Document Sample
          Message froM the Music Director

                                     e live in a time when         can rhythms of Tin Pan Alley
                                     everything seems to be        in Gershwin’s Rhapsody in Blue.
                                     changing. The world is        We will hear the sounds of Oscar
                          moving faster but in directions that     Lorenzo Fernandez’s Brazil, Percy
                          seem uncertain and unknown. Life’s       Grainger’s Australia, and Rimsky-
                          comforts, which rely on constancy        Korsakov’s Capriccio Espagnol. We
                          and normality, are hard to find.         celebrate the birthday of demoni-
                          The performing arts may provide          cally virtuosic pianist/composer
                          an opportunity for aspiration and        Franz Liszt with the celebrated pia-
                          creativity. In particular, the perfor-   nist Adam Neiman. The inspiring
                          mance of music may offer us sources      melodies of Mozart’s Symphony No.
                          of inspiration, imagination, courage,    39 and Beethoven’s unique Triple
                          and togetherness. This season we         Concerto for Piano,Violin, and Cello
                          will explore music that offers worlds    will provide substantive repertoire
                          of emotion and wonder.                   for this season’s repast.

                          From the mystic ideas of Holst’s         As we forge ahead into the 21st
                          Planets to the prayer for brother-       Century, join us for these special
                          hood in Beethoven’s Ninth Sym-           concerts. Share in the music of our
                          phony’s Ode to Joy, our musical          symphony family. Now, more than
                          journey promises to be stirring and      ever, remember that Great Music
                          profound. Pianist Robert Thies           Lives Forever.
                          opens the season with the Ameri-                      —John Larry Granger

2                             S A N TA C R U Z C O U N T Y S Y M P H ONY

 2   Message froM the MUSIC DIReCTOR

 4   about the prograM book / veNUeS
 6   Message froM the BOARD PReSIDeNT /
 7   Message froM the exeCUTIve DIReCTOR /
13   gIfT Of MUSIC
16   about the MUSIC DIReCTOR / gUeST ARTISTS
20   2010/11 SeASON SPONSORS
25   CONCeRT 1   classic evening prograM
26               encore Matinee prograM
27               prograM notes
35   CONCeRT 2   classic evening prograM
36               encore Matinee prograM
37               prograM notes
42   SYMPHONY leAgUe
45   CONCeRT 3   classic evening prograM
46               encore Matinee prograM
47               prograM notes
55   CONCeRT 4   classic evening prograM
56               encore Matinee prograM
57               prograM notes / libretto
66   gIfTS IN-kIND
71   inDex of ADveRTISeRS / PROgRAM NOTeS

       SANTA CRUZ COUNTY SYMPHONY               3

    The Santa Cruz
    Civic Auditorium, at
    307 Church Street, was
    established in 1940, and
    maintains a tradition of
    outstanding contribution
    to cultural and civic life
    in Santa Cruz, including
    the debut performance of
    the Santa Cruz County
    Symphony in 1958.
    Operated by the City of
    Santa Cruz, the Civic
    hosts approximately
    100 events annually, attracting 100,000 patrons. The Civic is within easy
                                                                                    ABOUT THe
    walking distance to many restaurants and shops located in downtown Santa
    Cruz. Recent renovations made by the City in collaboration with the Sym-        PROgRAM BOOk
    phony and other nonprofit users of the Civic have set the foundation for fur-   For information about
    ther advancement of the Civic as a performing arts venue for years to come.     advertising in this book
                                                                                    please call 831.462.0553 or e-mail
    fRee Pre-Concert Talks take place at 7 PM in the Civic Auditorium, imme-
    diately before each Saturday evening concert.
                                                                                    Program Book
    The Mello Center for                                                            Design & Production:
                                                                                    LINDA KNUDSON
    the Performing Arts is a
    770 seat theater located                                                        Editor:
                                                                                    JOHN DIzIKES
    in historic downtown
                                                                                    Copy Editor:
    Watsonville, two blocks                                                         JEANNE LANCE
    from the beautiful town
                                                                                    Program Book Coordinator:
    plaza. The Mello is                                                             BENJAMIN SHORT
    a perfect place for mati-                                                       Program Notes:
    nee performances of the                                                         DON ADKINS
    Santa Cruz County Sym-                                                          Advertising & Sales:
    phony, with comfortable                                                         JOCELyN MACNEIL
    seating, great acoustics,                                                       Season Brochure, Program Cover &
    and only a short drive for                                                      Ad Design, Layout & Management:
    most Symphony audi-                                                             MARGUERITE MEyER

    ences, with parking available across the street and a number of good restau-    Printing:
    rants nearby. The Mello is managed by the nonprofit Pajaro Valley Perform-
    ing Arts Association and is jointly owned by the City of Watsonville and the    Cover photo:
                                                                                    KENNAN WARD
    Pajaro Valley Unified School District.                                          PHOTOGRAPHy
    Funding from the Santa Cruz County Symphony contributed to building the
    performance hall located at East Beach and Lincoln Streets, Watsonville.

    fRee Pre-Concert Talks take place at 1 PM in the Mello Center, immediately
    before each Sunday matinee concert.

