premiere Musical arrangers

new venue. A near riot ensued, and be funny. although “it took aBut reelIbefore the laughter got back into its stride” (as would explain Chaplin related), the premiere continuedthat to anIenthusiastic wanted conclusion. Chaplin’s guests at the premiere were no Mr. competition, and Mrs. Albert Einstein, whom he had befriended several I wanted the years earlier. “During the finale scene, ” reported music to Chaplin, be a “I noticed Einstein wiping his eyes — further counterpoint evidence that scientists are incurable sentimentalists.”

of grace and

charm, to express sentiment, without Chaplin with special guests Albert and Elsa Einstein which, as Hazlitt

says, a work of art is

Chaplin with special guests Albert and Elsa Einstein

incomplete. Sometimes a musician would get pompous with me and talk of the restricted intervals of the chromatic and the diatonic scale, and I would cut him short with a layman’s remark: “Whatever the melody is, the rest is just a vamp.” MAY 2016 | 33 After putting music to one or two pictures I began to look at a conductor’s score

with a professional eye and to know whether a composition was over-orchestrated or not. 23

If I saw a section, lot of notes in the brass and woodIf I saw a lot of notes in the brass and woodwind I would say: “That’s too Instrum wind section, I would say: “That’s too black oboe (do black in the brass,” or “too busy in the woodwinds.” in the brass,” or “too busy in the woodwinds.”

(one do

played for the first time by a fifty-piece

doubling trumpets snare dr bells, ch harp, ban celeste),

Nothing is more adventurous and exciting Nothing than to is hear the tunes oneand hasexciting composedphones ( more adventurous than to hear the tunes one has composed tone, one played for the first time by a fifty-piece orchestra. Instrumentation: flute (doubling piccolo),orchestra. oboe (doubling English horn), three clarinets (one doubling bass clarinet), three saxophones (one soprano doubling alto Extracted from a note originally written for the and baritone, one soprano doubling alto, one soprano doubling tenor), bassoon, San Francisco Symphony and used with permistwo horns, three trumpets, two trombones, timpani, snare drum, drum kit, sion.tuba, © James M. Keller castanets, orchestra bells, chimes, temple block, tambourine, harp, banjo (doubling guitar), piano (doubling celeste), and strings.

A Final Glance

Extracted from a note originally written for the San Francisco Symphony and used with Unlike many films that undergo multiple re-writes and re-shoots to permission. © James M. Keller A FINAL GLANCE

City Lights was never in doubt. Chaplin worked out the ending first counter with the flower seller played by Virginia Cherrill — recogniz (“Who’ll Buy My Violets?”), a popular song by Spanish composer J pecially proud of the outcome, later recalling it as

Unlike many films that undergo multiple re-writes and re-shoots to reach a beautiful not acting, of standing outside of myse a satisfying conclusion, the finale of City Lights wassensation never inof doubt. Chaplin barrassed, delighted about meeting her again — apologetic w worked out the ending first and he spent six days filming the final encounter watching and wondering without any effort. It’s one of the pures with the flower seller played by Virginia Cherrill — recognized throughout by that I’ve ever done. the theme “La Violetera” (“Who’ll City Ligh Buy My Violets?”), a popular song filmmaker Woody Alle by Spanish composer José Padilla many hav (1889–1960). Chaplin was especially scene of proud of the outcome, later screened, as part of recalling it as a beautiful sensation of not acting, of standing outside of myself. The key was exactly right — slightly embarrassed, Chaplin, in the final scene of City Lights delighted about meeting her again — apologetic without getting emotional about it. He was watching and wondering without any effort. It’s one of the purest inserts — I call them inserts, close-ups — that I’ve ever done. City Lights went on to become an inspiration for filmmakers from Orson Welles to Federico Fellini, and Woody Allen has called it Chaplin’s best work. In fact, many have noted an echo of City Lights in the final scene of Allen’s own Manhattan (which will be screened, with a live performance of the sound track, as part of the New York Philharmonic’s The Art of the Score, September 16–17, 2016). 34 | NEW YORK PHILHARMONIC


Score, Sep

Chaplin, in

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Idaho State-Civic Symphony 921 South 8th Ave., MS 8099 Pocatello, ID 83209-8099 25

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 to make your tax-deductible contribution today. Contributions may also be mailed to:

Idaho State-Civic Symphony P.O. Box 8099 Pocatello, ID 83209

Please alert The Symphony Office at (208) 234-1587 of any errors or omissions. Contributions of at least $100/individual or $200/couple receive invitations to all postconcert receptions. 2017-2018 Season Sponsor ($10,000 and above) Portneuf Medical Center

Conductor’s Circle ($2,500–$9,999) Bank of Idaho. . . . . . . . . . . . . Fiddle Competition Sponsor J.R. Simplot Company. . . . . . Classical Concert Co-Sponsor and Young Artist Competition Sponsor Mountain View Hospital. . . . . . . Classical Concert Sponsor Rotary Club of Pocatello. . . . Classical Concert Co-Sponsor Joseph C. Jensen. . . . . . Children’s Concert Transportation Laura Moore Cunningham Foundation. . . . . . . . . . . . . . . . . Children’s Concert Transportation US Bancorp Foundation. . . . . . . Youth Orchestra Sponsor Idaho Commission on the Arts . . . . . . . . . . . . . . . . . . . . . . . Education/Outreach Sponsor Idaho Community Foundation. . . . . . . . . . . . . . . . . . . . . . . Education/Outreach Sponsor

