2017-18 Season Opener

Season Opener: Saint-Saëns Organ Symphony #3 Julie Sorensen, Conductor

2017-18 CONCERT SERIES www.thesymphony.us • 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 www.isu.edu/tickets.

With the above in mind, please sit back, relax, and enjoy the music! 

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September 22, 2017 Program Glinka. . . . . . . . . . . . . . . . . . . . . . . . . . Ruslan and Lyudmila Overture Rimsky-Korsakov. . . . . . . . . . . . . . . . . . . . . . . . . . Capriccio Espagnol Saint-Saëns. . . . . . . . . . . . . . . . Symphony #3 (Organ Symphony) 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

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POPS CONCERT

Charlie Chaplin City Lights

Friday, October 13, 2017 . 7:30pm Stephens Performing Arts Center

Tickets available through Stephens Performing Arts Center Box Office Monday – Friday 10am – 4pm • (208) 282-3595 www.isu.edu/tickets • www.thesymphony.us

Sponsored by:

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2017-18

IDAHO STATE-CIVIC SYMPHONY SEASON PROGRAM Julie Sorensen, Conductor

Friday, October 13, 2017

POPS: Charlie Chaplin – City Lights Night at the Movies

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 www.isu.edu/tickets • www.thesymphony.us 5

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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 PhD 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 ´

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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

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Principal Chair Dr. George Adams, principal bassoon Dave and Pam Maguire Chair Dr. George Adams received his Bachelor of Music degree in Bassoon Performance from the University of Southern California, a Master of Arts in Conducting from Sam Houston State University, and a D.M.A. in Bassoon Performance and Opera Conducting from the University of Texas. His performance credits include the Pasadena (CA) Symphony, Los Angeles Philharmonic, San Francisco and Houston Ballet Orchestras, Shreveport Symphony, and numerous music festivals, including the Carmel (CA) and Round Top (TX) Festivals.

He began graduate study at Sam Houston State University, majoring in conducting, and was appointed to the faculty upon graduation. In 1981, he entered the doctoral program at the University of Texas, studying bassoon with Dan Welcher and opera conducting with Dr. Walter Ducloux and Dr. Fiora Contino. In 1986, he joined the faculty of Texas A&M University and was named Associate Conductor of the Brazos Valley Symphony. After post-graduate study with Gustav Meier, he was appointed Associate Professor of Music and Director of Orchestral Studies at Northwestern State University in 1990.

In 1999, Dr. Adams was named Music Director and Conductor of the Idaho Falls Symphony, stepping down in 2010. He was a faculty member at BYU-Idaho from 2000 to 2015 and Idaho State University since 2003. Beginning in 2010, he has also taught music history, music theory, and conducting classes at ISU. Dr. Adams serves as principal bassoon of the Idaho State-Civic Symphony and is a member of City Creek Winds, the ISU faculty woodwind quintet.

Laura Alley, acting principal flute Jay and Kristine Kunze Chair Laura Alley is extremely grateful for the opportunity to be a member of the Idaho State-Civic Symphony. Music has been an essential part of Laura’s life since she was a little girl. She began studying the flute at the age of 12 and received a Bachelor of Science in Music from Dixie State University in 2015. Since receiving her bachelor’s, she has gone on to achieve a Master in Science in Speech Language Pathology. Laura has had the opportunity to play with many great ensembles, including The Celtic Women, Southwest Symphony, Shakespearian Festival, and Dixie South Symphony Orchestra. Laura had the privilege to study under Dr. Candice Behrmann and is extremely grateful for all the effort Dr. Behrmann has put into making Laura the performer she is today. Laura’s passion for music has stemmed from growing up in a home where music was always treasured and valued.

This atmosphere was created by her loving parents, and she is so thankful to them for the opportunity to love, perform, and cherish music. “I would like to thank everyone who has ever believed in me and encouraged me to be a better performer. I hope that my music can touch the lives of others and that they can experience a bit of the joy that I experience when I play.

Thank you so much for this opportunity to make great music.” 

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Brian Attebery, principal cello

Rayna Valentine and Harold Wilkes Chair Brian Attebery spent many years as Instructor in cello at Idaho State University while holding down his day job as Professor of English.

He is principal cellist in the Idaho State-Civic Symphony and has played in the Boise Philharmonic and various chamber ensembles.

As an undergraduate at The College of Idaho, studying with Virginia Cockrum, he won the Northwest regional division of the Music Teachers’ National Association collegiate competition. He continued his cello studies with Ron Feldman of the Boston Symphony Orchestra and later with Robert Hladky of the University of Oregon.

Thomas Banyas, principal trumpet Centennial Rotary Club Chair Age 63 BS Music Education – Edinboro University of Pennsylvania, 1976 Master of Arts/ Trumpet Performance – University of Akron, Ohio, 1978 Taught in the Idaho public schools from 1978–2010, Elementary/ Middle School/ High School Bands Adjunct Professor of Trumpet, ISU from 1999–to the present Idaho State-Civic Symphony Orchestra, Principal Trumpet from 1983–to the present (34 years) Enjoys: fishing, fly tying, gardening, and family; Avid Pittsburgh Steelers and Penguins fan