4        S A N TA C R U Z C O U N T Y S Y M P H ONY
2010/11 season scheDule                                   ticket

    OCTOBeR 2, 2010      CONCeRT 1 CLASSiC EVENiNg         SeASON TICkeTS
        Saturday, 8 pm   Santa Cruz Civic Auditorium
                                                           SyMPHONy OFFICE
                                                           307 Church Street
    OCTOBeR 3, 2010      CONCeRT 1 ENCOrE MATiNEE          Santa Cruz, CA 95060
         Sunday, 2 pm    Mello Center, Watsonville         831.462.0553 ext. 10
                                                           hours :
                                                           Tuesday–Friday 9 AM–5 PM
  JANUARY 29, 2011       CONCeRT 2 CLASSiC EVENiNg
                                                           or purchase season tickets online at
        Saturday, 8 pm   Santa Cruz Civic Auditorium

  JANUARY 30, 2011       CONCeRT 2 ENCOrE MATiNEE          SINgle TICkeTS
         Sunday, 2 pm    Mello Center, Watsonville
                                                           for the Civic or Mello available
                                                           at the Civic Box Office
  feBRUARY 28, 2011      YOUTH CONCeRT
                                                           CIvIC BOx OffICe
 Monday, 9:30 & 11 am    Santa Cruz Civic Auditorium
                                                           307 Church Street
                                                           Santa Cruz, CA 95060
      MARCH 1, 2011      YOUTH CONCeRT                     831.420.5260
 Tuesday, 9:30 & 11 am   Mello Center, Watsonville
                                                           hours :
     MARCH 6, 2011       fAMIlY CONCeRT                    Tuesday–Friday: 11 AM–6 PM
         Sunday, 2 pm    Santa Cruz Civic Auditorium       Saturday: 10 AM–1:30 PM
                                                           Sunday and Monday: CLOSED
                                                           Box Office opens 1 hour
    MARCH 26, 2011       CONCeRT 3 CLASSiC EVENiNg         before concerts.
        Saturday, 8 pm   Santa Cruz Civic Auditorium
                                                           MellO CeNTeR fOR
                                                           THe PeRfORMINg ARTS,
    MARCH 27, 2011       CONCeRT 3 ENCOrE MATiNEE          wATSONvIlle
         Sunday, 2 pm    Mello Center, Watsonville         Box Office opens 12:30 PM
                                                           before Sunday matinee concerts.
      APRIl 30, 2011     CONCeRT 4 CLASSiC EVENiNg         Advance sales through the
        Saturday, 8 pm   Santa Cruz Civic Auditorium       Civic Box Office

                                                           fRee PRe-CONCeRT TAlkS
         MAY 1, 2011     CONCeRT 4 ENCOrE MATiNEE
                                                           take place at 7 PM in the Civic
         Sunday, 2 pm    Mello Center, Watsonville
                                                           Auditorium, immediately before
                                                           each Saturday evening concert; and
        JUNe 4, 2011     wHITe AlBUM eNSeMBle              at 1 PM in the Mello Center, imme-
                         BeNefIT CONCeRT                   diately before each Sunday matinee
        Saturday, 8 pm   Santa Cruz Civic Auditorium

                                                       SANTA CRUZ COUNTY SYMPHONY                 5
    Message froM the boarD presiDent                                                     PAST PrESiDENTS
                                                                                         Of THE
                                                                                         SYMPHONY bOArD

              s each season                             arship program for young
              begins, I reflect on                      musicians.
              our mission that                                                           1958      Matilda Dedrick
                                                        Of course the success of the
    is all about giving music to                                                         1958–59   roy bergazzi
                                                        Symphony is not dependent
    our community. Ironically                                                            1959–61   Carolyn baldwin
                                                        just on our community. It is
    it only works when our                              through the efforts of many
                                                                                         1961–62   James Hammond
    community gives back to                             people that the Symphony         1962–63   Paul Sandas
    the Symphony, by attend-                            succeeds. Our very talented      1963–64   Howard Miguel
    ing its concerts, by spread-                        and dedicated Maestro, John      1964–66   Jack Peterson
    ing the word, and through                           Larry Granger, along with        1966–69   Dr. Carl Nelson
    donations, sponsorships and                         our wonderful musicians,         1969–70   Ernest T. Kretschmer
    endowment gifts. A truly                            consistently deliver outstand-   1970–71   Dr. Douglas A.
    symbiotic relationship!                             ing concerts.                              Liddicoat
    There is no better example                                                           1971–74   Jay Van Stolk
    of how our community                                 Our terrific administrative
                                               staff consists of Jan Derecho, Execu-     1974–75   Max Walden
    gives back to the Symphony than the
                                               tive Director, along with Benjamin        1975–76   Ernest T. Kretschmer
    results of last winter’s special appeal.
                                               Short, Marketing Manager, and             1976–77   Sidney Damon
    Not only did we avoid a potentially
    large deficit, we actually ended the       Hillary Nicholson, our new Office         1977–78   robert Anderson

    year with a modest surplus, allowing       Coordinator. The Symphony League          1978–80   Dr. bernard
                                               generously supports us through                      Hilberman
    us to continue to grow and flourish.
                                               its many successful and enjoyable         1980–81   Kenneth r. Clark
    Another example of the community           fundraising events. And I have the        1981–82   Kenneth r. Clark
    giving back to the Symphony                privilege of leading an active and                  William Quale
    is through concert attendance.             effective Board of Directors whose        1982–87   rowland K. rebele
    According to a 2009 report from the        energy, creativity, and hard work are     1987–89   Ernestine Anderson
    National Endowment for the Arts,           remarkable. Thanks to all of these        1989–91   Wanda raffetto
    attendance at classical music concerts     individuals for their contributions.      1991–93   Nancy Hendee
    is down nationally 17% since 2002
    and the numbers are continuing their       Finally, of course, I sincerely thank     1993–94   f. McCauley Small, Jr.
                                               again all of our sponsors, donors and               Jan Derecho
    downward slide. I am pleased to say
                                               volunteers without whom the Sym-          1994–95   Jan Derecho
    that we our bucking that trend with
    single ticket sales and subscriptions      phony would not be possible. Oh,          1995–96   Dorothy Wise

