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Cornell University Orchestra Newsletter

Fall 2012

WHOLE NOTE

Welcome! The Cornell Orchestras have had an eventful and enjoyable Fall semester. They kicked off the year with a fun outdoor picnic on the Arts Quad while the weather was still warm. CCO put on a performance a mere four weeks into the academic year in the new wing of the Johnson Museum featuring Associate Professor Ariana Kim. In case you missed this, you will have another opportunity to hear this dazzling program, along with an original piece by Rebecca Lomnicky ‘14, at their upcoming concert in Barnes Hall. In October, CCO also played Haydn’s last major mass, 3 Harmoniemesse, in a celebration of music professor James Webster’s 70th birthday. The long rehearsals translated into a breathtaking performance of the CCO, Glee Club, Chorus, and guest soloists in Sage Chapel. Cornell Symphony Orchestra had an exciting first concert. They played Hovhaness’ Symphony No. 2, Mysterious Mountain and Britten’s Piano Concerto with soloist Andrew Zhou. Following the4 incredible concert was a warmly hosted reception in which members of CCO and CSO mingled over pizza and baked treats. This performance was streamed live thanks to the generosity of an anonymous donor. Stay tuned for more opportunities to listen to live performances! Their upcoming performance on November 15 will certainly impress--Shostakovich’s Symphony No. 5 and the world premiere of Peiying Yuan’s Bi-Focal. Don’t miss it! In this issue of Whole Note, we are pleased to hear about the positive experiences of two of our new freshmen members, David Vakili and Marion Quien, and to read the insightful reflections of senior Olivia Lee and grad student Kit Stone, long-time members of CSO. As violists, the editors are very proud to feature a heartfelt tribute to the mesmerizing middle-range instrument by Eva Golos. Finally, Jacob Cohen’s article on Shostakovich’s Symphony No. 5 provides a fascinating perspective of the piece’s role in history. Thank you for your continued support, and don’t forget to check out our upcoming performances, listed on page. Enjoy reading! Mallory Stellato ‘15 and David Vakili ‘16 Co-editors


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A Message from our Co-Presidents Dear Friends and Supporters, First off, thank you for your continued support. It is with your help that we are able to enjoy making and spreading music. The 2012-2013 season is off to a great start with successful concerts by both orchestras, with guest artists Ariana Kim, newly appointed Associate Professor of violin, and Andrew Zhou, graduate student in piano performance. The Chamber Orchestra has also performed the Haydn Harmoniemesse with the Glee Club, Chorus, and guest soloists. The Symphony Orchestra, further expanding on its history of performing new and modern compositions, will be premiering Bi-Focal, a new piece written by Cornell graduate student Yuan Peiying. Our executive board is taking steps to expand our involvement not only within the Cornell community, but within the greater Ithaca community as well. This year marked our first appearance at the Apple Harvest Festival, as members of the Chamber Orchestra performed Mendelssohn’s Octet downtown for attendees. We are currently working to support the newly created Ithaca Youth Orchestra by attending rehearsals and providing mentorship during their inaugural season. Outside of Ithaca, we are also continuing our tradition of touring by planning an October 2013 trip to Los Angeles. On our previous domestic tour to New Orleans, we worked with the local Habitat for Humanity effort, an involvement we would like to resume on next year’s tour. Here on campus, we are working towards a greater sense of inter-orchestra community. This year we saw a greater number of freshmen join than in previous years, and you’ll hear from a few in this issue. Before our first rehearsals, new and returning members gathered outside Lincoln Hall for an afternoon picnic. Our newly elected social chairs, Katie Soule from CSO and Jaime Lee from CCO, are in charge of planning events for orchestra members, such as bowling at Helen Newman, post-concert pizza, and ice skating at Lynah Rink. In our efforts, we hope to foster an open, thriving musical community. It is thanks to supporters and donors like you that we are now able to broadcast live streams of Symphony Orchestra concerts from Bailey Hall. So whether it’s tuning in to hear great works such as Shostakovich’s Symphony No. 5 and Barber’s Symphony No. 1, or purchasing recordings of past concerts, which now also include historic recordings of the Symphony Orchestra from the 1960s, please join us as we continue to make music. Sincerely, Jonathan Park ‘14 & Jenny Xia ‘13


