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Beethoven Symphony No. 2 & Zuill Bailey, cello 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! 


November 10, 2017 Program Beethoven: Symphony No. 2 in D major Mendelssohn: The Hebrides Overture Saint-Saëns: Cello Concerto in A minor with Guest Artist Zuill Bailey, cello Massenet: Meditation from Thaïs Joseph C. and Cheryl H. Jensen Grand Concert Hall L.E. and Thelma E. Stephens Performing Arts Center

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Idaho State-Civic Symphony Idaho State University Choirs Camerata Singers A jubilant performance of Christmas music performed by

Friday & Saturday and Saturday, DecemberDecember 8 &Friday 9, 92017 and 10, 2016

Starting at 7:30 pm at 7:30 p.m. Starting JosephPerforming C. and Cheryl H. Jensen Concert Hall ISU Stephens ArtsGrand Center L.E. and Thelma E. Stephens Performing Arts Center Pre-concert 6:30 pm in the Rotunda Symphony Concert Co-Sponsors Friday: ISU Brass Ensemble Rotary Club of Pocatello Varsity Facility Services Saturday: Snake River NewIdaho Horizons Band Central Credit Union AllState Tickets ONLY available through 208.282.3595 Stephens Performing Arts Center Box Office Monday – Friday 10am – 4pm (208) 282-3595 • • 




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 Wagner – Meistersinger Prelude Bizet – L’Arlesienne Suite No. 1 Ravel – Bolero 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 Call 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 someway, please contact our League Chairman, Michelle Clinger. We are very much looking forward to seeing this piece 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

Zuill Bailey Cellist

Zuill Bailey is represented by: Colbert Artists Management, Inc. 307 Seventh Avenue, Suite 2006, New York, NY 10001 Tel: (212) 757-0782, Zuill Bailey, widely considered one of the premiere cellists in the world, is a Grammy Award winning, internationally renowned soloist, recitalist, Artistic Director and teacher. His rare combination of celebrated artistry, technical wizardry and engaging personality has secured his place as one of the most sought after and active cellists today. A consummate concerto soloist, Mr. Bailey has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Colorado, Minnesota, Utah, Israel, Cape Town, and the Bruchner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, Neeme Jarvi, Giancarlo Guerrero, James DePriest, Jun Markl, Carlos Kalmar, Andrey Boreyko, Krzysztof Urbanski, Jacques ď ´


Lacombe, Grant Llewellyn and Stanislav Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell and Janos Starker. Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’  “Rhapsody for Cello and Orchestra.” In addition, he made his New York recital debut in a sold out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Bailey also presented the U.S. premiere of the Nico Muhly Cello Concerto with the Indianapolis Symphony Orchestra. World premieres include works by composers such as Lowell Lieberman, Phillip Lasser, Roberto Sierra, Benjamin Wallfisch and Michael Daugherty. His international appearances include notable performances with the Moscow Chamber Orchestra in its 50th anniversary tour of Russia, as well as concerts in Australia, the Dominican Republic, France, Israel, Spain, South Africa, Hong Kong, Jordan, Mexico, South America and the United Kingdom. Festival appearances include Ravinia, the Interlochen Center for the Arts, Manchester Cello Festival (UK), Wimbledon (UK), Consonances-St. Nazaire ( France), Australian Festival of Chamber Music, Deia Music Festival-Mallorca (Spain), Montreal (Canada), Santa Fe, Caramoor, Chautauqua, Bravo!, Vail Valley, Maverick Concert Series, Brevard, Interlochen, Cape Cod and the Music Academy of the West. In addition, he was the featured soloist performing the Elgar Cello Concerto at the Bard Festival in the World Premiere of the Doug Varrone Dance Company performance of “Victorious.” Zuill Bailey is a renowned recording artist with over twenty titles. Mr. Bailey won a best solo performance Grammy Award in 2017 for his Live Recording of “Tales of Hemingway,” by composer Michael Daugherty. The celebrated CD, recorded with the Nashville Symphony, Giancarlo Guerrero, conductor, also won a Grammy for best composition, “Tales of Hemingway,” and Best Compendium. His celebrated “Bach Cello Suites” and recently released “Britten Cello Symphony/Sonata” CD with pianist Natasha Paremski, immediately soared to the Number One spot on the Classical Billboard Charts. Other critically acclaimed recordings include his live performances with the Indianapolis Symphony of the Bloch Schelomo, Muhly Cello Concerto (World Premiere), Brahms Sextets with the Cypress Strings Quartet, Elgar and Dvorak Cello Concertos, described by Gramophone magazine as the new “reference” recording and one that “sweeps the board.” In addition, the Dvorak Cello Concerto CD is listed in the “Penguin’s Guide,” as one of the Top 1000 Classical Recordings of all time. Zuill Bailey’s other releases include “Brahms” complete works for cello and piano with pianist Awadagin Pratt, and “Russian Masterpieces” showcasing the works of Tchaikovsky and Shostakovich performed with the San Francisco Ballet Orchestra. Mr. Bailey is featured 9

