Musicians of the RedlandsSymphony
First Violins
Sam Fischer, Concertmaster*
Todor Pelev, Associate Concertmaster*
Sakura Tsai
Armen Mangasaryan
Colleen Coomber
Ivelina Kofler
Shushan Akopyan
Gail Cruz
Sahak Karapetyan
Karen Palmer
Second Violins
Vacancy, Principal*
Ellen Jung
Hripsime Yepremyan
Jaclyn Kim
Kathleen Mangusing
Yenlik Weiss
Wendy Waggener
Violas
Kira Blumberg, Principal*
The Robin and David Maupin Endowed Chair
April Losey
Jared Turner
Nicholaus Yee
Daren Fuster
Cellos
Kyle Champion, Principal*
Jacqueline Menter
Madlen Sarkissian
Dawn Bertani
Basses
Scott Worthington, Principal*
Connie Deeter, Associate Principal
Timothy Jensen
Spencer Baldwin
Florence Manos
Flutes
Sara Andon, Principal*
Rachel Mellis
Alexandra Miller, piccolo
Oboes
Francisco Castillo, Principal*
The Nies Family Endowed Chair
Cat Cantrell
Clarinet
Kathyrn Nevin, Principal*
Bassoon Vacancy, Principal
Horns
Adam Wolf, Principal*
Lucas Hilland
Trumpet
David Scott, Principal*
Trombone
Phillip Keen, Principal*
Timpani
William Schiltt, Principal
Percussion
Yuri Inoo, Principal*
Personnel Manager
Noah Gladstone
Orchestra Librarian
Mark Miller
*Sponsored Musician
The musicians of the Redlands Symphony are represented by the American Federation of Musicians, Local 47.
Musicians are subject to change per concert. A complete roster for each individual performance is available in the Memorial Chapel lobby 90 minutes prior to showtime.
Ransom Wilson’s long and varied career has seen him as an international flute virtuoso and recording artist, celebrated chamber musician, and now a busy conductor. In addition to his post as Music Director & Conductor of the Redlands Symphony, he is Artistic Director of New York’s Le Train Bleu ensemble and Music Director of the Lar Lubovitch Dance Company. Maestro Wilson was also the Music Director of the Solisti New York Orchestra, the OK Mozart International Festival, and the Idyllwild Arts Academy Orchestra.
He has appeared as guest conductor with many major orchestras, including the Saint Paul Chamber Orchestra, the Houston Symphony, the Denver Symphony, the San Francisco Chamber Symphony, the Orchestra of St. Luke’s, the Krakow Philharmonic, and the London Symphony.
Ransom Wilson led a successful tour of Southern California with James Galway and the Los Angeles Chamber Orchestra, and he has accompanied dozens of internationally-renowned artists from the podium, including Itzhak Perlman, André Watts, Frederica von Stade, Joshua Bell, and Hilary Hahn. He has also gained a reputation as an opera conductor, serving on the conducting staff at New York’s Metropolitan Opera and conducting for Glimmerglass Opera, New York City Opera, and the International Opera Center in Amsterdam.
More than merely gaining a conductor, the Redlands Symphony has gained a musician who is recognized worldwide as one of the finest flutists of our time. Wilson has appeared as flute soloist with the Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, London Symphony. He has released 27 albums as a flute soloist and 11 as a conductor, winning three Grammy nominations along the way. His newly-released recording, on the Nimbus Records label, is Four French Flute Concertos, with the BBC Concert Orchestra.
Wilson was recently appointed the Camilla Huxford Endowed Chair in Orchestral Studies at the University of Alabama. Previously, he taught at Yale University, he taught master classes at the Paris Conservatory, Oberlin Conservatory, Jerusalem Music Academy, and at eight music schools in Taiwan. He also conducted and performed at Chamber Music Northwest in Portland, the Marseille Conservatory in France, Carnegie Hall in New York, with Camerata Pacifica all over Southern California, at the Chamber Music Society of Lincoln Center, a series of recitals in Israel, and recording sessions in Wales, UK with celebrated pianist François Dumont.