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Music Speaks By Kit Stone Why do we do it? Twice a week, more than eighty Cornell students put down their books, drag themselves from their studies, and head to Lincoln Hall for two hours. Normally, it would take something like free food, beer, or extra credit to convince this many college students to gather, after long days of classes and studying, week after week, to do the same thing. In this case, it is playing music. But it is not the music that you would likely find on the iPods of these students, accompanying their walks to class, nor on the shows they watch, nor on the websites they visit. In fact, classical music seems to be falling out of favor more and more in today’s society. So why do we do it? The answer, I believe, lies in the music itself, and its power to affect us like nothing else. Right now, as we work towards a performance-ready version of Shostakovich’s Symphony No. 5, we are reminded of the dark and threatening picture the music paints of the terrors that accompanied Stalin’s reign; our attention is directed towards the sardonic rhythms and the subversive melodies each time we rehearse this great work. Last spring, we depicted the joy and true spirit of man through Prokofiev’s stirring fifth symphony, another piece seething with the emotions surrounding the Second World War. Certainly these are not emotions we are faced with in our daily lives at Cornell, (even when it feels like our next big prelim could spell the end of us), but therein lies the beauty: this music, to which we devote countless hours of our lives, has the unique ability to open us up to emotions we might otherwise never know. Indeed, throughout history, music represents a chronicle of our emotional past, expressing the feelings that could never be spoken. In the words of Hans Christian Anderson, “Where words fail, music speaks.”

“music… has the unique ability to open us up to emotions we might otherwise never know.” As we progress through Cornell, our schedules grow busier and busier as we discover all that this school has to offer, and my continuing into graduate school last fall was no exception to this rule. Every year, however, I find myself double-checking my schedule to make sure nothing interferes with rehearsal time, even opting to take courses over the summer to avoid conflicts. A short six years after my first audition as a freshman, I come to my final year as a member of the Cornell Symphony Orchestra. That said, here is my advice: as clichéd as it may be, enjoy every second of it. Know that if you allow it, this music can transcend the things that seem so important right now. At the end of your time at Cornell, you will not remember the chemistry problem set that took all night, nor the psychology prelim you almost slept through after the all-nighter you pulled studying. You will, however, remember how it felt to play the finale of that great symphony, and the look on the faces of the audience who were transformed, if only for an hour, by the music that we love. There is nothing that will give you this same feeling, and that is what keeps bring us back… that is everything.


Whole Note Fall ‘12

Senior Persepective By Olivia Lee Sometimes Cornell makes you second-guess where you stand compared to everyone else in areas besides academics. I remember feeling a bit queasy as I anxiously sat outside Chris Kim’s office, waiting my turn to audition for the Cornell Orchestras. Suddenly, my “accomplishments” in high school youth orchestra did not make me feel very confident about if I would have a seat in CSO or CCO. As I timidly stepped in to play, my fears were realized as we were given some of the most challenging sight reading I had ever done- an unpredictable modern piece, of course! However, when Chris’ audition results email arrived, I was relieved to find that I had a seat in CSO. I still felt intimidated, being a freshman in a sea of some very seasoned musicians--whether they were graduate students, upperclassmen, or new freshmen--and I wasn’t sure where I fit in. But as most of us know, music is special. It does not matter how old you are, where you are from, or where you will be going, but that you are there to play, to work together, and to improve as a unit. In tricky passages where the art of faking is often refined (sorry, Chris!), everyone can empathize. When a beautiful melody is played, everyone’s hearts soar. When something goes exactly right and no one comes in early, everyone breathes a collective sigh of relief. As we played through Rachmaninoff’s Symphonic Dances and Dvorak’s New World Symphony my freshman