on the chart topping Quincy Jones- produced “Diversity,” with pianist/composer Emily Bear. Other releases include his innovative “Spanish Masters” CD for Zenph Studios, where he forms a unique duo blending with recordings of composer Manuel de Falla and an all American recital program with Pianist Lara Downes on the Steinway and Sons label. His discography also includes a debut recital disc for Delos, Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-Saëns Cello Concertos No. 1 and 2 “Live,” and the Korngold Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV. Zuill Bailey was named the 2014 Johns Hopkins University Distinguished Alumni and was awarded the Classical Recording Foundation Award for 2006 and 2007 for Beethoven’s complete works for Cello and Piano. The highly touted two disc set with pianist Simone Dinnerstein was released on Telarc worldwide. In celebration of his recordings and appearances, Kalmus Music Masters has released “Zuill Bailey Performance Editions,” which encompasses the core repertoire of cello literature. Network television appearances include a recurring role on the HBO series “Oz,” NBC’s “Homicide,” A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s “Morning Edition,”  “Tiny Desk Concert,”  “Performance Today,” “Saint Paul Sunday,” BBC’s “In Tune,” XM Radio’s “Live from Studio II,” Sirius Satellite Radio’s “Virtuoso Voices,” the KDFC Concert Series, KUSC, Minnesota Public Radio, WQXR’s “Cafe Concert,” WFMT and RTHK Radio Hong Kong. Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School. His primary teachers include Loran Stephenson, Stephen Kates and Joel Krosnick. Mr. Bailey performs on the “rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/Series and Cello Seminar, (Alaska), the Northwest Bach Festival (Washington), Classical Inside and Out Series-Mesa Arts Center (Arizona) and Director of the Center for Arts Entrepreneurship at the University of Texas at El Paso.



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 Joel Phillips Kathleen Pressler-Hall Roger Wheeler Orchestra Representatives George Adams Joan Collett Emeritus William Brydon Lloyd Call Jay Kunze *Ex-Officio


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


Meet the Idaho State-Civic Symphony Performers Violin

Carson Taylor

Brandon VanOrden

Hyeri Choi, Concertmaster



Brian Attebery,*** Principal

George Adams, Principal

Dr. Gregory and Andrea Ford Chair Robert Wilson, Principal Second

Rayna Valentine and

Anna Alexander*

Harold Wilkes Chair

David and Pam Maguire Chair Jan Eddington

Lyman Asay*

Eleanor Christman Cox, Asst Principal

Kathleen Campbell

Karen Bechtel

Madison Folkman

Patty Bolinger

Dorithy Frandsen

Elizabeth Cartwright*

Alyssa Gardner

Heather Clarke

Mary Green

Brianna Gibson

Shawn McLain

Michael Sterner


Tyresha Hale

Michael Helman*, Principal

Gail Higgins Sue Holbrook Micah Kenney Amanda Kent Robin Kent Rumeng Liao Ardith Moran**** Erika Murphy Orla O’Connor Marissa Orgill Brittney Oswald