Grand Benefactor ($1,000–$2,499) Allstate. . . . . . . . . . . . . . . . . . Classical Concert Co-sponsor Allstate Foundation/Don Bates. . . . . . . . . Youth Orchestra Allstate Foundation/David Orthel. . . . . . . Youth Orchestra Allstate Foundation/Richard Olson. . . . . . Youth Orchestra Bank of Idaho. . . . . . . . . . . . Classical Concert Co-Sponsor Citizens Community Bank . . Classical Concert Co-Sponsor D.L. Evans Bank. . . . . . . . . . . Classical Concert Co-Sponsor 


Farm Bureau Mutual Insurance Company of Idaho. . . . . . . Children’s Concert Sponsor Hirning Buick GMC . . . . . . . . Classical Concert Co-Sponsor Idaho Central Credit Union. . Classical Concert Co-Sponsor Key Bank of Idaho. . . . . . . . . Classical Concert Co-Sponsor Teton VW . . . . . . . . . . . . . . . . Classical Concert Co-Sponsor Varsity Facility Services. . . . Classical Concert Co-Sponsor Vogts. . . . . . . . . . . . . . . . . . . . Classical Concert Co-Sponsor Intermountain Beverage* John and Kate Fornarotto and Gina Call. . . . . . . . . . . . . . . . Maestro Baton Sponsor Dr. Gregory and Andrea Ford. . . . Concertmaster Sponsor Jay and Kristine Kunze. . . . . . . . . . Principal Flute Sponsor Peter and Linda Groom. . . . . . . Principal Clarinet Sponsor David and Pam Maguire. . . . . . Principal Bassoon Sponsor Christopher Daniels. . . . . . . . . . . . . Principal Oboe Sponsor Centennial Rotary Club. . . . . . . Principal Trumpet Sponsor Chris and Rod Jenneiahn. . . . . . . . Principal Horn Sponsor Paul and Katie Link. . . . . . . . . . . . . Principal Tuba Sponsor Spaulding Foundation . . . . . . . Principal Timpani Sponsor College of Arts and Letters. . Principal Percussion Sponsor Gate City Rotary Club. . . . . . . . . . Principal Piano Sponsor Loren and Joyce Weaver. . . . . . . . . Principal Harp Sponsor Denise and Dwight Romreill. . . . . Principal Viola Sponsor Rayna Valentine and Harold Wilkes . . . . . . . . . . . . . . . . . . . Principal Cello Sponsor Anonymous. . . . . . . . . . . . . . . . . . . Principal Bass Sponsor Bohrer Family Foundation

Benefactor ($500–$999) Brian and Jennifer Attebery William and Doris Brydon Howard and Carol Burnett Jared and Michelle Clinger/ Colonial Funeral Home Gary and Karlene Dance Warren and Sally Davis Cynthia Hill and Michael Rowe Phillip and Edythe Joslin Fred Belzer and Terry Kaufmann Mark and Eva Nye David and Jennifer Parry Bill and Anne Schroeder Gail and Nannette Siemen Jon Treasure

Sustaining Member ($250–$499) Stephanie Albano Ken and Margaret Barr Diane Bilyeu Douglas and Janet Boehm Ron and Patty Bolinger D. Pete and Audrey Cole Eric and Lynnette Evans Alan and Bonnie Frantz Judy Grahl Karen Hartman and Zac Gershberg Steve and Brenda Knudson Jim and Sharon Manning

Mike and Pat McCarthy Ronald and Joan McCune Peter McDermott Bryan and Lorie Murray Musicians West, Inc. Park and Sharon Price Priscilla R. Reis Mark Roberts Robert and Louise Shaw Glenn and Susan Stokes David D. Treasure Scott and Janet Turner Alan and Sherry VanOrden Roger and Nancy Wheeler Gayl and Phyllis Wiegand Bob and Lyla Wolfenbarger

Sponsor ($100–$249) Barbara Bain Dick and Hazel Barrutia Thomas and Virginia Baxter Roger and Donna Boe Marti Burnquist Kathleen Campbell Allan and Stephanie Christelow Leland and Sonja Durney Bob and Jude Flandro Gary Ford Sallee Gasser Rita Haggardt Roger Hanson

Creighton and Shelley Hardin Gail Higgins Hayden Holbrook Robin Kent Jim and Judy Liday Cammie M. Luperine Ken and Eleanor Medley Loren and Kathleen Mercer Helen Misner/Remax Real Estate Henry and Ardith Moran Allan and Kathleen Priddy Mark Romero and Elizabeth Cartwright Stephen Sherman Heather Shropshire Elaine and Richard Smith John and Judy Stewart Mary Vagner

Patron ($25–$99)

Mike and Cindy Mickelsen

Media Sponsors

KPVI Channel 6 KID Newsradio Idaho State Journal FM-91, KISU ISU Marketing and Communications Public Access, Channel 12 Staci Wheatley, Graphic Images Scott Elliot, Color Box *In-Kind



Season Sponsor

To all our 2017-18 Sponsors Concert Co-Sponsors

Rotary Club of Pocatello


Other Sponsors


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