Dr. Hyeri Choi, concertmaster Dr. Gregory and Andrea Ford Chair

Dr. Hyeri Choi is Assistant Professor of Violin at Idaho State University, where she coordinates the string program, teaches violin, viola, and related courses, and directs the string division of the ISU Summer Institute for Piano and Strings. She holds a Doctor of Musical Arts in Violin Performance from the Eastman School of Music, Rochester, NY. Choi is a passionate orchestra, solo, and chamber musician. As an orchestral musician, she has served as Concertmaster at the Idaho State-Civic Symphony since 2016. She served as a guest concertmaster of the Williamsport Symphony Orchestra (PA) in 2016, assistant concertmaster of the Orchestra of the Southern Finger Lakes (NY) in 2012-16, and principal second violin of the Seoul Metropolitan Youth Orchestra (Korea). As a soloist, Hyeri made her New York debut at Carnegie Hall ‘s Weill Recital 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 of the Piano Trio “Dante Deo”, created by Eastman Alumni in 2013. She was invited as a full scholarship fellow of the 1st and 2nd New Mexico Chamber Music Festival in Albuquerque, and was invited to perform at the 2017 Grand Teton Music Festival Summer Season Preview Concert. Hyeri also has participated internationally with renowned artists in various summer festivals: Kirishima 9

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International Music Festival (Japan), Music Alp Festival (France), and the Music Academy of the West (USA).

Donald Colby, principal bass Anonymous Chair

Donald Colby is the Principal Bassist with the Idaho State-Civic Symphony and Adjunct Instructor of Double Bass at Idaho State University. Don began his Double Bass studies at the age of ten and has studied with Dr. Hiram Pearcy, Professor Edward Krolic at the University of Illinois and at Northwestern University with the Chicago Symphony Assistant Principal Bassist Warren Benfield.

Donald was previously the Adjunct Professor of Double Bass at the University of Texas at El Paso. His playing career includes classical and jazz, symphonies, small ensembles, and recital performances.

He has served as Principal Bassist with the Symphonia De Camera, the Lafayette Symphony, the Danville Community Symphony, The Symphony of Central Illinois, and the Champaign Urbana Symphony, as well as performing with the Indianapolis Symphony. Donald has been a jazz bassist since his army days. In addition to performing with his own trio, he has played with Dave Brubeck, Eddy Arnold, Herb Alpert, Ella Fitzgerald, Roy Clark, and Bennie Goodman. In addition to his teaching and performing activities, Donald is a former member of the Board of Directors of the ISCS Association.

Donald has more than four decades of teaching experience with the double bass and the piano. He teaches both classical and jazz methods to interested students of all levels, with emphasis on solo performance and ensemble work. Donald believes that teaching must follow tried-and-true technique and literature studies, but with an approach that is unique to the student’s individual characteristics.

Eleanor Christman Cox, assistant principal cello Eleanor Christman Cox is the Lecturer of Cello at Idaho State University where she teaches applied cello and related courses, is a member of the Monarch Trio, and plays with the Idaho State-Civic Symphony.

Ms. Cox has appeared in recital as a soloist and chamber musician throughout the United States. She has held faculty positions at Ripon College, Utah Valley University, the University of Utah Preparatory Division, and Salt Lake Community College. As an orchestral musician she has played with the Madison Symphony, Tallahassee Symphony, Choral Arts Philadelphia, the Utah Symphony, Sinfonia Salt Lake, and Ballet West.

On baroque cello, Ms. Cox has performed nationally and internationally with numerous groups, including the Madison Bach Musicians, Utopia Early Music, Jeune Orchestre Atlantique, and American Baroque Orchestra, and she gave the North American premiere of a newly discovered C.P.E. Bach cantata. As a proponent of new music, she has worked with composers Grant Harville, John Harbison, David Ludwig, and Stephen Dembski, whose Suite for Solo Cello she premiered.

Ms. Cox has long been interested in musician wellness, and in 2016 she obtained a certification in Laban/Bartenieff Movement Analysis, a practice and understanding of body movement that she applies to her cello playing and instruction. She holds a Bachelor of Music degree from Indiana University, where she was given the Jacobs School of Music Dean’s award, and a Doctor 

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of Musical Arts degree from the University of Wisconsin. Her primary teachers include Irene Sharp, Helga Winold, Emilio Colón, and Uri Vardi.

Thaddeus M. Ferrin, principal percussion College of Arts and Letters Chair Thaddeus M. Ferrin is a percussionist, music educator, and marching percussion composer/arranger living in Pocatello, Idaho. He has spent a significant time in Sweden performing with the Swedish Home Guard Military Band and Borås Symphony Orchestra.

While in Sweden, he worked with the Gothenburg-based GOT Motion indoor drumline as an instructor, and contributed musical arrangements that led them to win the Indoor Percussion Europe Championships in 2009 and 2014.

Since returning to Idaho, Thaddeus has composed and arranged music for local marching band programs. He served as the musical and visual director of the Portneuf Valley Drumline from 2010-2013, has been a recurring clinician for the ISU Summer Marching Band Camp since its inception in 2010, and frequents the Pocatello music scene as a jazz drummer.

Having earned his Bachelor of Music Education from ISU, Thaddeus is currently the Band Director at Hawthorne Middle School, as well as the Assistant Marching Band Director at Century High School where he works to foster creativity and a passion for music in Pocatello music students.

Nicole Hasenpflug, principal tuba Paul and Katie Link Chair An Iowa native, Nicole Hasenpflug holds degrees in music education and vocal performance from the University of South Dakota. When she is not teaching or making music, Nicole enjoys reading, cooking, and hanging out with her husband, Thom, and their bunny, Allen.