4 year, I was thrilled to make music with people from all walks of life. I continued to adjust to Cornell, and I was amazed at all that it had to offer. As my time progressed, I was challenged to find time for music amidst my busy schedule. And so I took time off

“Playing violin has become a choice and an honor rather than just a tradition Pellentesque: from my past” from orchestra during my sophomore year, deciding that I wanted to dabble in research, join other clubs, and experience all that the university had to offer. I was extremely conflicted though. Was I really going to give up something that I had spent so many years of my life working on? Even if I wanted to play again later, would my skills deteriorate too much to even be a part of CSO again? I was determined to still play occasionally, and so I did, playing at my church and for special events with an impromptu quartet. However, I remained on the CSO list serve, and during the summer before junior year, the email to sign up for auditions caught my attention. I thought, “Just for fun, I will look and Consectetuer: see what the excerpt is!” However, once I took a good look at the Don Juan excerpt, I could not help but wonder if I could rejoin orchestra again. It had been quite a while since I played demanding repertoire, had taken a lesson, or even practiced for that matter! Still staring at the excerpt, I texted one of my friends who was in CSO, Continued on p. 9

“Was I really going to give up something that I had spent so many years of my life working on?”


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Freshman Perspective By David Vakili As freshmen, we are constantly making first impressions. During the first CCO rehearsal, I made mine to the whole orchestra and our professor with one word. I came late to rehearsal (apparently Barnes Hall is not the same as the Big Red Barn) and missed the entire introduction so I didn’t have time to meet my stand partner but just sat down. We were playing Vivaldi’s Spring and when Maestro Kim asked what the composer wrote in Italian about the movement (referring to one of the elaborate Italian sonnets with which Vivaldi prefaced The Four Seasons), I glanced at the “allegro” and being somewhat convinced of my mediocre Italian, exclaimed, “Happy!”. That was not the right answer. From what I remember, I didn’t talk for the rest of the rehearsal. Luckily, being in an ensemble of only 27 musicians, I soon had the opportunity to get to know everyone in the orchestra and I have since forgotten that less-thanspectacular first impression. CCO is now the highlight of my Tuesdays and Thursdays, and I especially value the experience of being in a sometimes conductorless, seatingless, and tempiless (we change a lot) orchestra. In high school, I had the impression that musicians were exceptionally part of a distinct community with their own lingo, sense of humor, and attitude towards life. Here at Cornell, I am glad that the sense of community among musicians continues to be prevalent. One of the highlights of my school day is walking into Lincoln Hall, hearing the joyful sounds emanating from the practice rooms (even if it happens to be Shosty 5), and being able to take a break from the stresses of college--whether it’s rehearsing, practicing, or simply listening to music because it’s music. One of my greatest fears upon entering college was forsaking my musical life and sense of musical community in light of the time constraints of college. Surprisingly, in retrospect, the past two months have probably been some of

the most musical months of my life. In half a semester I have performed with an orchestra in a museum, played in an octet in downtown Ithaca, played the dulcimer in a residence house in front of strangers, and most notably played a Haydn mass with the Chorus and Glee Club in Sage Chapel. Let me first say that it’s not the mere list of

“…every rehearsal I am filled with a new basket of metaphors” achievements that now seems overwhelming, but the actual experiences and the connections I was able to make. My first highlight has been playing under the baton of Maestro Kim. From my experience in music festivals, I remember the anxiety surrounding what the conductor would be like since he/she essentially gives the rehearsal its entire character. Although I felt a little queasy during the Cornell audition, my anxiety was gone after the first rehearsal. Now my favorite part of Maestro Kim’s conducting is that after every rehearsal I am filled with a new basket of metaphors and analogies to consider when playing the music. My favorite metaphor that Maestro Kim has used is, in describing Mendelssohn's Octet, the classic “driving a truck” distinction from “holding a baby.” Admittedly, I felt for most of the Octet that we were driving a truck. The piece just churned on and on, although this was somewhat due to the fact that we were 27 musicians playing chamber music. Continued on p. 6