Jerrel Martin

Dwight and Denise Romriell Chair

Harp Laurie Orr*, Principal

Anonymous Chair James Breker Katey Gutman Mark Holbrook

Jay and Kristine Kunze Chair

Timpani Thaddeus Ferrin, Principal Spaulding Foundation Chair

Personnel Manager Michael Helman



Susan Hughes,*** Principal Christopher Daniels Chair Hailey Dawson

Joan Collett****

Adam McCollum

Marcus Hall


Margarita Espinoza-Henscheid

Shandra Helman, Principal

Katelynn Reece

Loren and Joyce Weaver Chair

Linda Rankin

Kathryn Chojnacki

Ruth Mussler

Chris and Rod Jenneiahn Chair

Donald Colby*, Principal

Kristi Ballif, Interim Principal

Morgan Betts

Centennial Rotary Club Chair


Madeline Rogers

Sandra Kenney,*** Principal

Thomas Banyas,*** Principal

Aaron Hayes




Matt Van Leuven

Hannah Rasmussen BreAnna Ward

Dillin Diggie

Stephanie Moore Kathryn Chojnacki Properties Chris Rhoades Brandon VanOrden

Peter and Linda Groom Chair Chris Rhoades

*Denotes 10 years of service each.


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November 10, 2017 The Program Symphony No. 2 in D Major

Ludwig van Beethoven

Op. 36 (1802)


Intermission (15 minutes) The Hebrides Overture (Fingal’s Cave) Op. 26 (1832)

Felix Mendelssohn (1809-1847)

Cello Concerto No. 1 in A Minor Op. 33 (1871)

Camille Saint-Saëns (1835-1921)

with Guest Artist Zuill Bailey, cello Meditation from Thaïs

Jules Massenet



Program Notes By Geoffrey Friedley Ludwig van Beethoven (1770-1827), Symphony No. 2 in D Major, Op. 36 (1802) In his early works (1782-1802), Ludwig van Beethoven extended the Viennese Classic style that he inherited from his predecessors, especially Mozart and Haydn. In his middle-period works (1802-1816), forged in the midst of intense personal trials and especially his growing deafness, Beethoven created mature masterpieces that show an increasingly individual style, pieces that contribute significantly to the core of today’s concert repertory. In his late works (after 1816), Beethoven wrote some of his most sublime and profound music. His monumental skill as performer and composer, his personal suffering, and his ideas about music and morality in the early days of the Romantic period helped Beethoven to become the dominant musical figure of the nineteenth century. Joseph Kerman and Alan Tyson have written of the composer, “For the respect his works have commanded of musicians, and the popularity they have enjoyed among wider audiences, Ludwig van Beethoven is probably the most admired composer in the history of Western music.” Over the course of 1801 and into 1802, Beethoven began to come to terms with his growing deafness, writing to some of his closest friends to break the news. During the summer of 1802 he stayed in the village of Heiligenstadt, outside Vienna. There he completed a number of works, including the three Op. 30 violin sonatas, the Op. 33 bagatelles, and perhaps the first two of the Op. 31 piano sonatas. He also wrote a mysterious document in which he seems to take leave of his two brothers, Caspar Carl and Johann. Having ruled out suicide, he states that he is ready for death whenever it might come. The document, which was discovered among the composer’s papers after his death, has become known as the Heiligenstadt Testament. Kerman and Tyson comment that “the testament has always been recognized as a poignant witness to the despair that often overwhelmed Beethoven at this time.” In that same summer, Beethoven also finished his Second Symphony, which is full of light and energy, the composer’s troubles notwithstanding. The French Romantic composer Hector Berlioz (1803-1869) was one of the most astute and elegant music critics of his day, and Beethoven was one of his most important inspirations and influences. Berlioz likely heard Beethoven’s symphonies for the first time at the Paris Conservatory in late 1822 or early 1823. This is what he wrote about Beethoven’s Second Symphony: 