Dr. Thom Hasenpflug, principal timpani Spaulding Foundation Chair Dr. Thom Hasenpflug is nationally recognized as a unique performer and educational voice, while his compositions for percussion receive international recognition and are played all over the world.

He has presented performances, clinics, residencies, and master classes at many universities, schools, festivals, and society functions.

A prize-winning composer, he has been commissioned by some of the field’s leading percussionists. His percussion quartet, Bicksa, remains one of the most widely-programmed collegiate percussion works of the past 25 years. International performances of his works have occurred in Vienna, London, Barcelona, Hong Kong, Taiwan, Dublin, Rio de Janiero, Venezuela, and Sweden, by various percussionists of note.

As a Principal member of our Idaho State-Civic Symphony, he recently premiered his original concerto for percussion entitled “Four Mischiefs”. He has furthermore performed as a member of numerous organizations, including as principal in the 11

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South Dakota Symphony, and in symphonic and freelance capacities with artists as diverse as Peter Cetera, the Moody Blues, Blood Sweat and Tears, and many others.

He received his degrees in percussion and composition from Ithaca College and the University of Colorado. He has held prior teaching posts at Drake University, the University of South Dakota, Emporia State University, and the Tennessee Governor’s School for the Arts.

Thom Hasenpflug has percussion works published through K.P.P. (a division of Malletech – MPI), Alfred Music, Bachovich Music, and C. Alan Publications, as well as his own label, “Hasenworks.”

He is a product endorser of Remo Drumheads and Sabian Cymbals.

Michael Helman, principal horn Chris and Rod Jenneiahn Chair Michael Helman has been principal horn with the ISCS since 2008 and personnel manager since 2010. He is the director of bands at Franklin Middle School and an instructor of music at Idaho State University. Michael is an active clinician, adjudicator and performer throughout Southeast Idaho and works with all levels of musicians.

He is also the principal horn with the City Creek Wind Quintet and Portneuf Brass Quintet and has been featured as a guest artist with the ISU Wind Ensemble twice, ISCS Youth Orchestra, and Century High School Band.

Michael attended the University of Iowa from 2002-2004, where he earned a Master of Arts degree in horn performance. During his time in Iowa City, he studied with Jeff Agrell and worked as the teaching assistant to the horn studio. In addition to performing extensively with both the orchestra and band programs, he was active within the Center for New Music and Evan Mazunick’s “soundpainting” ensemble throughout his tenure. He holds a Bachelor of Music in Music Education degree from Columbus State University (Columbus, GA), where he studied horn with Dr. Kristen Hansen Michael’s other professional experience includes performances with the American Wind Symphony (2003), St. Louis Chamber Winds, North Carolina Symphony, North Carolina Opera Company, and the Brevard Music Festival (2000/2001). He has had additional studies and/or master class appearances with Jack Masarie, Dr. John Ericson, Allen Spanjer, Gregory Hustis, Gregory Miller, Andrew McAfee, and Jean Rife.

Dr. Shandra Helman, principal clarinet Peter and Linda Groom Chair Dr. Shandra Helman is Associate Professor of Clarinet & Saxophone and Woodwind Area Coordinator at Idaho State University. She is also tenured as the 3rd/Bass Clarinet of the Boise Philharmonic and the Principal Clarinet of the Idaho State-Civic Symphony, and was selected as a finalist in the 2012 Orchestral Audition Competition for the International Clarinet Association Conference. Her extensive orchestral experience includes performances on clarinet and bass clarinet with the Utah Opera, Madison Symphony Orchestra, Madison Opera and Ballet companies, Wisconsin Chamber Orchestra, Green Bay Symphony Orchestra, Cedar Rapids Symphony Orchestra, and the American Wind Symphony Orchestra. Shandra was also invited to participate as a feature recital artist at ClarinetFest® 2013 in Assisi, Italy. 

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Shandra has taught applied clarinet and saxophone and served as the Woodwind Area Coordinator at ISU since August 2008. She is a founding member of the ISU faculty woodwind quintet, City Creek Winds (established August 2010), and metaFOUR (established August 2013), a saxophone quartet featuring university and community professionals. Both ensembles enjoy a great amount of outreach and recital performance opportunities throughout the Mountain West region. Additionally, Shandra is a founding member of the Faculty Chamber Music Recital Series at ISU, which began in January 2015.

Her primary instructors include Linda Bartley (DMA, University of Wisconsin-Madison), Maurita Murphy Mead (MA, University of Iowa), Fan Lei (BM, Lawrence University), and Melvin Warner (private study, Northern Illinois University). Shandra has also participated in additional studies with Kalmen Opperman and Kenneth Grant, and master classes with Steve Hanusofski, Lee Livengood, Elsa Ludewig-Verdehr, Richard Stoltzman, and Patrick O’Keefe.

Sarah Houghton, principal trombone Sarah Houghton has played with professional organizations in the Mountain West for the past fifteen years. In addition to her membership in the Idaho State-Civic Symphony, she also performs regularly with the American Festival Chorus and Orchestra and the Northern Utah Symphony. Prior to relocating to Pocatello in 2014, she played with the Larry Smith Jazz Kicks Band, the Utah Festival Opera, and Musicians West musical theater in Logan, UT. She has taught private trombone lessons for many years, both in Logan and Pocatello. In 2010 and 2011, she ran a week-long trombone summer camp for high school students.