Whole Note Fall ‘12

Considering the Viola By Eva Golos Being in the viola section of an orchestra is sometimes like being the overlooked middle child. We’re the middle voice, the smallest string section tucked away behind the cellos—the raisins in the trail mix, Joey from Friends, that kid in gym class who was always picked last not because he was bad at sports but because people tended not to think of him immediately. Violas are a little larger and more ungainly, and harder to keep in tune than our higher counterparts (my viola, as much as I love it, is especially troublesome in this regard. If you hear, at the end of tuning, the distinct sound of a C string being tightened, and obstinately and repeatedly going flat a second later—yup, that’s me). We also have a strange insistence on using our own clef. Still, being a violist helps you learn to appreciate subtleties and harmonies, to contribute in your own way as part of a greater whole, and to have a sense of humor, as well. Being the middle voice is not always as glamorous as the violins, rising easily above the rest, nor as deep and sorrowful as the cellos, and we don’t have as instantly recognizable a timbre as the bassoons or French horns. However, this doesn’t mean our role is any less important—we give depth to Continued from page 5 As one of my friends, an accomplished violinist, pointed out, “we must think like an octet!” Luckily, my moment to finally “hold a baby” came during Applefest, where we played the Octet in a gazebo in Ithaca Commons. I finally understood the delicacy articulated by the carefully and passionately drawn notes of Mendelssohn, but more importantly, I finally understood the infallibility of Maestro Kim’s metaphors. At Cornell, I am constantly reminded of the limitless musical possibilities attainable as a college student. Although I had thought being in two music groups would be somewhat notable (it’s about two hours of music every other day),

6 emotional melodies, fill in the hollow gaps between other voices, and add that hidden harmony which gives a piece that extra aching pull. And, as anyone who’s ever heard

“…we give depth to emotional melodies” Hindemith’s Der Schwanendreher knows, no one can pull off a dying swan like a violist. All in all, things are looking pretty good for the violas this year. We have one of the larger sections in the CSO, with eleven members (at one point during my sophomore year, we were down to a mere six). In addition, new teachers and regular sectionals are giving us energy and fostering a better sense of cohesion among the section. The next CSO concert includes Shostakovich’s Symphony No. 5 —a highly acclaimed piece, which features several prominent and notable viola soli passages that showcase the range and versatility of the instrument. Not to mention, the new Russian-style seating arrangement we’ve been trying out in rehearsal places the violists in the traditional cello spot, at the front of the stage to the conductor’s right. Look out, Bailey Hall —the violas are moving up in the world! the musical involvement of one of my friends who is in CSO, the Glee Club, an a cappella group, and as a sweetener in private lessons has blatantly reminded me of the endless possibilities. At Cornell, there is the opportunity to make impromptu music in venues as diverse as Applefest and the Johnson Museum. There is the opportunity to join new musical groups playing music you’ve never played before, as I have done in joining CCME. We have these opportunities not because the university has a simple venue to fulfill, but because of our nature as musicians; we are drawn to do what we love by playing more and being part of a community of musicians. I hope to continue being musically active and expand my scope of opportunities during my time here at Cornell.


Whole Note Fall ‘12

Shostakovich’s Symphony No. 5 – Music with Meaning By Jacob Cohen The English writer Aldous Huxley is known for saying “that which comes nearest to expressing the inexpressible is music.” Although this quote is usually understood as a metaphor for the emotional value of music, the life of Dmitri Shostakovich allows us to take it quite literally. Living under the rule of Stalin in Soviet Russia, there were many elements in Shostakovich’s life which were inexpressible by law. Shostakovich’s Symphony No. 5 conveys the agony of Russian citizens during Stalin’s rule, and in doing so, expresses the inexpressible. Shostakovich’s career as a composer was a success from the start. In 1925, he finished his first symphony. An instant hit, it was being performed all around the world by the next year. The young composer’s fame continued to grow as his opera Lady Macbeth of Mzensk received roaring approval. Shostakovich basked in glory until his opera was visited by a very unwanted guest. When Joseph Stalin attended a performance, he was appalled by the entire production. As a communist nation at the mercy of Stalin, journalists all over the country got the memo. They immediately apologized for their misleading reviews and replaced them with a tirade of abuse which both buried Shostakovich’s reputation and banned his once successful opera. Politics continued to burden Shostakovich as a performance of his Symphony No. 4 was cancelled weeks before its 1936 Leningrad debut. Many historians and friends of Shostakovich have described how he was blackmailed by the Soviet government, and that the release of the symphony would have threatened both his life and the lives of his family. By the 1930’s, Stalin was beginning to