I. Adagio molto-Allegro con brio (Very slowly-Fast and with spirit) Berlioz: In this work everything is noble, energetic and stately; the introductory [adagio] being a masterpiece. The most beautiful effects succeed one another without confusion and always in an unexpected manner; the song being of a touching solemnity, which, from the very first bars, imposes respect and prepares us for emotion. Already the rhythm becomes more bold, the orchestration richer, more sonorous and varied. Linked with this admirable adagio is an allegro con brio of irresistible spirit. The grupetto [ornament] met with in the first bar of the opening theme, and which is given out by violas and violoncellos in unison, is afterwards resumed in isolated form; in order to establish either progressions in crescendo or imitations between the wind and string instruments, which are invariably of a character as new as it is full of life. In the midst of these a melody is met with, the first half of which is given out by clarinets, horns, and bassoons, but which concludes “tutti� by the rest of the orchestra; the virile energy of which is further enhanced by a happy choice of accompanying chords. II. Larghetto (Rather broadly) Berlioz: The [second movement] is not treated in the same way as that in the first symphony; it is not composed of a subject worked out in canonic imitations, but of a theme pure and simple, stated in the first instance by the strings, and afterwards embroidered with rare elegance by means of light touches, the character of which is always strictly in keeping with the sentiment of tenderness which forms the distinctive trait of the principal idea. It is the delineation of innocent happiness hardly clouded by a few accents of melancholy occurring at rare intervals. III. Scherzo: Allegro (Joke: Fast) Berlioz: The scherzo is just as frankly gay in its capricious fantasy as the [larghetto] was completely happy and calm; for everything in this symphony is genial, even the warlike sallies of the first allegro being exempt from violence, so that one can trace in them no more than the youthful ardor of a noble heart which retains intact the most beautiful illusions of life. The composer still has faith in immortal glory, in love and self-sacrifice. Hence the degree to which he abandons himself to his gaiety, and the felicity of his sallies of wit. To hear the different instruments disputing the possession of some portion of a motive, which no one of them executes entirely, but of which each fragment becomes in this way colored with a thousand different tints in passing from one to the other, one might easily indulge the fancy of being present at the fairy gambols of the graceful spirit of Oberon.


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IV. Allegro molto (Very fast) Berlioz: The finale is of the same nature; it is a second scherzo in duple measure; the playfulness of which is perhaps, to some extent, even more refined and piquant. Hector Berlioz’s description and interpretation of Beethoven’s Symphony No. 2 is excerpted from A Critical Study of Beethoven’s Nine Symphonies, translated by Edwin Evans. His essays on Beethoven originally appeared in the Parisian Revue et Gazette musicale (1837-1838). Berlioz’s commentary, like Beethoven’s music itself, calls to the artist in each of us, imploring us to open ourselves to the pathos, wit, and humanity in art of such timeless stature. Please enjoy this performance of Beethoven’s Symphony No. 2 in D Major by the Idaho State-Civic Symphony conducted by Maestra Julie Sorensen.

Felix Mendelssohn (1809-1847), The Hebrides Overture (Fingal’s Cave), Op. 26 (1832) Whether as a conductor, pianist, violinist, or composer, Felix Mendelssohn was one of the most prominent figures in German music in the 1830s and -40s. A prodigy born into a wealthy Berlin family, Mendelssohn excelled at the piano, violin, and organ. His musical education proceeded most especially with theory and composition studies under composer Carl Zelter (1758-1832). Mendelssohn’s earliest solo and chamber music performances occurred when he was nine or ten, and a few years later, he was already conducting his own orchestra. He went on to found the Leipzig Conservatory and to conduct the venerable Leipzig Gewandhaus Orchestra. Frequent travels throughout Europe and especially to England reflect his popularity and desire to connect with musicians and audiences outside Germany, though Berlin and Leipzig were home. His works include operas, symphonies and other orchestral works, piano concertos, the violin concerto, chamber music, sacred and secular choral music, keyboard music, songs, and his oratorios, St. Paul and Elijah, and of course his concert overture, The Hebrides. The Hebrides was inspired by the composer’s visit in 1829 to Scotland. In his travels, Mendelssohn frequently carried a sketchbook, and the first document associated with his trip is a pen and ink drawing, described here by R. Larry Todd: “The view, taken from Oban on the west coast of Scotland, shows, through the gnarled branches of a tree in the foreground, Dunollie Castle on a cliff in the middleground overlooking the Firth of Lorn and, in the distance, the indistinct outlines of Morven and the Isle of Mull.” The drawing is dated August 7, 1829. That same evening, Mendelssohn and his companion, Karl Klingemann, wrote a letter to Berlin from the village of Tobermory on 