Sarah has given trombone clinics at many high schools and middle schools in Utah. For several years, she was a judge for honor band auditions, as well as for the Young Artist’s Cup solo competition in Hyrum, UT. Sarah holds a Bachelor of Music in Music Education degree from Utah State University where she studied trombone under Dr. Todd Fallis. She has had additional studies and/or masterclass appearances with Joseph Alessi, Mark Lawrence, Ralph Sauer, Jonathan Whitaker, Peter Ellefson, Henry Henniger, David Vining, Ronald Barron, and Larry Zalkind. In 2002, Sarah was selected from among all the collegiate trombonists in Utah to be the principal trombonist in the Collegiate Orchestra for the closing ceremony of the 2002 Winter Olympics.

Her favorite musical pastime is arranging and transcribing music for trombone quartet and trombone choir. Some of her arrangements have been performed by the Utah State University trombone ensemble.

Susan Hughes, principal oboe Christopher Daniels Chair Susan Hughes has held the principal oboe chair with the Idaho State-Civic Symphony since 1990; is a founding member of City Creek Winds, the ISU faculty woodwind quintet; and has been a featured soloist with the Idaho State-Civic Symphony Youth Orchestra, the Idaho State University Wind Ensemble, and the Idaho State-Civic Symphony, as well as a collaborative artist with Idaho State University Choirs. Her additional performing experiences include performances with The Sun Valley Symphony, the Snake River Chamber Orchestra, and the Teton Chamber Orchestra.

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Susan has also performed with the Idaho Falls Symphony Orchestra and chamber orchestras, supporting popular artists including Chris Botti and Kurt Bestor.

Susan has participated in master classes taught by Carolyn Hove, Robert Stephenson, Martin Schuring, and John Mack. She has studied Body Mapping with Barbara Conable and Dr. Stephen Caplan, as well as participating in an Alexander Technique workshop with Dr. Laura Medisky.

Susan is currently instructor of oboe at Idaho State University and maintains a presence in the state of Idaho as a studio teacher and clinician. Her private studio students have been successful in state and regional festivals, honor groups, and competitions.

Sandra L. Kenney, principal violist Dwight and Denise Romriell Chair Sandra L. Kenney serves as our principal violist for the Idaho StateCivic Symphony. She started playing violin in 1970 and played with the Helena Symphony from 1973–1978. Sandra attended Montana State University majoring in music education with an emphasis on violin. During her time in Bozeman, she served on the board for the Bozeman Civic Symphony, worked as the orchestra librarian, and sat principal 2nd violin. Sandra married Phil Kenney in 1985 and relocated to Pocatello where she assumed the duties of principal 2nd violin with the Idaho State-Civic Symphony for the next five years. During this time she also played viola with the Idaho Falls Symphony and was the principal violist for the Snake River Chamber Orchestra based in Idaho Falls. She played viola for seven years with the Birchwood String Quartet performing numerous weddings and special events from Sun Valley to Jackson Hole Wyoming.

Sandra has been principal violist with the Idaho State-Civic Symphony since 2007. She has been recognized six different times as a Simplot Inspirational Teacher Finalist, was recognized by the Pocatello Music Club for her contributions to music in the community, and received the Woman of Achievement Award from Zonta International in recognition for her service to education.

“Mrs. Kenney “ to her students, has taught third through twelfth grades and has been a passionate force building the strings program in the Pocatello / Chubbuck school district.

She now teaches middle school orchestras at Alameda, Franklin, Hawthorne and Irving Middle Schools.

Laura Larson, principal piano Gate City Rotary Club Chair Pianist Laura Larson has been an active performer and teacher for 30 years. She holds a B.S. in piano performance, a B.M. in choral music (magna cum laude), and an M.A. in Music (magna cum laude). Before moving to Pocatello, she taught in the music department at Weber State University, and for high school and middle school choirs. Laura currently has a large piano studio in Pocatello where her students consistently receive high ratings in festivals and competitions. 

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Laura has accompanied hundreds of soloists and ensembles. Highlights include recital performances with Cai Zeping, Ingo Titze and Daniel McCabe, and working with conductor Craig Jessop, former director of the Mormon Tabernacle Choir. She has a diverse background in instrumental music as well, having played percussion and woodwinds in many types of ensembles.

Laura also enjoys World Music, playing the organ, cowboy songs, and collecting and learning to play instruments from all over the world. She spends her free time reading, cooking, traveling, and hiking slot canyons with her husband and three kids.

Laurie Orr, principal harp Loren and Joyce Weaver Chair Laurie Orr grew up in the Chicago suburbs and first encountered the harp at age five. It was love at first sight. She began playing on a small, student harp when she was nine years old.

When she was twelve, she graduated to the pedal harp and began playing with area youth orchestras and doing free-lance work. She was the principal harpist in the Chicago Youth Symphony Orchestra during her last two years of high school.

At the University of Illinois, she studied with master teacher Alice Keene. She graduated from Idaho State University in elementary education and began teaching in School District 25, incorporating music into her second grade classroom. Since moving to Idaho, Laurie has played with orchestras in Idaho and Montana and enjoys playing in ensembles. She currently lives in Salmon, Idaho, with her husband and three children and commutes to Pocatello to play with the Idaho State-Civic Symphony.