Maestro Wilson was officially announced as the Redlands Symphony’s new Music Director and Conductor on June 4, 2016.
Co Boi Nguyen serves as Assistant Conductor of the Redlands Symphony Orchestra. Ms. Nguyen is an Associate Professor of Music at the University of Redlands Conservatory of Music, principal conductor of the University of Redlands Orchestra and Opera, and Principal Conductor for the Redlands Symphony’s OrKIDstra youth concerts.
From 2005 to 2007, Ms. Nguyen was conductor and faculty member of the C.W. Post Chamber Music Festival at Long Island University, New York. At the same time, she also worked as assistant conductor to Oscar-winning composer Tan Dun and the Cosmopolitan Orchestra in New York.
A native of Hanoi, Ms. Nguyen returns regularly to perform and to give master classes. She made her highly acclaimed debut with the Vietnam National Symphony Orchestra at the Hanoi Opera House in July 2022, making her the first woman and the youngest conductor ever to lead the ensemble. In December 2011, she gave conducting master classes at her alma mater, the Vietnam National Academy of Music.
We are proud to support our Redlands Symphony and the 202 3 –202 4 concert season. JIM HEINE • JAMES COBB • KHORY JORDAN (909)792-0711 WWW.ICREDLANDS.COM 101 E. Redlands Blvd. Suite 138 Redlands, CA 92373 INVESTMENT COUNSELORS OF REDLANDS LLC With Global Solutions®
Dvořák's Seventh
Saturday, November 11, 2023
7:30 PM
Memorial Chapel, University of Redlands
Ransom Wilson Music Director & Conductor
Colin Carr Guest Cello Soloist
Overture for Orchestra.......................................................Grażyna Bacewicz (1909-1969)
Rondo in G Minor for Cello and Orchestra...........................Antonín Dvořák (1841-1904)
Mr. Carr, soloist
Variations on a Rococo Theme, Op. 33...................Pyotr Ilyich Tchaikovsky (1840-1893)
Theme - Moderato semplice
Variation 1 - Tempo della Thema
Variation 2 - Tempo della Thema
Variation 3 - Andante
Variation 4 - Allegro vivo
Variation 5 - Andante grazioso
Variation 6 - Andante
Variation 7 - Andante sostenuto
Variation 8 - Allegro moderato con anima
Mr. Carr, soloist
There will be a 20-minute intermission
Symphony No. 7 in D minor, Op. 70...........................................................Antonín Dvořák
Movement 1 - Allegro maestoso
Movement 2 - Poco adagio
Movement 3 - Scherzo: Vivace—poco meno mosso
Movement 4 - Finale: Allegro
The 2023/2024 Season is Sponsored by Marilyn Solter
This Concert is Sponsored by Beth Threatt
Mr. Carr's Appearance is Sponsored by Karen Hansberger, MD
Colin Carr appears throughout the world as a soloist, chamber musician, recording artist, and teacher. He has played with major orchestras worldwide, including the Royal Concertgebouw Orchestra, The Philharmonia, Royal Philharmonic, BBC Symphony, the orchestras of Chicago, Los Angeles, Washington, Philadelphia, Montréal and all the major orchestras of Australia and New Zealand. Conductors with whom he has worked include Rattle, Gergiev, Dutoit, Elder, Skrowasczewski and Marriner. He has been a regular guest at the BBC Proms and has twice toured Australia.
With his duo partner Thomas Sauer he has played recitals throughout the United States and Europe including New York, Boston, Philadelphia, the Concertgebouw in Amsterdam, and the Wigmore Hall in London. 2016 sees them playing a program of Britten and Adès for both the Chamber Music Societies of New York and Philadelphia. Colin has played complete cycles of the Bach Solo Suites at the Wigmore Hall in London, the Chamber Music Society of Lincoln Center, the Gardner Museum in Boston and in Montreal, Toronto, Ottowa and Vancouver.