Mull, in which Mendelssohn stated, “In order to make you realize how extraordinarily the Hebrides have affected me, the following came into my mind there.” The letter continues with a sketch of the opening twenty-one measures of the overture in nearly final form. Though the composition is today subtitled and often known as Fingal’s Cave, the two travelers did not visit the Isle of Staffa and the famous cave there until the next morning. Mendelssohn was apparently seasick during the visit, but Klingemann recorded impressions of Staffa’s striking volcanic formations in his journal: Staffa, with its strange basalt pillars and caverns, is in all the picture books. We were put out in boats and lifted by the hissing sea up the pillar stumps to the famous Fingal’s Cave. A greener roar of waves never rushed into a stranger cavern—its many pillars making it look like the inside of an immense organ, black and resounding, absolutely without purpose, and quite alone, the wide grey sea within and without. Over the next several years, however, as Mendelssohn worked to complete and edit various drafts of the overture, the title changed repeatedly to include all of the following: Die Hebriden (The Hebrides), Ouvertüre zur einsamen Insel (Overture to the Lonely Isle), The Isles of Fingal, Ossian in Fingalshöhle (Ossian in Fingal’s Cave), and Die Fingalshöhle (Fingals Cave). Sorting out the association with these titles is complex. According to James Porter, Ossian is . . . the legendary poet of the Celtic cycle of heroic tales surrounding Fionn mac Cumhaill (Fingal), leader of the Fenian warband, who is said to have lived in Ireland and Scotland before the Christian era. Ossian, the son of Fionn, is traditionally regarded as the author of most narratives concerning the Fenians and is imagined to have survived until the time of St. Patrick (d. 461 C.E.), when the saint had the tales written down. The name Ossian became known throughout Europe with the publication in 1760 of James Macpherson’s Fragments of Ancient Poetry . . . [and other works] . . . These books contained epic poems purportedly translated from ancient Gaelic originals. Although the poetry was partly adapted from Gaelic lays that Macpherson knew from oral tradition and from manuscripts, it was written in a style modeled on Homer, Milton, and the King James Bible. Although Hume and Samuel Johnson criticized Macpherson’s work, the Ossianic poems were widely praised in Europe and North America, and had an immense influence on the Romantic movement in literature and the arts, inspiring operas, songs, instrumental pieces, verses, and artworks. Mendelssohn’s correspondence does not mention Ossian, Fingal, or the cave in reference to the composition. The composer would nevertheless have been familiar 21

with Macpherson’s so-called translations—which Samuel Johnson had dubbed “forgeries”—as well as with the novels of Sir Walter Scott. Whether or not the composer himself associated the music with Ossian, Fingal, and the cave, it seems probable that his publisher, Breitkopf and Härtel, attached the final subtitle. Unassociated with any poem, play, or opera, The Hebrides is a concert overture in sonata form. Its themes, countermelodies, and accompanimental ideas can be labeled “monothematic.” That is, they all seem to spring from one source, the melodic idea stated by bassoons, violas, and cellos in the opening measures of the piece. The transitions from Exposition to Development and from Development to Recapitulation—where the main themes return—are marked by fanfare figures in the trumpets and horns, but those bridge sections are the most triumphant moments in the score. Though joy is not an infrequent theme in Mendelssohn’s music, the austerity of this work has led some to underscore the importance of another of the composer’s titles, Overture to the Lonely Isle. There is a quality to much of this piece that one might label solitary, and the rise and fall of the melodies can easily lead one to picture the “hissing sea” which Klingemann described in his journal. Felix Mendelssohn’s overture The Hebrides (Fingal’s Cave) remains a work rich in visual, poetic, and historic associations. Please enjoy this performance by the Idaho StateCivic Symphony led by Maestra Julie Sorensen.