Robert Wilson, principal second violin Robert Wilson is a violinist, teacher and composer. His accolades include four commissions for the ISU Women’s Choir; the publishing of his suite for solo violin, “Songs about Love”, in the Idaho State University creative journal Black Rock and Sage; the premiere of his short piece for string quartet, “Sylvanus”, in Ann Arbor, Michigan; and the featuring of his Tarantella for string quartet alongside the Idaho premiere of Amerigo by Stephanie Ann Boyd, a piece which he and one violinist from each state in the country helped to commission.

Robert is also passionate about music education, and has been a driving force in bringing musical experiences to rural and underserved communities across Idaho. While running the Caribou Highland Strings (an after school group designed to bring quality strings education to children regardless of economic circumstance), Robert was able to get his program approved for a recurring federal grant for the arts in rural areas. While teaching there, he also helped his students compose own music and featured their works in public concerts throughout the school year.

Robert has received recognition for his violin performances and was featured on Bengal Radio in a live recording of Paganini’s variations on Nel Cor Piu Non Mi Sento. He and his string quartet, Quartet Consensio, received second place in a contest judged by the Dover String Quartet who said he was “impressively virtuosic”. Robert recently completed his bachelor’s degree in violin performance from Idaho State University.

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This Evening’s Concert Co-Sponsors

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September 22, 2017 The Program Star Spangled Banner

Francis Scott Key, lyrics John Stafford Smith, music

Overture to Ruslan and Lyudmila, Op. 5 (1842) Mikhail Ivanovich Glinka (1804-1857) Capriccio espagnol, Op. 34

Nikolai Rimsky-Korsakov

(1844-1908)

Intermission (15 minutes) Symphony No. 3 in C Minor, Organ, Op. 78 (1886)

Camille Saint-SaĂŤns

(1835-1921)

featured organist, David Parry

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ď ľ

Program Notes

By Geoffrey Friedley Mikhail Ivanovich Glinka (1804-1857) Overture to Ruslan and Lyudmila, Op. 5 (1842) Mikhail Glinka was the first Russian composer to write with a voice so distinctive and fresh that others called his sound “Russian,” though he himself never sought to create a national style. Through travel and study in Italy and throughout Western Europe, he internalized the sound and procedures of early Romantic Italian and French opera.

Through composition studies in Berlin, he achieved a fluency in counterpoint and motivic work unmatched by many of his contemporaries. His operas A Life for the Tsar (1836) and Ruslan and Lyudmila along with his orchestral fantasia Kamarinskaya (1848) provided inspiration for successive generations of Russian composers – including Tchaikovsky, Balakirev, Rimsky-Korsakov, Cui, Musorgsky, and Borodin, among others – who saw in these pieces the roots of later nineteenth-century Russian orchestral and operatic music.

Glinka’s opera Ruslan and Lyudmila was written over a period (1837-1842) when Glinka was serving as director of the Imperial Chapel Choir. The story is based on a narrative poem by Aleksandr Pushkin (1799-1837). In the poem, Lyudmila, daughter of the Prince of Kiev, is abducted by a wicked dwarf. Ruslan, her betrothed, sets off to rescue her, and en route to a happy ending, the Romantic mock epic spares no opportunity for the magical and fantastic.

Shortly after Glinka began considering an oratorio on the subject, Pushkin was killed in a duel, dashing the composer’s hopes for collaboration. Glinka nevertheless began writing the music, even before he had a libretto in hand. That libretto was provided in dribs and drabs by several different individuals over the coming years, as the oratorio turned into a full-blown opera. The premiere performance in St. Petersburg was not well received. The plot of the opera advanced slowly, and to boot, one of the principal singers fell ill and had to be replaced. At the final curtain, the composer recalls in his memoir, “I turned to General Dubelt … and asked, ‘They [the audience] seem to be hissing; shall I take a bow?’ ‘Go on,’ replied the General: ‘Christ suffered more than you!’”

Subsequent performances of Ruslan and Lyudmila went better, so much so that one critic wrote, “After being a complete flop it is now a complete and raging success.

Glinka got endless applause. Now he must be happy.” Despite this turn of events, the opera remained in the repertory of the Imperial Theater only until 1848. It is rarely, if ever, performed today. 

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The overture to Ruslan and Lyudmila, by comparison, has become a concert piece familiar to orchestras and audiences alike. It shows Glinka at his best, reflecting the sound and style of Donizetti and Bellini. Many Italian opera overtures from the lateeighteenth and early-nineteenth centuries are cast in sonata form, with Exposition, brief Development, and Recapitulation sections that present, develop, and reprise two or more main themes in closely-related keys. Glinka’s Overture to Ruslan and Lyudmila is no exception. The Exposition’s extroverted first theme is bouncy and boisterous, with rapid scalar passages and opportunities for various instrumental solo cameos. The lilting, lyrical second theme is stated with quiet confidence by the bassoons, violas, and cellos. After a brief Development section which reworks motives from both themes, the Recapitulation comes blazing back, restating both themes. The overture concludes with a rousing Coda reminiscent of its opening.

While Glinka’s music here is formally reminiscent of Mozart, his harmony is straight out of the 1830s, with chromaticism reminiscent of Rossini, Donizetti, Bellini, and Liszt.

Just as this overture must have provided significant energy to the opening (French: ouverture) of the curtain for Glinka’s most Russian opera, so it provides excitement and anticipation to this opening concert by the Idaho State-Civic Symphony, conducted

by Julie Sorensen.