7 crackdown on the arts. In his opinion, the purpose of music was to remind Russians of the superiority of their country. Stalin worried that music which was too beautiful or which contained provocative themes would inspire individualism and cause a revolution. He was very particular about what kind of music composers were allowed to write and preferred marches or themes which depicted the victory and nobility of Communist Russia. After Shostakovich was forced to cancel the performance of his fourth symphony, he changed his focus to music which would be approved by his superiors. 1937 was a turning point in his career as he composed his groundbreaking Symphony No. 5. Beginning with a depressing theme and ending in a triumphant and victorious march, the symphony included everything that a strict communist leader desired. However, the true meaning of the fifth symphony goes far deeper than that of an average Soviet marching song. The symphony serves as a microcosm for both the life of its composer and the people of the Soviet Union during the tyrannical rule of Joseph Stalin. Inside the disguised themes of communist superiority, Shostakovich composed a message to his fellow citizens. The beautiful third movement of the symphony marked Largo was presented to the party leaders as a requiem for the brave Russians who had died for their country during the revolution and recent wars. At that time, the Soviet Union was in the midst of Stalin’s Great Purge. This political movement meant to strengthen the country resulted in over half a million ‘traitors’ murdered by the government and over seven million sent to the Gulag, the government-run forced labor camps, where millions also died. All Russians lived in fear for their own lives and the lives of their loved ones. The third movement thoroughly depicts the fear with which all Russians were forced to live. Solomon Volkov, a music historian and friend of Shostakovich, cited that during its Leningrad premier, the audience was able to connect so strongly with the music that they were brought to tears. As the symphony advances to its fourth and final movement, so does Shostakovich’s Continued on p. 9


Whole Note Fall ‘12

My First Semester at Cornell By Marion Quien What first drew me to Cornell was not the music program, but the great academic standing and the beautiful campus. I didn’t learn about the musical opportunities here until I was accepted and moved in. There are so many musical organizations to be a part of that it seemed overwhelming at first. And even though I wanted to be an active part of all of them, there just wasn’t enough time in the day. Growing up I was always musically inclined and eventually learned to play the bassoon, saxophone, flute, and piano. Upon coming here, I wanted to join a group for each instrument so I

could continue improving on playing all of them. I could join the symphony orchestra (CSO) and the chamber ensemble for bassoon, the jazz band, wind ensemble (CUWinds), and marching band for saxophone, the Chinese music ensemble (CCME) for flute, and the piano society for piano. However there was too much of a time commitment to be actively involved in all of them, so I tried a little bit of each and stuck with the ones that I liked the most. I ended up staying in CSO, chamber ensemble, and CCME.