Camille Saint-Saëns (1835-1921), Cello Concerto No. 1 in A Minor, Op. 33 (1871) Camille Saint-Saëns was a leading nineteenth-century French composer, pianist, organist, and musicologist. A child prodigy, he made his debut at age ten. In Paris, he served as organist of St. Merry (1853-1857) and the Cathedral of the Madeleine (18571877). After hearing him improvise, composer and piano virtuoso Franz Liszt (18101886) referred to him as “the greatest organist in the world.” In his only academic appointment, Saint-Saëns taught for four years at Paris’ Ecole Niedermeyer (18611865), a school dedicated to the improvement of church music in France. Among his students there, he met the young Gabriel Fauré, who became a life-long friend. During a period when the music of Richard Wagner (1813-1883) began to influence compositional styles throughout Europe, Saint-Saëns founded the Societé Nationale de Musique (National Society of Music), which championed music of French composers opposed to the influences of modern “Germanic music.” When in 1886 the society decided to include in its concerts music by foreign composers, Saint-Saëns resigned. A prolific writer and devoted musicologist, he edited the complete works of JeanPhilippe Rameau (1683-1764) and restored works by Jean-Baptiste Lully (1632-1687) and Marc-Antoine Charpentier (1643-1704). His compositions includes operas— especially Samson et Dalila (1877)—symphonies, symphonic poems, concertos and 


sonatas for a variety of instruments, incidental music, chamber music, songs, masses, choral works, and works for piano and organ. As a Romantic composer, Saint-Saëns’s outlook was frequently akin to that of Schubert, Mendelssohn, and Brahms, strongly routed in the eighteenth-century Viennese tradition established by Haydn and Mozart. As Sabrina Teller Ratner writes, “Like Mozart, to whom he was often compared, [Saint-Saëns] was a brilliant craftsman, versatile and prolific, who contributed to every genre of French music . . . He was one of the leaders of the French musical renaissance of the 1870s. ”In the early days of 1871, Saint-Saëns’s great aunt, first piano teacher, and “second mother,” Charlotte, died at the age of ninety-one. Reeling from the unexpectedness of her death and from the loss of a trusted counselor, the composer canceled all concerts for a month. The Sonata in C Minor and the Concerto in A Minor, both for cello, were written in the aftermath of this loss. During this period in the 1870s, Saint-Saëns was working to write music that sounded new, while simultaneously trying to recreate and maintain a French national style based on historic precedents. It should not therefore surprise us that the Cello Concerto in A Minor should evince, on the one hand, avant garde or progressive features and, on the other hand, “neoclassical” or reactionary features. Formally, the piece is progressive. Traditional large-scale structure for a concerto includes three movements, usually fast-slow-fast. The Cello Concerto in A Minor is reduced to a single movement in sonata form, but that form itself is altered. The usual sonata sequence of Exposition—Development—Recapitulation becomes here Exposition— Development—Allegretto-Minuet—Recapitulation. The Allegretto-Minuet is the strikingly reactionary feature of the work. Stephen Stubbs description of the concerto is revealing: The chief hallmark . . . of the concerto is melodic abundance. Wealth of melody combined with a lack of formal correctness . . . gives the concerto the character more of a concert fantasy, and it is no surprise that it came to be referred to . . . as a concert piece . . . The listener has the impression less of a shape than of a succession of themes and moods, a kind of musical tableau . . . The cello concerto provides an unusual case of content outweighing form. But that does not prevent it from being one of Saint-Saëns’s most appealing works. He achieves a satisfying balance between soloist and orchestra, and the haunting otherworldliness that characterizes so many of his melodies is here strongly felt . . . The allegretto, which in piano reduction came to be a favorite salon piece in its own right, is a delicate minuet on muted staccato strings that suggests the ghostly evocation of an eighteenth-century drawing room . . . If Saint-Saëns was here thinking of his beloved great-aunt and the oft-recounted days of her youth, it is a touchingly dainty tribute to her memory. 23

Tonight’s performance of Camille Saint-Saëns’s Cello Concerto No. 1 in A Minor features cellist Zuill Bailey with the Idaho State-Civic Symphony conducted by Maestra Julie Sorensen.