    up yet again this year.                    and thanks to you, our audience,          1996–97   Linda burroughs
                                               without whom this whole enterprise        1997–98   Les Kadis M.D.,
    We look forward to another success-        would have little purpose!                          Suzanne Mann,
    ful season, with a great line up of                                                            Chris Schofield, &
    concerts and soloists. Once again we       Our tagline is “Great Music Lives                   f. McCauley Small, Jr.
    will be presenting all of our concerts     Forever.” With your ongoing support,
                                                                                         1998–00   f. McCauley Small, Jr.
    in both Santa Cruz and Watsonville,        I predict the Santa Cruz County
                                                                                         2000–02   Kate Chen
    an experiment we started last season       Symphony will too!
                                                                                         2002–04   Mary James
    that was very well received. And we                                  Owen Brown
                                                                                         2004–08   Linda burroughs
    continue to evolve our youth and                      President of the Santa Cruz
                                                                                         2008–     Owen brown
    Family program including the schol-                     County Symphony Board

6         S A N TA C R U Z C O U N T Y S Y M P H ONY
Message froM the executive Director                                                 SANTA CrUZ
                                                                                    COUNTY SYMPHONY
                                                                                    bOArD Of DirECTOrS


                                         Amidst the doom and gloom of last          BOARD Of DIReCTORS
                                         year’s continued economic down-            Owen brown
                                         turn, you, our audience, attended          President
                                         our concerts with gusto. you came          Scott McAlister
                                         through with financial support both        Treasurer
                                         in our annual fund campaign and the        russ Hobbs
                                         special appeal. your donations, at a       Vice-President, Development
                                         variety of gift levels, helped keep us     Catharine gill
                                         on solid footing. We thank you.            Vice-President, Youth & Family
                                                                                    Dr. Arthur Cooley
                                         The Symphony is also proud to              Vice-President, Artistic Advisory
                                         report our audiences are growing,          frank Miller
                                         both in season subscribers and single      Vice-President, Directors &
                                         concert goers, as well as an increase      Officers

            elcome to our Sympho-
                                         in the number of concert goers who         Cynthia Kilian
            ny’s 53rd Season! you are
                                         became donors. This positive trend         South County Audience
            in for an exciting season                                               Development
of exceptionally enriching concerts.     contrasts the situation of many or-
                                         chestras across the country that have      Lee Duffus
Our theme “Great Music Lives For-                                                   Vice-President, Marketing
ever…” harkens to our mission            reported a downward trend towards
                                         dwindling audiences.                       gene Wright
 to keep classical music alive and
                                                                                    League President
present in peoples’ lives, and illumi-   We are grateful that our community         Clyde Vaughn
nates the fact that this music contin-   continues to find value and enjoy-         League President-Elect
ues to have life and relevance today.
                                         ment in attending the Symphony’s           Myrna britton
Maestro Granger, in his role as
                                         live orchestral performances rather        Sue Cony
Music Director, has again chosen                                                    beatrice Easter
                                         than simply staying at home listening
repetoire that has truly withstood                                                  Dr. Noel fishman
the test of time and will continue       to pre-recorded music on an iPod.
                                                                                    Peggy Minier
to do so. Finally this tagline, “Great   I say “Bravo!” to each of you who help     Jerold O’brien
Music Lives Forever…” touches upon       us spread the word of our fine orches-     Directors
our level of artistic excellence, and    tra, and encourage you to bring your       Linda burroughs
our endeavor to present greatness.       friends and family to any or all of this   Mary James
                                                                                    rowland rebele
To portray the power and pleasure        season’s exciting concerts, including      Dorothy Wise
you will experience hearing our          our Family Concert. you won’t regret       Director’s Club Advisory
orchestra perform these music selec-     it and neither will they. your passion     John Larry granger
tions, we have been given permission     for the Santa Cruz County Symphony         Music Director
to use a Kennan Ward photo on our        truly ensures that great music will live   Jan Derecho
season program book and brochure.        forever…                                   Executive Director
Kennan is an acclaimed local artist,     Thank you,
nature photographer and videogra-
                                                               Jan Derecho
pher, and a Symphony supporter.
                                                           Executive Director
                                                Santa Cruz County Symphony

                                                                      SANTA CRUZ COUNTY SYMPHONY                        7
    MeDia partners                                   aDMinistration / proDuction

    Media partners and friends
    have contributed to the
    Santa Cruz County Symphony
    to help us promote music
    in our community.
    Thank you!

                                                     Benjamin Short           Lynn Brisson     Hillary Nicholson
                                                     Marketing Manager        Accountant       Office Coordinator

                                                     Norman C. Peck           Sue Laughlin     Rick Larsen
                                                     Personnel Manager        Librarian        Production
                                                                                               Manager &
                                                                                               Lighting Designer
                                                     PRe-CONCeRT leCTUReRS
                                                                                               Eileen Flynn
                                                     Don Adkins
                                                                                               Production /
                                                     Civic Classic Concerts
                                                                                               Stage Manager
                                                     Anatole Leikin
                                                                                               Stuart Ponder
                                                     Mello Encore Concerts
                                                                                               Sound Engineer

                                                                                               Stage Hands

                                                     307 Church Street, Santa Cruz, CA 95060
                                                     phone 831-462-0553 fax 831-426-1193