Nikolai Rimsky-Korsakov (1844-1908) Capriccio espagnol, Op. 34 (1887) Russian composer Nikolay Rimsky-Korsakov was born in the provincial city of Tikhvin, about 120 miles east of St. Petersburg. He was guided by his family toward a career in the navy. He studied at the Naval College in St. Petersburg and eventually completed a three-year tour of duty, during which he visited, among other places, London, Rio de Janeiro, and Niagara Falls. In 1861, he began informal studies with Mily Balakirev (ca. 1836-1910), who would remain one of his most important influences. Through Balakirev, the aspiring composer made the acquaintance of César Cui, Modest Musorgsky, and eventually Aleksandr Borodin. The critic Viktor Stasov referred to Balakirev and his studio as the moguchaya kuchka or “Mighty Handful,” later known simply as “The Five” native Russian composers. Balakirev and his disciples emulated the music of Mikhail Glinka (1804-1857) and strove to create a distinctly Russian school of music, often using Russian folk melodies as the basis for their compositions.

Rimsky-Korsakov is perhaps the best-known member of this group, though in the 1880s and afterward, his work departed significantly from the narrow ideals of his teacher.

Rimsky-Korsakov’s mature style is a blend of influences from The Five, from his own self-guided studies in composition, and from the works of Glinka, Franz Liszt, and Richard Wagner. He is perhaps the most important composer of Russian opera, 19

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though his fifteen operas are little known outside his native land. Many of them are still performed regularly in Russia, especially The Maid of Pskov (1871) and The Snow Maiden (1881). A brilliant orchestrator, Rimsky-Korsakov is best remembered today for his programmatic orchestral works, though he also wrote symphonies, chamber music, choruses, and songs, in addition to his operas. His three best-known orchestral works were written in the late 1880s, before his exposure to Wagner, and include the Capriccio espagnol (1887), the Russian Easter Overture (1888), and Scheherazade (1888).

In his memoir, My Musical Life, Rimsky-Korsakov writes that the Capriccio espagnol sprang in Summer 1887 “from the sketches of my projected violin fantasy on Spanish themes. According to my plans the Capriccio was to glitter with dazzling orchestra color.” His description of the first orchestral read-through underscores the fact that, since its earliest moments, the Capriccio espagnol has been beloved not just of audiences but also of orchestral players: “At the first rehearsal, the first movement … had hardly been finished when the whole orchestra began to applaud. Similar applause followed all the other parts … I asked the orchestra for the privilege of dedicating the composition to them. General delight was the answer.”

The premiere performance at one of the Fall 1887 Russian Symphony Concerts was equally successful and inspired an immediate encore. Rimsky-Korsakov was known for his skill in combining orchestral sounds, and his Principles of Orchestration would be published after his death (St. Petersburg, 1913). In his memoire, however, he bristles at the idea that the Capriccio is “magnificently orchestrated,” arguing instead that the work is “a brilliant composition for the orchestra. The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration.”

The Capriccio espagnol depicts several Spanish “scenes” and is a good example of exoticism in music, incorporating rhythms common in Spanish folk dances. The word capriccio implies spontaneity and unpredictability. The term has been used by composers since the early seventeenth century to connote music in contrasting sections often with a significant degree of rhythmic freedom, reflected in RimskyKorsakov’s work by the presence of numerous rhythmically free cadenzas for solo instruments. The word “brilliant” is also easily applied to the Capriccio espagnol. The work features solos for a number of essentially treble (high-pitched) instruments, including solo violin, piccolo, flute, oboe, clarinet, trumpet, and harp, though RimskyKorsakov keeps every member and section of the orchestra busy. The piece proceeds in five sections, usually connected without pause, as follows: Alborada (Dawn): Rapid melodies and rhythms for the violins and woodwinds variously call to mind the symphony of birds heard at sunrise or the cacophony 

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of an early-morning village marketplace. This opening fairly bubbles with joy and excitement.

Variazioni (Variations): The second section features a slower theme, alternating between major and minor mode, stated first in the horns, then in turn embellished, first by cellos, then by English horn. The theme is eventually gloriously stated and restated by the entire orchestra, culminating in a series of ascending and descending chromatic scales in the flute, which lead to a reprise of the first section, Alborada.

Alborada: While this section is very similar to the initial one, the return is not an exact repeat. For example, whereas solo violin grabs the spotlight toward the end of the first section, solo clarinet is featured toward the conclusion of the third section.

Scena e canto gitano (“Scene and Song in a Gypsy Style”): The fourth section features a series of cadenzas for solo sections or instruments, rhythmically freer statements of a new theme, alternating with more metered statements of that same theme by a larger subset of the orchestra. It begins with a fanfare introduced by trumpets and horns. The fanfare melody is picked up by solo violin, then stated by the flutes and clarinets with percussion and string accompaniment. Subsequent solo cadenzas, reminiscent perhaps of Flamenco style, feature clarinet and harp, before the rest of the orchestra once again asserts itself with this spicy tune. Though RimskyKorsakov did not include guitars in his orchestra, guitar figurations occur frequently in his score. This movement grows into the final fandango.

Fandango asturiano (“Asturian Fandango”): Asturias is a region in northwestern Spain, and a fandango is a lively couple’s dance in triple meter. The dance is typically so contagious and extroverted that the word fandango has also been used in Spanish to connote a rowdy party or gathering. In his fandango, Rimsky-Korsakov states several new dance tunes, then reintroduces the gitano or gypsy theme from the previous section, finally returning to the joyous strains of the opening Alborada.