Jules Massenet (1842-1912), Meditation from Thaïs (1894) French composer Jules Massenet studied at the Paris Conservatory and in 1863 won the coveted Prix de Rome. Hugh MacDonald writes that, after returning to Paris from his travels in Italy, Massenet “quickly became a member of a group of gifted young composers . . . seeking to emulate the success of [Charles] Gounod and [Ambroise] Thomas: these were Saint-Saëns, Bizet, Delibes, Lalo, Fauré, Lacombe, Castillon, Duparc and others.” Massenet composed orchestral suites, songs, piano music, ballet music and dramatic scenes, based especially on Shakespearean characters. He taught composition at the Paris Conservatory for eighteen years (1878-1894), where he established a reputation as a demanding but caring teacher. He achieved his first operatic success with Le roi de Lahore (1877). After the monumental success of Manon (1884), he went on to compose another twenty operas, including Werther (1892), and to become the most prolific and successful composer of late-nineteenth- and earlytwentieth-century French opera. MacDonald concludes, Massenet’s place in the history of French music is secure, for although he is not to be bracketed with Berlioz or Debussy or even Bizet, he generously satisfied the tastes of the belle époque and retained his standing as a master of the lyric stage for well over a generation . . . In his prolonged exploration of the art of opera and in his sustained achievement he should be compared to Handel, Verdi, or Strauss. Massenet’s opera Thaïs is based on a novel by Anatole France, whose work was in turn based on a tenth-century legend of a courtesan-turned-saint. The story is set in Coptic Egypt and treats the intertwining of religious fervor and romantic passion. The ascetic—and celibate—desert monk Athanaël succeeds in converting the courtesan Thaïs to his religion, but then himself falls in love with her beauty. Rodney Milnes writes that the opera “remained in the repertory of the Palais Garnier until 1956, falling just short of 700 performances . . . but—underservedly—has never achieved the popularity of Werther or Manon.” The Meditation, which occurs between the first two scenes of the third act, accompanies Athanaël’s realization that, having delivered Thaïs from a life of sin, he has fallen in love with her and must leave her forever. It also features one of the most famous of all violin solos. That solo will be played tonight by cellist Zuill Bailey, accompanied by the members of the Idaho State-Civic Symphony, and conducted by Maestra Julie Sorensen. 


NEW YEAR’S EVE GALA 2017 hosted by

Idaho State University

College of Arts & Letters

December 31, 2017 7 p.m. L.E. and Thelma E. Stephens Performing Arts Center Pocatello, ID Proceeds benefit student scholarships. To purchase tickets visit or call (208) 282-3207.


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Honoring Ruth Dyer The Idaho State-Civic Symphony would like to extend its deepest thanks to Ruth G. Dyer, the inaugural member of the ISCS Legacy Society— and, with her family’s permission, we are pleased to acknowledge her contribution of $47,000 to a lasting legacy investment in our orchestra and a gift to future generations. Ruth G. Dyer, 90, Pocatello, passed away August 1, 2016, at a local medical facility. She was born March 25, 1926, in Pequot Lakes, Minnesota, to Frithiof Theodore and Tillie Swenson Gustavson. She attended her early schooling in Minnesota, graduating in 1944 from Cass Lake High School in Cass Lake, Minnesota. In 1944-45 she attended Northwestern Bible School in Minneapolis, Minnesota. From 1945-50 Ruth attended the University of Minnesota, graduating with a B.S. Degree in General Home Economics. In 1957 she received her teaching credentials in Home Economics. She also attended Colorado State University and the University of Idaho. Ruth’s work experience started at the University of Minnesota as a County Home Agent with the Agricultural Extension Service in Perham, Minnesota. She was also employed by Oregon State University as a County Extension Agent in Klamath Falls, Oregon, and by the University of Idaho as an Extension Home Economist in American Falls, Idaho. She also served as an Extension Home Economist for Bannock County, Pocatello. On October 1, 1982, Ruth retired after 30+ years with the Cooperative Extension Service and the rank of Professor Emeritus, University of Idaho. She also worked with 4-H Programs and Adult Home Economics Programs. Ruth married Laurence Joseph Dyer on December 24, 1959, and he preceded her in death on February 19, 1996. Ruth held membership in many Professional and Scholarly Organizations: American Association of University Women, American Home Economics Association, Idaho Association of Extension Home Economists, Epsilon Sigma Phi, National Honorary Extension Fraternity and the University of Idaho Retirees Association, Inc., as well as life memberships in many other organizations. She received many honors and awards throughout her career. She has also been published nationally. Ruth was a member of the United Methodist Church. She served in many community services. She was a member of the Idaho State-Civic Symphony. Her hobbies were sewing, camping, reading and handbell choir. Following her retirement, Ruth traveled extensively throughout the world. Ruth was preceded in death by her husband, Laurence; parents, Frithiof and Tillie Gustavson; five sisters, Doris, Edith, Luverne, Minnie, Ella; and one brother, George. 27