8 These were the groups that really stuck out to me and I felt like I could really improve my skills by being involved in them. CSO is a fantastic orchestra and is the best orchestra that I have ever been in. The content of the pieces pushes me to learn more and the conductor is really conducive to the learning process. As far as the pieces go, this year we have already played an intense Britten piano sonata and a beautiful Hovhaness symphony. Currently, we’re working on a classic, Shostakovich’s Symphony No. 5, and a modern piece, Peiying’s Bi-Focal. Learning Shostakovich’s Fifth is really rewarding because it’s a piece that it widely known and popular. But Bi-Focal is new and unknown, and learning it faced me with a great challenge that gave me great satisfaction when I mastered it. In chamber ensemble, I have the privilege of being a soloist bassoon with piano accompaniment. It’s a wonderful experience because I really get to focus on my tone and style. I also get a chance to stand out and make an audible impact on the ensemble. We are currently working on Telemann and SaintSaëns sonatas. These pieces challenge me both technically and musically. CCME is exciting and fun but overall it is the least intense musically speaking. We play various traditional and modern pieces including several of Joe Hisaishi’s great compositions. Being a part of CCME also lets me improve on my skills on the flute. I haven’t been playing for very long and I haven’t developed my skills in terms of technique or tone. As a student at Cornell I’m surrounded by constant challenge, both academic and musical. Being a part of the music programs here at Cornell allows me to further my knowledge in music and keep practicing my skills. In addition to enhancing me musically, they allow for a great outlet for the stresses of college life and schoolwork. The music program at Cornell is awesome and I’m glad I got involved with it.


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Continued from p. 4

asking if it was a terrible idea to try and audition again. Of course it was not. With a mission, I called my high school violin teacher and began practicing. Rejoining CSO felt so natural. As my fingers started to remember the familiar feel of my violin, I became more and more excited to play. I found that it was a privilege to make time to practice, rather than a chore. The small break had made me realize how exciting and rewarding playing in an ensemble of over one hundred talented people could be-something I had taken for granted over the years of my life. Even playing pieces that I had Continued from p. 7 anti-Stalinist message. The finale of the symphony is a strong march which increases in speed and volume to end the symphony in a peppy and optimistic blast. Stalin was very fond of this movement because of its apparently victorious message. Once again, Shostakovich was able to fool the authorities. By the end of his life, when Shostakovich

done in years past felt new and fresh, trying to know the pieces even better than before. Playing violin has become a choice and an honor rather than has not always been easy trudging to Bailey Hall in the rain or running to my next activity as soon as rehearsal is over, but my appreciation for being able to make music with my friends is so much deeper than when I was a freshman. As I look to the future, I am not sure when I will have the privilege of being in an ensemble like CSO again, but I know that the things I have learned throughout my time here will remain with me and be channeled into my next steps.

began to write his memoirs, the composer revealed that the last movement of this symphony was a “parody of shrillness” and represented the “forced rejoicing” associated with communism. There is no doubt that the political restrictions of the Soviet Union inhibited the creative possibilities of Dmitri Shostakovich. It is truly admirable that through all of these hardships, Shostakovich was able to let his art inspire the oppressed and fearful people of the Soviet Union.

Download our live albums to support the orchestra! You are invited to support the Cornell Orchestra by downloading the October 4, 2012 program at http://instantencore.com/music/details.aspx?PId=5098290 Full album download will include a bonus track of the Cornell Symphony Orchestra performing Hovhaness' Mysterious Mountain conducted by Karel Husa in May 3, 1963. Tonight's concert will also be available at Instantencore.com http://instantencore.com/contributor/contributor.aspx?CId=5131090


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Cornell Symphony Orchestra  

 

            Fall  Semester    

2012-2013 Season

Thursday  4  October  2012,  8  pm Chris  Younghoon  Kim,  conductor Niccolo  D.  Athens,  assistant  conductor Andrew  Zhou,  piano HOVHANESS  Symphony  No.  2,  Mysterious   Mountain BRITTEN  Piano  Concerto,  Op.  13 @Bailey  Hall,  Cornell  University Thursday  15  November  2012,  8  pm Chris  Younghoon  Kim,  conductor Peiying  Yuan    Bi-­‐Focal  (world  premiere  of  revised   version  for  CSO) SHOSTAKOVICH  Symphony  No.  5,  Op.  47 @Bailey  Hall,  Cornell  University www.arts.cornell.edu/orchestra