As this piece rushes to its breathless conclusion, one seems to hear themes from previous sections all on top of one another in rapid succession.

Nikolai Rimsky-Korsakov considered the Capriccio espagnol one of his most successful works … who are we to disagree? Please enjoy this performance by conductor Julie Sorensen and the Idaho State-Civic Symphony.

Camille Saint-Saëns (1835-1921) Symphony No. 3 in C Minor, Organ, Op. 78 (1886) Camille Saint-Saëns (the final [s] in his name is pronounced] 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 (1857-1877). After hearing him 21

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improvise, Romantic icon Franz Liszt (1810-1886) 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 (1861-1865), 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 devoted himself to the tradition of distinctively French music, which he saw as having been established by the seventeenth- and eighteenth-century French clavecinists, including Jean-Henri d’Anglebert (1629-1691), Louis (1626-1661) and François Couperin (1668-1733), and Jean-Philippe Rameau (1683-1764). He 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 musicologist, he edited the complete works of Rameau and restored works by Jean-Baptiste Lully (1632-1687) and Marc-Antoine Charpentier (1643-1704). His long list of compositions includes operas – especially Samson et Dalila (1877) – symphonies, 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 rooted in the eighteenth-century Viennese tradition established by Haydn and Mozart. As Sabrina Teller Ratner writes, “Like Mozart, to whom he was often compared, [SaintSaëns] 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 1885 the London Philharmonic Society commissioned Saint-Saëns to compose a symphony for its coming season. The composer responded with his Symphony No. 3 in C Minor. Cast ostensibly in two movements, each movement in fact comprises a pair of movements, so that the symphony’s actual structure includes the usual four movements. In this work, Saint-Saëns employs thematic transformation, a technique used by Haydn, Beethoven, and Berlioz, among others. A melodic idea stated at the beginning of the work is varied and transformed in later passages, thereby providing a sense of unity that connects contrasting and disparate movements. For the first performances of the symphony, Saint-Saëns himself provided notes, excerpts from which are included below.

I. Adagio (Slow) – Allegro moderato (Moderately fast): The symphony begins with a slow introduction, common as well in Haydn’s and Beethoven’s symphonies, a beginning that provides melodic, intervallic, and harmonic material that will be transformed throughout the work. The slow introduction gives way to a faster 

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section in sonata form, with Exposition, brief Development, and Recapitulation.

Saint-Saëns writes, The initial theme, sombre and agitated in character, is stated by the strings, in C minor … A first transformation of this theme [in A-flat major] … leads to a second subject [in D-flat major] … marked by a greater tranquillity … Various episodes bring with them an increasing calm, and so lead to the …

Poco Adagio (A little more slowly): Saint-Saëns continues, Adagio in D-flat major; the theme of which, extremely quiet and contemplative, is stated by the violins, violas, and celli, sustained by the chords of the organ. This subject is next taken up by a clarinet, horn, and trombone, accompanied by the strings divided into a great many parts … The first movement ends with a Coda, mystical in sentiment.

II. Allegro moderato: Saint-Saëns continues, The second movement opens with an energetic figure … immediately followed by a third transformation of the initial theme of the first movement … more agitated than its predecessors, and limited to a fantastic character which frankly declares itself in the Presto … where appear from time to time, transient as lightning, the arpeggios and rapid scale passages of the pianoforte, accompanied by a syncopated rhythm in the orchestra, and occurring each time in a different key … These playful flashes are interrupted by an expressive phrase … To the repetition of the Allegro moderato succeeds a second Presto, which makes as though to repeat the first, but scarcely has it begun before there appears a new figure, calm, grave, austere … and quite the opposite of fantastic in character. A conflict ensues, ending with the defeat of the agitated and fantastic element. The new idea soars aloft, as in the blue of a clear sky, to the heights of the orchestra, and after a vague reminiscence of the initial theme of the first movement …

Maestoso (Majestic) A maestoso (C major) announces the ultimate triumph of the idea calm and elevated.

The initial theme of the first movement, now completely transformed, is next stated by the strings (divided) and pianoforte (four hands) … and taken up by the organ with all the forces of the orchestra … A brilliant Coda … finishes the work.

Saint-Saëns dedicated the Symphony No. 3 “to the memory of Franz Liszt,” his friend, who provided constant support inspiration, and who had died earlier in 1886. The massive scale of the symphony is uncommon in the composer’s larger body of work.

The presence of the piano and organ in the work may serve as reminders of SaintSaëns’s lifelong keyboard occupations. Likewise, he was well aquainted with the new organ in London’s Royal Albert Hall and sought perhaps to honor his commissioners by its use. Upon hearing the first performance of the work in Paris, French composer and colleague Charles Gounod (1818-1893) pronounced Saint-Saëns “the 23

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French Beethoven.” Upon completion of the work, the composer himself wrote, “I have given all that I had to give. What I have done I shall never do again.”

The Symphony No. 3 by Camille Saint-Saëns remains a staple of the symphonic repertory. Please enjoy this performance by the Idaho State-Civic Symphony conducted by Maestra Julie Sorensen.

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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 symphony@isu.edu.

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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!

www.thesymphony.us

Support Your Local Symphony

Sponsorship & Contribution Levels We are sincerely grateful for the generous support that comes from our many caring benefactors: • sponsors • donors • audience members • volunteers • We have many different levels of sponsorships and contributions for individuals, couples, and businesses.