As a member of the Golub-Kaplan-Carr Trio, he recorded and toured extensively for 20 years. Chamber music plays an important role in his musical life. He is a frequent visitor to international chamber music festivals worldwide and has appeared often as a guest with the Guarneri and Emerson string quartets and with New York’s Chamber Music Society of Lincoln Center.
Recent CD releases include the complete Bach suites on the Wigmore Live label and the complete Beethoven Sonatas and Variations on the MSR Classics label with Thomas Sauer. Colin is the winner of many prestigious international awards, including First Prize in the Naumburg Competition, the Gregor Piatigorsky Memorial Award, Second Prize in the Rostropovich International Cello Competition and also winner of the Young Concert Artists competition.
He first played the cello at the age of five. Three years later he went to the Yehudi Menuhin School, where he studied with Maurice Gendron and later William Pleeth. He was made a professor at the Royal Academy of Music in 1998, having been on the faculty of the New England Conservatory in Boston for 16 years. In 1998, St. John’s College, Oxford created the post of “Musician in Residence” for him, and in September 2002 he became a professor at Stony Brook University in New York.
Colin’s cello was made by Matteo Gofriller in Venice in 1730. He makes his home with his wife Caroline and 3 children, Clifford, Frankie and Anya, in an old house outside Oxford.
Redlands’ Voted Best Museum by Redlands Daily Facts, San Bernardino County Sun, Inland Valley News, and Inland Empire Magazine Readers El museo más amado de Redlands 2024 Orange Tree Lane, Redlands ï 909.798.8608 ï Tuesday-Sunday ï 9am-5pm
Hometown Holiday
Saturday, December 9, 2023
7:30 PM
Memorial Chapel, University of Redlands
Ransom Wilson
Music Director & Conductor
Co Nguyen
Assistant Conductor
A Christmas Festival Leroy Anderson (1908-1975)
The Christmas Song ("Chestnuts Roasting...")Mel Tormé (1925-1999)
Frosty the SnowmanJack Rollins (1906-1973) & Steve Nelson (1907-1981)
Chanukah Festival MedleyJonathan Allentoff (b. 1991)
Let It Snow! Let It Snow! Let It Snow!arranged by James Ployhar (1926-2007)
A Charlie Brown ChristmasVince Guaraldi (1928-1976)
Silver BellsJay Livingston (1915-2001) & Ray Evans (1915-2007)
Carol of the Bells Mykola Leontovych (1877-1921)
There will be a 20-minute intermission
The Twelve Days of Christmasarranged by Michael Isaacson (b. 1946)
Have Yourself a Merry Little Christmasarranged by John Whitley (1941-2014)
O, Tannenbaum Traditional
Rudolph the Red-Nosed ReindeerJohnny Marks (1909-1985)
'Twas the Night Before ChristmasBill Holocombe (1924-2010)
White Christmas Irving Berlin (1888-1989)
Sleigh Ride Leroy Anderson
The 2023/2024 Season is Sponsored by Marilyn Solter This Concert is Sponsored by esri and Cheryl Lossett
Every year during the December holidays, music tends to reign supreme. Carols, prayers, pop songs about grandmothers and reindeer—the list goes on and on. This tradition is found in most every culture in the world, even if not at the end of the year. “Carols” as we know them today are thought to have roots as far back as the 4th Century CE in Rome. By the 16th century, various carols became popularized in the English-speaking world, including “The 12 Days of Christmas,” “God Rest You Merry, Gentlemen” and “O, Tannenbaum.”
While carols such as these originated as secular songs, sacred music is also widely heard in the last part of the year. Music is integral to several religious ceremonies. Take, for example, the blessings sung during the lighting of the menorah during Hanukkah. Written sometime in the 13th century, the liturgical poem “Ma’oz Tzur” (Rock of Ages) puts to music five events of Jewish history and a hope for the future. There are also several secular songs popularized in America that appear during and around the Hanukkah season, including “Oh Chanukah,” and “I Have a Little Dreidel,” both with English and Yiddish versions.