                                                     e- mail

8       S A N TA C R U Z C O U N T Y S Y M P H ONY
10   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                     2009/10 sYMphonY supporters
                                                                                           bY giving level

       The Santa Cruz County Symphony extends its most sincere appreciation to all those individuals,
         foundations, and corporate contributors who helped keep classical music alive through gifts
               during the past season July 1, 2009 to June 30, 2010. A special thank you to those
                  who participated in our special appeal campaign. We’ve “noted ” ( ) them on this list.

gUARDIAN ANgelS                        Lee & Emily Duffus                  Mary James & George Cook
$50,000 AND ABOve                      E. T. Easter, Inc.                  Bob Kaswen
Rowland & Pat Rebele                   Millie & Jerry FitzGerald           Anonymous
Symphony League of Santa Cruz          James & Catharine Gill              Gordon & JoAnn Martin
                                       Joan Osborne                        Scott & Eileen McAlister
PlATINUM CIRCle                        Bruce & Phyllis Rosenblum           Dr. & Mrs. Keith McKenzie
$10,000-$49,000                                                            Frank Minuti, Jr.
California Department of Justice       BRONZe CIRCle                       Dr. yoshio & Miwako Nishi
   in conjunction with the             $1,500-$2,999                       Beth Peterson
  California Arts Council              Harry & Mary Blanchard              David Pilcher & Michael Gansauer
Community Foundation of                Fred Chen M.D., Inc.                Rotary Club of Santa Cruz
  Santa Cruz County                                                        Margot Sekkel
                                       Dr. Noel & Miriam Fishman
Glenwood Equestrian Center                                                 Ronald & Cynthia Sekkel
                                       Madeline Fjelstad
Merillyn Noren                                                             Rodger & Vicki Wasson
                                       Ann & Gordon Getty Foundation
David and Lucille Packard                                                  Betty Wycoff Memorial Fund
                                       Shirley Nason Greenwood
  Foundation                                                                at the Community Foundation
Plantronics                                                                 of Santa Cruz County
                                       Russell & Mary Ann Hobbs
gOlD CIRCle                            Hal & Dorothy Hyde                  DONOR CIRCle
$5,000-$9,999                          Cynthia Kilian & Waldo Griffin      $500-$999
                                       Locatelli Moving & Storage
Burroughs Financial Services & Linda                                       Bill & Joey Bear
  Burroughs Real Estate                Billie & Dr. John Mahaney
                                                                           Robert (“Bob”) Begun
Susan Cony                             Frank & Kate Miller
                                                                           Colleen Berlin-Timmons
Diane & Donald Cooley                  Lester & Martha Miller & Family
                                                                           Bob & Bonnie Bernardi
The David E. Davis Fund at             Redtree Properties, L.P.
                                                                           Alan & Gweneth Brown
  the Community Foundation             Jack & Barbara Ritchey
                                                                           Elizabeth Burnett
  of Santa Cruz County                 Santa Cruz Memorial
                                                                           Gordon & Mary Jane Chambers
John & Judy Eiskamp                    Desiree L. Stuart-Alexander
                                                                           Arthur & Joan Cooley
Francis Garcia                         Wells Fargo Bank
                                                                           Dorothea Ditchfield
Peggy Minier, Mission Industrial       Nancy Woolf
  Land                                                                     Harry & Norma Domash
                                       Leland & Marian zeidler
Monterey Peninsula Foundation                                              Brooke Ewoldsen
  youth Fund                           COPPeR CIRCle                       Robert & Sim Gilbert
Santa Cruz County Bank                 $1,000-$1,499                       Dean M. Harpster & Rick Infantino
Cheryl Webster                                                             Brian & Patricia A. Herman Fund at
                                       George & Elizabeth Bunch              the Community Foundation
Todd & Corinne Wipke                   Millie & Pamela DiBona                of Santa Cruz County
                                       John Eaton & Diane Kaye             Harriet Hinck
                                       Jennifer & Gary Edwards             John & Karen Huffman
                                       Jan Hadley                          Joan Jurickovich
Owen Brown                             Harry & Terry Hanson
   Cultural Council of                 Ronald & Linda Israel
   Santa Cruz County

                                                                   SANTA CRUZ COUNTY SY MPHONY                  11
 2009/10 sYMphonY supporters                                  bY giving level