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)

Peter McDermott

Jim and Judy Liday

Bryan and Lorie Murray

Cammie M. Luperine

Brian and Jennifer Attebery

Musicians West, Inc.

Ken and Eleanor Medley

William and Doris Brydon

Park and Sharon Price

Loren and Kathleen Mercer

Howard and Carol Burnett

Priscilla R. Reis

Helen Misner/Remax Real Estate

Jared and Michelle Clinger/

Mark Roberts

Henry and Ardith Moran

Robert and Louise Shaw

Mel and Barbara Nicholls

Gary and Karlene Dance

Glenn and Susan Stokes

Allan and Kathleen Priddy

Warren and Sally Davis

David D. Treasure

Mark Romero and

Cynthia Hill and Michael Rowe

Scott and Janet Turner

Phillip and Edythe Joslin

Alan and Sherry VanOrden

Stephen Sherman

Fred Belzer and Terry Kaufmann

Roger and Nancy Wheeler

Heather Shropshire

Mark and Eva Nye

Gayl and Phyllis Wiegand

Elaine and Richard Smith

David and Jennifer Parry

Bob and Lyla Wolfenbarger

John and Judy Stewart

Colonial Funeral Home

Bill and Anne Schroeder Gail and Nannette Siemen Jon Treasure

Elizabeth Cartwright

Mary Vagner

Sponsor ($100–$249) Beverly Andersen

Sustaining Member ($250–$499)

Barbara Bain

Stephanie Albano

Thomas and Virginia Baxter

Ken and Margaret Barr

Roger and Donna Boe

Diane Bilyeu

Marti Burnquist

Douglas and Janet Boehm

Kathleen Campbell

Ron and Patty Bolinger

Allan and Stephanie Christelow

D. Pete and Audrey Cole

Merlyn J. Clarke

Eric and Lynnette Evans

Leland and Sonja Durney

Alan and Bonnie Frantz

Bob and Jude Flandro

Judy Grahl

Gary Ford

Karen Hartman and Zac Gershberg

Sallee Gasser

Mark Hiedeman and

Rita Haggardt

Cynthia Billmeyer

Roger Hanson

Dick and Hazel Barrutia

Patron ($25–$99) Rulon and Gail Ellis Eugene and Lauretta Isaacson Peggy and Gary Johnson Kraig and Karen McGee Mike and Cindy Mickelsen Karel and Gerald Plantz Norm and Sharon Self

Media Sponsors KPVI Channel 6 KID Newsradio Idaho State Journal FM-91, KISU

Kimball and Karen Knowlton

Creighton and Shelley Hardin

ISU Marketing and Communications

Steve and Brenda Knudson

Gail Higgins

Public Access, Channel 12

Jim and Sharon Manning

Geoff Hogander

Staci Wheatley, Graphic Images

Mike and Pat McCarthy

Hayden Holbrook

Scott Elliot, Color Box

Ronald and Joan McCune

Robin Kent




Proud to be the 2017-18 Season Sponsor


Season Sponsor

To all our 2017-18 Sponsors Concert Co-Sponsors

Rotary Club of Pocatello


Other Sponsors


Profile for Idaho State-Civic Symphony

2017-2018 ISCS with Zuill Bailey  

2017-2018 ISCS with Zuill Bailey