With the rise of commercial recordings in America during the early part of the 20th century, many songwriters and composers capitalized on the winter holidays with mass recorded and produced pop songs. Standards like “Jingle Bells,” “Sleigh Ride,” and “Rudolph the Red-Nosed Reindeer” permeated the record players of American households every year. As film became more popularized and accessible, holiday music became a basis of many films. Irving Berlin’s Holiday Inn brought “White Christmas” to the masses in 1942 (before receiving its own film musical adaptation in 1954 starring Bing Crosby), Judy Garland wished us all a “Merry Little Christmas” in 1944’s Meet Me in St. Louis, while the incomparable Vince Guaraldi gave the iconic sounds of the holidays in Charlie Brown’s world in the 1965.
As often happens in the arts, literature and poetry often influence musical adaptations and settings. From musical interpretations of Charles Dickens’ immortal classic A Christmas Carol (including one by The Muppets) to musical settings of Clement Clarke Moore’s infamous poem “A Visit from St. Nicholas” (known to us as “‘Twas the Night Before Christmas”), composers and lyricists pull inspiration from across genres to help us all ring in the holiday season.
No matter the inspiration or reason behind a traditionally winter song, songwriters and composers try to reinforce many cultural values: kindness, generosity, and understanding for all.
Since 1998, the Redlands Symphony’s flagship education program, orKIDstra, has provided free concerts for 4th and 5th grade students in Redlands, Yucaipa, and the surrounding communities. For many children, an orKIDstra concert is their first time being introduced to the transformative power of a live symphony orchestra.
Transportation, curriculum, and a musical experience students won’t soon forget are all provided free of charge for schools to ensure every child in our region has access to these concerts. The orKIDstra program is entirely funded by individual and corporate supporters who work with us to enhance learning and enrich the lives of young students each and every year.
It’s easy to be a part of providing these educational and artistic opportunities to our young neighbors. You can donate online at RedlandsSymphony.com or over the phone by dialing 909.587.5565. Want to be part of the action? We’re always looking for volunteers to help facilitate an amazing experience for these students. Get in touch with us at symphony@redlandssymphony.com or scan the volunteer QR code on page 7 of this book.
Thank you to our current individual supporters and the following institutional supporters of orKIDstra:
Heroic Ideals
Saturday, January 20, 2024
7:30 PM
Memorial Chapel, University of Redlands
Ransom Wilson Music Director & Conductor
Jair Lopez
Guest Flute Soloist
U of R Concerto Competition Winner
Inland Master Chorale
Guest Choral Artists
Dr. Joseph Modica, Director
Status Pending.....................................................................................................Liliya Ugay
Text by Antigoni Gaitana
World Premiere Performance
Commissioned by the Redlands Symphony with support from the National Endowment for the Arts
Pastorale Fantasy for flute and orchestra............Franz
Mr. Lopez, soloist
There will be a 20-minute intermission
Symphony No. 3 in E-flat Major, Op.55, "Eroica".....Ludwig van Beethoven (1770-1827)
Movement 1 - Allegro con brio
Movement 2 - Marcia funebre: Adagio assai
Movement 3 - Scherzo: Allegro vivace
Movement 4 - Finale: Allegro molto
The 2023/2024 Season is Sponsored by Marilyn Solter
This Concert is Sponsored by Betsy & Bob Heinze and The Myron F. Ratcliffe Foundation
Hungarian
Doppler (1821-1883)
Described as “evocative,” “fluid and theatrical... the music [that] makes its case with immediacy” (Washington Post and The Arts Fuse) as well as both “assertive and steely,” and “lovely, supple writing” (Wall Street Journal) that “tugs at our heart strings” (OperaGene), music by Liliya Ugay has been performed in many countries around the globe. Ugay has collaborated with the Nashville Symphony, Albany Symphony, American Composers Orchestra, New England Philharmonic, Yale Philharmonia, Raleigh Civic Symphony, Norfolk Festival Choir, Aspen Contemporary Ensemble, Unheard-Of//Ensemble, Molinari Quartet, Icarus quartet, Antico Moderno, Omnibus ensemble, Andrea Lam, and Paul Neubauer among others.