 Ellen B. Kimmel Donor Advised          Steven & Kristin Smith              Mary Ellen Rusch
   Fund at the Community Founda-        Mary Solari                         Dr. David & Mary South
   tion of Santa Cruz County            Carol & Jim Toney                   Jeff Stock & Sonya Newlyn
 Richard & Diane Klein                  Vantress Design Associates          Graham Stokes & Joni Nuttall
 Steve Lawton and Pamela King           Helene Woolsey                      Betty Van Dyke & Ray Stout
 Anonymous                                                                  Kelly Wagner
 Norman & Mary Kate Lezin               PATRON                              Jon & Jill Winston
 Josephine Little                       $250-$499
 Jacob & Hila Michaelsen                Altman Donor Advised Fund           SUSTAINeR
 Atanas & Elizabeth Milkov                at the Community Foundation       $100-$249
 Kenneth & Ethlyn Miller                   of Santa Cruz County             Mary Akin
 Bruce & Linda Nicholson                Ronald & Ursula Alves               Marjorie Albright
 Wayne Palmer & Earleen Overend         Rita Benbow                         Richard & Evelyn Alloy
 Susan Parrish                          Angelika & Norman Black             Joyce Anderson & Ken Fendorf
 Cathy Richards & Jack Bradley          Ava & Larry Cassidy                 Joseph & Lavonne Anzalone
 Lynn Roberts                           Ellen Christie                      Larry Arnesen, D.C.
 Leslie Rosen                           Stan Crawford                       Jacqueline Baker
 Cynthia Rudokas                        John & Harriet Deck                 Martin & Barbara Bargetto
 Santa Cruz Beach Boardwalk             Anonymous                           Marc Barshay
 Thomas & Brenda Schmida                Dwayne & Linda Downing              Michael & Janet Beautz
 Slatter Construction                   Russell Downing                     Susan Becker
                                        Pat & Ted Durkee                    Amy Beddoe
                                        Sandra & Charles Eldridge           Nancy & Henry Bley
 MANY wAYS Of                           Carole Ellis                        Paula Bradley
 SHOwINg SUPPORT                        Jack & Iris Farr                    Gary Brandenburg
                                        Sandra Ferguson                     Frank & Jo Ann Brau
                                        John Larry Granger                  Anonymous
 Gifts of tribute and memori-
 als to the Santa Cruz County           Jeff & Sheila Hall                  Nancy Kent Brown
 Symphony allow you to make             Mr. & Mrs. William H. Harmon, Jr.   Sue Brown
 a meaningful and lasting trib-         Dr. Alan Heit                       Ann & Bernard Bunn
 ute to friends and loved ones.         Joanna & Louis Hildebrandt          Timothy & Sandra Butler
 COrPOrATE MATCHiNg                     yves Hoarau                         Edward & Sharon Bystran
 gifT PrOgrAM                           Sven & Nancy Jensen                 Stephanie & Nancy Camacho
 Many companies match em-               Pat Johns                           Anonymous
 ployee contributions to non-           Jennifer & Nic Keiderling           Anne Cawley
 profit organizations. Check            Pat Kress                           Vic Chinn
 with your personnel office to          Howard & Virginia Law               Jon & Carolyn Christian
 see if a matching gift program         Bob & Mary Logan                    Ceil Cirillo
 exists. It’s a wonderful way           Bill Lynch                          Joanne Clever
 to double your contribution            Shirley Manis
 while gaining recognition for                                              Sandra L. Cohen
                                        Ralph & Nancy Meyberg               Janice Corriden
 your company’s support of
                                        William & Gail Mowatt               Patty Cox
 the local community.                   Irene Osterbrock                    Faye Crosby
 for more information                   Jean Petersen                       Thelma Dalman
 call Jan Derecho,                      Andrew & Pat Poulos                 Sharon Dirnberger
 Executive Director at 462-             Michael & Catherine Powell          John & Ann Dizikes
 0553 x13.                              Paul Rembert                        S. Allan & Judith Dorosin

12   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                   Give       the      GiFt         oF

William & Glendawyn Doyle
Allen & Sharon Dubner
Fred & Mary Jo Dunn-Ruizv
James Engelman & Claire
yvonne Fairbairn
John & Helen Fairchild
Evelyn Falk
                                     This holiday season
Margaret Faurot
Mary & Thad Fenton
                                        give your friends
Denise Fischer
Mahlon & Joel-Ann Foote
                                     and family a gift that
Ernie Fox & Susan Wandruff
Larry Franich                         truly moves them—
David Fried
Carol George                       the profound experience
Gregory Gilbert & Ingrid Parker
Frances Granger                          of great music.
Herb & Nancy Greenfield
Jim Hage
Linda & Jim Hall                           Mini-subscriptions for
Joanne & Arthur Hayashi
Suzanne Hoffman                     the remaining concerts are available
Richard Darin Hollingsworth
                                          until the end of January.
Allan & Isabella Hughes             Choose the Classic or Encore series.
Lorraine & Wallace Ingram
H. P. James                        Mini-Subscriptions feature all the great
Paul Johnson
                                   benefits as the full-season series at a
Richard & Joyce Johnson
Irwin Joseph & Gail Schwartz                    reduced price.
Stanley Kahn

                                   ShARe YoUR
Joseph & Carol Kasa
Ann Kimmey
Kirby & Joanne Kittoe

Mr. & Mrs. Edward Knapp
Alice Kollman & Dennis St. Peter
Marilyn Katie Kraft
Robert P. & Rosalie Kraft

                                   PurChaSE a GifT SubSCriPTion Today!
H.P. James in honor of Marjorie
                                   Call the Symphony office for details.
Ernest Sabloff & Anita Liesel             462.0553 ext. 10
 in honor of Sandy & Charles

                                               SANTA CRUZ COUNTY SY MPHONY    13
 2009/10 sYMphonY supporters                                   bY giving level