Spring  Semester   Thursday  7  March  2013,  8  pm Chris  Younghoon  Kim,  conductor Student  concerto  winner,  TBA CACIOPPO  New  work  written  for  CSO Composer  TBA  9th  annual  Cornell  concerto  winner ELGAR  “Enigma”  Variations,  Op.  36 @  Bailey  Hall,  Cornell  University Sunday  21  April  2013,  3  pm Chris  Younghoon  Kim,  conductor Ariana  Kim,  violin Inbal  Segev,  cello Miri  Yampolski,  piano LUTOSLAWSKI  Mala  Suita BEETHOVEN  “Triple  Concerto” BARBER  Symphony  No.  1,  Op.9 @  Bailey  Hall,  Cornell  University Saturday  27  April  2013,  4  pm Participants  of  the  Ithaca  International  Conducting   masterclass,  conductors Arild  Rimmereit,  masterclass  teacher BEETHOVEN  “Triple  Concerto”


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Cornell Chamber Orchestra 2012-2013 Season

Fall  Semester       Sunday  23  September  2012,  3  pm Chris  Younghoon  Kim,  conductor Ariana  Kim,  violin PIAZZOLLA  Spring  from  Seasons VIVALDI  Spring  from  Seasons Mendelssohn  Octet  (mvt  1) @Johnson  Museum  of  Art,  Cornell  University Friday  26  October  2012,  8  pm Chris  Younghoon  Kim,  conductor Arsenia  Soto,  Soprano Toby  Newman,  Mezzo Nathaniel  McEwen,  Tenor Brian  Ming  Chu,  Baritone Chorus  and  Glee  Club HAYDN  Harmoniemesse @  Sage  Chapel,  Cornell  University Sunday  18  November  2012,  3  pm Chris  Younghoon  Kim,  conductor Ariana  Kim,  violin PIAZZOLLA  Spring  from  Seasons VIVALDI  Spring  from  Seasons MENDELSSOHN  Octet     LOMNICKY  Grandma  Rebecca’s  Favorite @  Barnes  Hall,  Cornell  University

To follow the progress of CCO rehearsals, read student reflections, and watch videos of our performances, check out our blog at

Spring  Semester     Saturday  2  March    2013,  8  pm Chris  Younghoon  Kim,  conductor Judith  Kellock,  soprano BRITTEN  Les  Illuminations,  Op.  18 ELGAR    Serenade  for  Strings @  Barnes  Hall,  Cornell  University Sunday  14  April    2013,  3  pm Chris  Younghoon  Kim,  conductor Steven  Doane,  cello LUTOSLAWSKI  Grave  for  cello  and  strings @  Barnes  Hall,  Cornell  University Saturday  27  April    2013,  8  pm Chris  Younghoon  Kim,  conductor Prism  Saxophone  Quartet MOZART  Symphony  No.  29  in  A  Major STUCKY  Music  for  Saxophones  and  Strings @  Barnes  Hall,  Cornell  University   www.art.cornell.edu/orchestra/ccohome/htm  

http://cuchamberorchestra.wordpress .com/

 


Cornell University Orchestra Newsletter

Whole Note Governing Board 2012-2013 Jenny Xia Co-President

Andie Liao Fundraising Chair

Jonathan Park Co-President

Katherine Soule Social Chair

Joan Lee Secretary

Jaime Lee Social Chair

Zachary Wu Historian

Min Song Community Chair

Mallory Stellato Newsletter Editor

David Vakili Newsletter Editor

Fall 2012

The Orchestras‌ The Cornell Symphony Orchestra is one of the highest caliber musical groups on the Cornell campus. The group's members are drawn from all circles of Cornell life, including undergraduate students, graduate students, and members of the Ithaca community. Under the direction of Chris Younghoon Kim, the Cornell Symphony Orchestra continuously strives to present the best works of contemporary composers as well as compositions by established musical figures. The Cornell Chamber Orchestra is an orchestra of 27 musicians, comprising students from all colleges on campus. Acceptance into the orchestra is by audition only. The Chamber Orchestra performs a wide variety of works from the 18th century to present time, written expressly for the intimate setting of a smaller chamber orchestra. The Chamber Orchestra rehearses in Barnes Hall and performs many of their concerts in this venue. Like us on Facebook! facebook.com/cornellorchestras

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Whole Note Fall 2012