Her compositions have been featured at the Aspen, Norfolk, CULTIVATE, American Composers, Chelsea, New York Electroacoustic Music, June in Buffalo, and Darmstadt New Music festivals, as well as the 52nd Venice Biennale. She completed residencies with Washington National Opera and American Lyric Theater; the companies presented her operatic works on the stages of John Kennedy Center Terrace Theater and Merkin Concert Hall. Liliya has received awards from the American Academy of Arts and Letters, ASCAP, Yale University, and the Woodruff Foundation; she was also a finalist for the 2019 Rome Prize. In addition, Liliya was a prizewinner of many international composition and piano competitions in the USA, Germany, Italy, Switzerland, Norway, and Russia. One of her passions as a pianist is to promote the music of repressed Soviet composers in her concert series Silenced Voices, for which she received guidance from Boris Berman.
Originally from Uzbekistan (a former part of the USSR) and raised in the Tatar/Korean music family, Liliya is particularly inspired by the topics of immigration, motherhood, cultural diversity, and geographic inequality. Liliya serves as an Assistant Professor of Composition and director of the Polymorphia ensemble of new music at the Florida State University. Currently, Liliya works on a monodrama commissioned by Opera America IDEA grant, and a large choral-orchestral work commissioned by Redlands Symphony and National Endowment of the Arts. Ugay holds composition degrees from the Yale School of Music studying with Aaron Jay Kernis, Martin Bresnick, Hannah Lash, Christopher Theofanidis, and David Lang; and piano performance degree from Columbus State University studying with Alexander Kobrin. Liliya splits her time between music and family as a mother of a toddler.
The Inland Master Chorale brings together more than seventy talented vocalists from throughout the Inland Empire. First formed in March 1980, the Chorale has since provided exciting, quality musical experiences in a variety of genres for audiences in the Inland Empire, California, Washington, England, Canada, Australia and New Zealand. In 2017, Dr. Joseph Modica was selected to lead the Chorale into a new era of achievement. Founding Director Roger W. Duffer led the group for 37 years. During his tenure, the chorale earned regional, national and international recognition.
Jair Lopez is currently a senior in the Bachelor of Music program at the University of Redlands, majoring in Flute Performance under the mentorship of Sara Andon, Artist Teacher of Flute. From a very young age, Jair discovered he had a great passion for music and the flute, and with his wonderful family’s encouragement, he decided to pursue his dreams of becoming a professional musician. With his dedication and focus through elementary and junior high school, it was natural for Jair to continue his musical endeavors into high school and won coveted awards such as Freshman of the Year and Sophomore of the Year in his high school band, and became Principal Flute and was also chosen as Drum Major his senior year.
With continued encouragement from his high school private flute teacher Ms. Michelle Chavez, a beloved flute alumna of the University of Redlands, Jair was accepted to the U of R and awarded the prestigious Director’s Award Scholarship. Here at the University of Redlands, Jair is very active in the Conservatory of Music, participating in a wide variety of music ensembles including the University Wind Ensemble (flute and piccolo), University Symphony Orchestra, Jazz Improvisation Ensemble, University Choir, U of R Wind Quintet and U of R Flute Choir, also playing alto flute and bass flute. Other important highlighted accomplishments at the University of Redlands include being one of six students selected to perform in the prestigious 2023 President’s Honor Recital, and was also chosen through a rigorous audition for a panel of U of R Faculty and RSO professionals to be a student substitute for the Redlands Symphony Orchestra under the direction of Maestro Ransom Wilson.