 Hans Krieger                            Carol Merrell & Dan Wiberg            Tony & Irene Swanson
 Earl & Joan Lamprech                    Alice & David Meyers                  Karen & Marshall Sylvan
 Paul Latzke                             Jim Mikus                             Renee Takesue
 Judi Lazenby                            Blake Milam & Adrian Pearson          Gordon Thomas & Suzanne
 Frank Levy                              Susan & Fredric Miller                  Guerrero
 Bob & Barbara Lewis                     Anonymous                             Nancy Thomas
 Julie & Mike Lewis                      Don & Carol Monkerud                  Peter & Carole Thomas
 Lavina Livingston                       Charles Mons                          Rod & Linda Thomas
 Dr. Rodney & Rachel Lowe                James Morris                          Michael & Lesley Tierra
 Richard Lynde                           Bert & Lois Muhly                     Tom Treanor
 Joseph & Lee Mac Donell                 Michael & Josette Nauenberg           Clara Jane Troyer
 Judy & Scott MacClelland                Guy Neenan                            Theodoor & Henny Van Ooy
 Kristin and Joseph Machnick, Jr.        Patricia Neilsen                      Sheila & Clyde Vaughn
 Martine Mahoudeau                       Patricia & John Nellany               Margaret Webb
 Laura Martin                            Dr. Patrick O’Grady & Dr. Elizabeth   Stephanie & Henry Wells
 Howard Mauthe                             Falade                              Gloria Wenger
 Patricia McBain                         zane & Holly Otav                     Evans Whitaker & Deborah Bron-
 Charles McDowell & Linda Werner         Joseph & Cathy Lind Parisie             stein
 Mr. & Mrs. Michael McElroy              Anonymous                             William & Joanne Wigginton
 Anna & John McSweeney                   Alan & Mindy Pedlar                   Charlotte Williams
 Patricia McVeigh                        Barbara Azbell Read                   Von Wilmot
 Dr. & Mrs. John Mead                    Shelly Reynolds                       Dan & Ruth Wimberly
                                         Hugh Rideout                          Dr. & Mrs. William Winchell
                                         Lloyd and Sue Robinson                Judi Wyant
     IN MeMORIAM gIfTS                   Robert & Carol Rowberg                Sylvia & James yee
                                         Ilse E. Rowe                          Gordon yusko
     Henry & Marge Christmann
                                         Dan & Vickie Rutan                    Marcia zigman
       in memory of Jim Crocker
                                         Claire Scalzo                         Robert & Cathy zimel
     Patty Cox in memory of Jean
                                         Robert & Barbara Scott
                                         Pauline Seales                        CONTRIBUTOR
     Gordon Crafts in memory of                                                $50-$99
                                         Leigh Selby & Larry Eachus
       Lois Crafts
                                         Charles & Susan Selvidge              Pers & Mona Anders
     Mr. & Mrs. Bob Fairchilds in        Owen Sharp                            Rolf Augustine
       memory of Wilma Laurence
                                         Barbara Shields                       Carolyn Bailey
     Francis Garcia in memory of         Al Sibley                             Pauline Baskett
       George Silva
                                         Marie & Jim Sikora                    David Berkey
     Joe & Marcella Hall in memo-        Lee Slaff                             Mary Boer
       ry of zev Ben yakov
                                         Topsy Smalley                         Myrna Britton & Roger Anderson
     Joanna & Louis Hildebrandt          Dr. & Mrs. C. N. Spalaris             Dennise Brown
       in memory of Jim Crocker
                                         Adrienne & Jack Stein                 Anne Marie Callahan
     Mary James & George Cook            Doree Steinmann & Bob Begun           Louis & Nancy Calvisi
       in memory of Jim Crocker          Frank & Rosemary Steinmueller         John and Marina Chiarappa-zucca
     Margaret Newman in memo-            Mr. & Mrs. Peter Stewart              Ann & Steve Cogliati
       ry of Wilma Laurence              Tom & Anne Stickel                    Dea & Rob Collins
     Muriel & Robert Wiser in            Juanita Stock                         John Collins
       memory of Wilma Laurence          Sue Struck                            Anonymous
                                         Mark Swanson & Suzanne Denham         Bud & Martina Cummings

14    S A N TA C R U Z C O U N T Y S Y M P H ONY
Barbara Cushing                   George & Shirley Mooers           James Casad
V. M. Delaney                     Beverly Moore                     Mr. & Mrs. Chaikin
Christine DeLapp                  Marlene & Tim Myers               Hank & Marge Christmann
John & Janet Duncan               Joyce Nicholson                   Selena Clarke
John & Ann Dykmans                Margaret Niswander                Alden F. Cohen
Jan Emmons-Prawitz                Karen O’Connor &                  Sheila Coonerty
W. G. Ernst                         Charles Flowers                 Gordon Crafts
Chris Fahrenbach                  Alverda Orlando                   Bernard & Miriam Denton
Mr. & Mrs. Bob Fairchilds         Carol Panofsky                    Christopher Dimaio
Annick Faucher                    Martha Powell                     Linda & Doug Dobson
Stephen & Linda Foltz             Jim & Marian Rector               Cheryl Dougan
Edward Frost                      Dr. Donald and Elaine Rhodes      Mary-Ann & Jon Ebbs
Daniel Garr                       Joy Roberts                       Mary Eves
Ann Gibb                          Nicholas & Ruth Royal             Genevieve Fillmore
Natalie Grant                     Dr. & Mrs. Frank Schmetz, Jr.     Pam Fine
Norman & Carol Gray               Arlyne Semiloff                   Page Fox
Katharine & David Grishaw-Jones   Sandy Silver                      Seena Frost
Joe & Marcella Hall               Odette Sims                       Betty Gangware
Penny Hanna                       Mrs. Smith                        Rhea Giroux
Lesley Harris                     Linda Sorenson                    Bob & Jennifer Goldbeck
Richard & DeAnne Hart             Robert Spencer                    Sheelah Gott
Bernard & Eleanor Hilberman       Rosalie Pizzo Strain              Carolyn Greene
Lenore Hindin & Joseph Shearer    Barbara Symons                    Lois Gregson
Barbara Hobbs & Lewis Rubin       Stephanie Taylor                  Velma Groppi
George & Inga Hoffman             Eric Thiermann & Lori Streim      Jorge Gustavson
Robert & Vera Hope                Alex Valiansky                    Sharon Hart
Barbara Jirsa                     George Von der Muhll & Lydia      Michael Hawkins
                                    Blanchard                       John & Kristin Heberling
Maureen Kane
                                  David Williams & Hilary Benton    Donald & Diana Henrichsen
Marjorie Kern-Marshall
                                  Walter & Ena Worth                Paul & Audie Henry
Coeleen Kiebert & Wallace Boss
                                  Liping xu                         Elaine Herman
Richard Klevins & Gay Nichols
                                  David & Susan zerweck             Orly Heyman-Bole
Donna Large
                                  John zott                         Eileen Hodson
Linda Larkin & Harold Widom
Marvin Laurence                                                     Anne Hope
Sandy Lawler                                                        Roberta Houston
                                  UP TO $49
Paul Lawton & Patty Durkee                                          Pamela Howell
                                  Connie Adams                      Waldemar & Astrid Huala
Marjorie Leavitt
                                  Eric & Michael Astacaan           Michael & Mary-Nona Hudson
Jeff & Laura Lee
                                  Ari Errol & Kate Avraham          Pegatha Hughes
Patrice Lerman
                                  Helen Aylsworth                   Polly Hughes & Cecily Cahill
William Linford
                                  Lorraine & Edwin Beall            Pamela Johnson
Edward Lorraine
                                  Pastor Bonnie & Clint Bell        Donna Jones
Charles & Georgia Mackh
                                  Marianne Booth                    Helen Jones
Susan & Marc Mangel
                                  Joan Bourdon                      Doug & Erin Kahn
Ines Marshall
                                  J. Millie Brewster                Irina Klahn
Judith Martin-Hoyt
                                  S.E. Bush, Jr.
Janet Meidle & Suke Pavlovich                                       Continued on page 68
                                  Jean Calvert
Genny Mitchell