Please consider making a tax-deductible contribution to The Symphony today!

Three Easy Ways to Give

By Phone:

(208) 234-1587

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Online:

via PayPal at www.thesymphony.us

Via Mail:

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

Meet the Idaho State-Civic Symphony Performers Violin Hyeri Choi, Concertmaster Dr. Gregory and Andrea Ford Chair Robert Wilson, Principal Second Anna Alexander* Lyman Asay* Kathleen Campbell Madison Folkman Dorithy Frandsen Alyssa Gardner Mary Green*** Gail Higgins*** Sue Holbrook Micah Kenney Rumeng Liao Ardith Moran**** Erika Murphy Orla O’Connor Marissa Orgill Hannah Rasmussen Madeline Rogers BreAnna Ward Denette Wolfe* Viola Sandra Kenney,*** Principal Dwight and Denise Romriell Chair Morgan Betts Kathryn Chojnacki Joan Collett**** Margarita Espinoza-Henscheid Marcus Hall Katelynn Reece Carson Taylor Debby Thiemann* Cello Brian Attebery,*** Principal Rayna Valentine and Harold Wilkes Chair Eleanor Christman Cox, Asst Principal Karen Bechtel Patty Bolinger* Elizabeth Cartwright*

Heather Clarke Brianna Gibson Tyresha Hale Jerrel Martin Michael Sterner Matt Van Leuven Bass Donald Colby*, Principal Anonymous Chair Katey Gutman Mark Holbrook Flute Laura Alley, Interim Principal Jay and Kristine Kunze Chair Linda Rankin Hughie Gale, piccolo Oboe Susan Hughes,*** Principal Christopher Daniels Chair Hailey Dawson J. Adam McCollum Clarinet Shandra Helman*, Principal Peter and Linda Groom Chair Brandon VanOrden Erin Armstrong, bass clarinet Bassoon George Adams, Principal David and Pam Maguire Chair Jan Eddington** Dillin Diggie, contrabassoon Trumpet Thomas Banyas,*** Principal Centennial Rotary Club Chair Shawn McLain Michael Whiteley Horn Michael Helman*, Principal Chris and Rod Jenneiahn Chair Aaron Hayes Kyle Peck

Elizabeth Dyer Trombone Sarah Houghton, Principal Jon Treasure William Phoenix, bass trombone Tuba Nicole Hasenpflug, Principal Paul and Katie Link Chair Piano Laura Larson, Principal Gate City Rotary Club Chair Adam Merrill Organ David Parry 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 Pamela J.S. Hutchinson* Jacob Knievel Brian McKibben Kylle Strunk

Personnel Manager Michael Helman Librarians Stephanie Moore Kathryn Chojnacki Properties Chris Rhoades Brandon VanOrden *Denotes 10 years of service each.

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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

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 Rotary Club of Pocatello. . . . Classical Concert Co-Sponsor Vogts. . . . . . . . . . . . . . . . . . . . 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 Bank of Idaho. . . . . . . . . . . . Classical Concert Co-Sponsor Citizens Community Bank . . Classical Concert Co-Sponsor D.L. Evans Bank. . . . . . . . . . . Classical Concert Co-Sponsor 

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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 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 Gary and Karlene Dance Warren and Sally Davis Phillip and Edythe Joslin Fred Belzer and Terry Kaufmann Mark and Eva Nye Gail and Nannette Siemen

Sustaining Member ($250–$499) Stephanie Albano Diane Bilyeu 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 Mark Roberts Robert and Louise Shaw Glenn and Susan Stokes Scott and Janet Turner Roger and Nancy Wheeler Gayl and Phyllis Wiegand Bob and Lyla Wolfenbarger

Sponsor ($100–$249) Barbara Bain Thomas and Virginia Baxter Roger and Donna Boe Kathleen Campbell Allan and Stephanie Christelow Bob and Jude Flandro Gary Ford Sallee Gasser Rita Haggardt 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 Henry and Ardith Moran David and Jennifer Parry Allan and Kathleen Priddy Mark Romero and Elizabeth Cartwright Stephen Sherman Heather Shropshire Elaine and Richard Smith Jon Treasure 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

Thank You Dr. Patrick Brooks The ISCS Association, friends, musicians, and the community would like to honor and express our heartfelt thanks to Dr. Patrick Brooks who has been part of the Symphony for over a decade. He served as Principal Trombone and as one of our Interim Conductors after the retirement of Dr. Thom Ritter George.

Patrick Brooks is in his twenty-first year as Director of Bands and Professor of Music at Idaho State University.

In this capacity, he conducts the Symphonic Band, Wind Ensemble, Jazz Band I, and guides all other aspects of the ISU Band Program. Dr. Brooks also teaches conducting, trombone, and coaches various small ensembles. Active as a trombonist, for eighteen years he performed as a member of the Sun Valley Summer Symphony where he played alongside members of many of the nation’s major symphony orchestras. He has also performed with the Grand Teton Music Festival Orchestra, the Wichita Symphony Orchestra, and the Portneuf Brass.

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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

ANNOUNCING 2017-2018 ISCS YOUTH ORCHESTRA SEASON

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:

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All together better

H E A LT H PA R T N E R S

THANK YOU

Season Sponsor

To all our 2017-18 Sponsors Concert Co-Sponsors

Rotary Club of Pocatello

®

Other Sponsors

Grants