Jair has also participated in numerous master classes led by world-class flutists including Denis Bouriakov, principal flute of the Los Angels Philharmonic; DeMarre McGill, principal flute of the Seattle Symphony; Dr. Emily Hoppe, Professor of Flute at Northern Arizona University; Diana Morgan, Los Angeles-based flute mentor and performer; Marianne Gedigian, Professor of Flute at Rice University in Houston, Texas; and Sharon Sparrow, Assistant Principal of the Detroit Symphony. Future goals for Jair include going on to graduate school to further his music education, with the desire to become a teacher, wanting to share what he has learned to encourage the next generation of music students, as well as become an orchestral flutist, and studio musician to play on film scores and for his favorite video games, and more.
Status Pending was commissioned by the Redlands Symphony Association with support from the National Endowment for the Arts
Status Pending is a musical composition and also a statement, a collage of stories, a call for action, a lament, that is based on refugee interviews from several detention centers for children located in the U.S./Mexico border. The interviews were collected by Clara Long, a human rights activist, a detention monitor and legal consultant, who visited children detained in Texas, Florida, Arizona, and California. These materials were framed into an inspiring text created by my collaborator, Greek dramaturg and librettist Antigoni Gaitana. Aside from expressing the emotional journey of the text through the music and unfolding the dramatic structure of the piece, I focused on the juxtapositions of the notions ‘I’ and ‘We’, ‘Us’ and ‘Them’. I believe that once we all erase the boundaries of separating people into groups based on aspects that one has no control of and fully realize and embrace humanity similar on the large scale and different as of each individual, we will be able to accept the shared responsibility and together stop this brutal mistreatment.
At the end, history repeats, as we were all “immigrants once”.
Franz Doppler was a flutist, composer, and conductor, who made his debut in Vienna at the age of thirteen. His first teacher was his father, the composer and oboist Joseph Doppler. From a young age, Franz made successful concert tours with his brother, Karl (a flutist, composer, and conductor). The Doppler brothers tours included a visit to the Weimar court, where they met the great Hungarian pianist Franz Liszt. As an orchestral musician, Doppler held posts as early as 1838 as principal flutist of the German Town Theater, and then at the Hungarian National Theater in 1841. Later in his life, Doppler became a professor of flute at the Vienna Conservatory.
Doppler’s compositions reflect Hungarian, Russian, and Polish folk music and Italian opera (such as Donizetti) influences. Many, if not all, of these influences can be heard in the Hungarian Pastorale Fantasy with its Eastern European folk dance/tunes and operatic cadenzas. Listen for the hauntingly nostalgic opening fantasy reminiscent of Romani and Eastern European folk music and its folk tune/dance-driven second half.
Symphony No. 3 in E-flat Major, Op. 55, "Eroica"
Composed by Ludwig van Beethoven (1770—1827)
Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings
Duration: Approximately 47 minutes
One of the most widely known and celebrated composers of instrumental music, Ludwig van Beethoven was born in Bonn, Germany. His musical talent was evident from an early age and first taught (rather harshly) by his father, Johann, before studying with the composer Christian Gottlob Neefe. Under Neefe, Beethoven published his first set of keyboard variations in 1783. While navigating a tumultuous personal life, Beethoven made a name for himself as a virtuosic pianist after moving to Vienna at the age of 21. Most famously, Beethoven increasingly lost his hearing over the course of his life eventually becoming profoundly deaf by 1814. In total, Beethoven’s output contains 9 symphonies, 18 concertos and solo pieces, 18 orchestral overtures, 16 string quartets, 1 opera, and a plethora of works for piano and other chamber confirguations.
Beethoven’s Eroica Symphony marks what many musicologists consider his “middle period,” marked by Beethoven’s recognition of his deafness and his expressions of heroism and struggle. The symphony was composed between 1803 and 1804, breaking boundaries in symphonic form, length, harmony, emotional and cultural content. In fact, this symphony broke so many conventions of composers like Mozart and Hadyn that it is widely considered the transitional piece between the Classical and Romantic periods of music.