                                                               SANTA CRUZ COUNTY SY MPHONY         15
 the Music Director

 J  ohn Larry Granger is in his
    twentieth season as Music
 Director of the Santa Cruz
                                       1989–91. His theatre production
                                       work has included Stephen Sond-
                                       heim’s Pacific Overtures, for which
 County Symphony. During Mr.           he received the Drama-Logue
 Granger’s tenure, the orchestra has   Award for Musical Direction.
 broadened its musical audience        Deeply devoted to music educa-
 by offering regular classical sym-    tion, Granger conducts the orches-
 phonic concerts, pops concerts,       tras of youth Music Monterey and
 and several educational programs.     recently retired from the Santa
 Collaborations with other per-        Cruz County youth Symphony.
 forming arts organizations have       He also serves as conductor for the                                THiES
 flourished as well.                   Evening of Concertos, a series of                                  Robert edward Thies,
 Maestro Granger has been a            professional symphony concerts
                                       featuring young solo artists at
 featured guest conductor with the

 New Haven Symphony, San Jose          Herbst Theater in San Francisco.                                        obert Edward Thies is an
 Symphony, Long Beach Symphony,        Mr. Granger attended the Interna-                                       artist renowned for his
 Fresno Philharmonic, and Spring-      tional Institute for Orchestral Con-                               consummate musicianship
 field Symphony, among others.         ducting from 1979-81 and studied                                   and poetic temperament.
 He is in his seventh year as Music    privately in Dresden with Herbert                                  He first captured worldwide
 Director/Conductor of the Santa       Blomstedt, Music Director of the                                   attention in 1995 when he
 Cruz Ballet Theatre Orchestra,        Leipzig Gewandhaus Orchestra                                       won the Gold Medal at the
 served for nine years as the Music    and Conductor Laureate of the San                                  Second International Prokofiev
 Director of the South Coast Sym-      Francisco Symphony. Born in New                                    Competition in St. Petersburg,
 phony Orchestra in Costa Mesa,        york, Granger began his career as                                  Russia. With this victory, Thies
 and was the conductor of the          an oboist and English horn player.                                 became the only American
 Pomona College Orchestra from                                                                            pianist to win first prize in a
                                                                                                          Russian piano competition since
                                                                                                          Van Cliburn’s famed triumph in
                                                                                                          Moscow in 1958.
                                                                                                          Thies enjoys a diverse career
                                                                                                          as an orchestral soloist, recit-
                                                                                                          alist, and chamber musician.
                                                                                                          He has already performed
                                                                                                          forty concerti with orchestras
                                                                                                          all over the world such as the
                                                                                                          Saint Petersburg Philharmonic,
                                                                              PHOTO: STEVE DibArTOLOMEO

                                                                                                          Mexico City Philharmonic, the
                                                                                                          National Symphony of Mexico,
                                                                                                          and Auckland Philharmonia.
                                                                                                          In 1999, he was honored with
                                                                                                          a special invitation to perform
                                                                                                          in the Hermitage Theater in
                                                                                                          St. Petersburg, Russia, built for
              Maestro Granger is generously sponsored by                                                  Empress Catherine the Great.
              Peggy Minier & Mission Industrial land

16   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                                                         guest artists