The Symphony is divided into four movements which follow a pattern Beethoven and many symphonists of the Romantic period often used: a quick, up-tempo first movement; a slow, melancholic second movement; a dance-like third movement; and finally a quick and bombastic finale. From the striking opening chords to lush cello melodies, the first movement sets us up for the playful Beethoven’s quicker movements are known for. Listen for what sounds like an incorrect horn entrance toward the end of the first movement. This is an example of Beethoven’s humor, which can be heard throughout the first, third, and fourth movements.
The second movement, marcia funebre, is a solemn funeral march that hears a march like motif continually happen in the strings while the woodwinds pass a melancholy melody between them, led initially by the oboe. The third movement scherzo is a dance (as many third movements in symphonies tend to be in this period) based in a 3-beat pattern, similar to a very fast waltz. The middle section of the scherzo, called the “trio,” is heralded by three horns—the first time this appeared in the symphonic tradition.
The finale of the Eroica Symphony is a set of ten variations which explore different rhythmic feels, dance styles, and orchestral colors, all with a cheeky sense of humor.
Scan this QR code to read the full program notes on our website Coming Up... Our Friend Mozart Saturday, March 9, 2024 at 7:30 PM Tickets are available by calling our Box Office at 909.587.5565 or visiting our website at RedlandsSymphony.com
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Partner of Distinction
We are grateful to the University of Redlands for their decades-long partnership and support. The University provides the Symphony with a number of valuable services and facilities, including our beautiful concert space, the Memorial Chapel.
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Located on the campus of the University of Redlands, the Memorial Chapel is a beacon of the community, an anchor point for the University, and a gathering place for music lovers in the Inland Empire.
Built in 1927, the Memorial Chapel is one of the most iconic buildings on campus. The stunning architecture is accented by beautiful stained glass windows and a Casavant Organ. Two aisles on the main floor lead to the stage that is the perfect backdrop of wedding, concerts, plays, religious services and more. When the University was original planned and constructed in 1908, architect Norman Foote Marsh created a long quadrangle with two central focal points: the administration building and (to satisfy his clients, the American Baptist Convention) a chapel, both at opposite ends of the quadrangle.
The Memorial Chapel itself seems to have been modeled after 18th century Baptist churches in the Colonial US. These churches often had projecting porticoes and spires locaed near or above the narthex (or lobby). Marsh completed the Memorial Chapel from two intersecting rectangles along axes perpendicular. A Classical portico projects from the front end of the larger rectangle and its contours matches those of the gable roof covering the majority of the building.
During the Memorial Chapel’s construction, a Casavant organ was installed. At the time, it was the third, and largest, Casavant organ in California. In 1926, the University’s Business Manager George P. Cortner wrote to Candaian organ makers Casavant Frères explaining that the University was building a chapel to seat fifteen hundred people and they were interested in a four-manual organ. He described Redlands as a “most beautiful city of fifteen thousand...it has been known not only for its beauty but also for its culture. It is a music-loving city.”
In 2000, the Memorial Chapel underwent renovation. Cosmetic and structural improvements and repairs were made, including a removal of the organ to have pipes cleaned, tuned, and revoiced. In 2003, the organ was reinstalled and the renovations were completed.
For the music-loving city and beyond, the Memorial Chapel serves now as the main operating venue for the Redlands Symphony Orchestra and the University of Redlands Conservatory of Music, hosting numerous performances of orchestra, wind ensembles, opera, and more.
Please refrain from eating or drinking in the Memorial Chapel. During the performance, we ask that you silence your cell phones and keep them securely away as a courtesy to your fellow guests. No photography or videography is allowed in the Memorial Chapel during Redlands Symphony concerts without express written permission of the Redlands Symphony Association.
Ransom Wilson Music Director & Conductor