In 2002, in conjunction
with the Hollywood pre-
miere of Roman Polan-
ski’s film The Pianist, he
performed Wladislaw
Szpilman’s Concertino for
Piano and Orchestra with
the Los Angeles Jewish
Symphony. Thies worked
alongside distinguished
Polish composer Henryk PACifiC TriO
Górecki in the United                Arts Summer Program in southern         recently he performed and recorded
States premiere of his Sonata for    California.                             Bloch’s Schelomo and the Shosta-
Piano. Thies has performed at the                                            kovich Concerto No.1 with JoAnn
music festivals of Ravinia, Aspen,   Violinist Roger Wilkie has served
                                                                             Falletta and the Czech National
Sedona, Cape May, Music Academy as the concertmaster of the Long             Symphony Orchestra.
of the West, as well as the San Luis Beach Symphony since 1990 and
Obispo Mozart Festival.              has been guest concertmaster for        Pianist Edith Orloff has earned
                                     such groups as the Los Angeles          acclaim in the United States and
Thies performs regularly with the    Opera, the Music Academy of the         Europe. She has concertized with
Pantoum Trio and has appeared        West in Santa Barbara, and the          equal success as recitalist, chamber
with established ensembles such      Real Filharmonia de Galicia, Spain.     musician, and soloist with orchestra.
as the Angeles, Calder, and New      He was a founding member of the         Ms. Orloff has appeared as guest
Hollywood String Quartets. In Los Angeles String Quartet and a solo          artist with many notable ensembles,
Angeles he appears regularly on the violinist with the Santa Barbara         including the Houston Symphony
chamber series Jacaranda and the     based Camerata Pacifica, appear-        Chamber Players, the Ensemble
South Bay Chamber Music Society. ing at chamber music festivals at           Con Brio of Bruchsal, Germany, and
He is founder and artistic direc-    Santa Fe and Martha’s Vineyard,         the Czech String Trio.
tor of The Thies Consort, which      among others. In 2005, he served
performs a wide range of works of    as concertmaster for John William’s     Adam Neiman, pianist
varying instrumentation and size.    scores for Munich and Memoirs of a
Mr. Thies is a Steinway artist.      Geisha.
                                     Cellist John Walz has performed
                                                                             A    dam Neiman is hailed as one
                                                                                  of the premiere pianists of his
                                                                             generation, praised for possessing
Pacific Trio, string ensemble        25 different concertos with more        a truly rare blend of power,

    ounded in 1979 in Los Angeles    that 120 symphony orchestras            bravura, imagination, sensitivity,
    by John Walz and Edith Orloff,   throughout the world. He is cur-        and technical precision. With a
this renowned ensemble has played    rently the principal cellist with the   burgeoning international career
more than 1,000 concerts in the      Los Angeles Opera, having previ-        and an encyclopedic repertoire that
United States, Canada, and Europe,   ously held that position with the       spans over fifty concertos, Neiman
where recently they performed        Long Beach Symphony for twenty          has performed as soloist with the
and recorded Beethoven’s Triple      years. As a chamber music artist,       symphony orchestras of Belgrade,
Concerto with the Czech National     he has played with such luminaries      Chicago, Cincinnati, Dallas,
Symphony Orchestra in Prague. In     as Leonard Pennario, Mona Go-           Detroit, Houston, Indianapolis,
addition to touring, they serve as   labek, Nathan Milstein, Jean-Pierre     Minnesota, Saint Louis, San
trio-in-residence at the Idyllwild   Rampal and Pierre Fournier. Most        Francisco, as well as with the New

                                                                    SANTA CRUZ COUNTY SY MPHONY                      17
 guest artists continueD

 NEiMAN                                          ANDErSON                 STrAUSS                 HiNES

 york Chamber Symphony and the            Cheryl Anderson,                         demand as a clinician, adjudicator,
 National Symphony Orchestra of           choral director,                         and guest conductor. She is also the
 Washington, D.C. Neiman has been                                                  Director of Music at the First Con-
 regularly featured on radio and
                                          Cabrillo Symphonic Chorus                gregational Church of Santa Cruz.

 television broadcasts including the           heryl Anderson is in her 20th       The Cabrillo Symphonic Chorus
 PBS documentary film Playing for              year as Choral Director for Ca-     regularly performs with the Santa
 Real and NPR’s Performance Today,        brillo College. She is Founder/Direc-    Cruz County Symphony.
 for which he was nominated for a         tor of Cabrillo youth Chorus Project,
 Grammy Award.                            Cabrillo Opera, Voice Master Class,      Anja Strauss, soprano
 Born in 1978, Neiman has captured
 the attention of audiences and critics
 alike since his concerto debut at 11
                                          and Renaissance Consort. She has
                                          received the Board of Governors’         T   he German soprano Anja
                                                                                       Strauss has established herself as
                                                                                   one of the most sought-after sopra-
                                          Meritorious Teaching Award and
 in Los Angeles’ Royce Hall. At 14                                                 nos in the San Francisco Bay Area
 he debuted in Germany at the Ivo         routinely receives the Alpha Gamma
                                                                                   and beyond. Besides her signature
 Pogorelich Festival, and at 15 he        Sigma student award for outstanding
                                                                                   role Gretel in Hansel and Gretel,
 won second prize at the Casagrande       teaching. She has taught at Tran-
                                                                                   her operatic roles include Oscar in
 International Piano Competition          sylvania University, Colorado State
 in Italy, the youngest winner in the                                              Un Ballo In Maschera, Blonde in
                                          University, University of Northern       Abduction from the Seraglio, Despina
 competition’s history. He later went
                                          Colorado, and UCSC. She is current-      in Così fan tutte and The Govern-
 on to win the Gilmore young Art-
 ist Award and the young Concert          ly president of the Western Division     ess in The Turn of the Screw among
 Artists International Auditions.         American Choral Directors (ACDA).        others. She sang with Sacramento
 Two-time winner of Juilliard’s           Ms. Anderson sang in the Carnegie        Opera, San Francisco Lyric, Pacific
 Gina Bachauer International Piano        Hall Concert Series for seven seasons.   Repertory Opera and the German
 Competition, Neiman was honored          Her choirs have sung throughout the      Opera companies of Lübeck, Flens-
 with the Rubinstein Award upon his                                                burg, Detmold and Potsdam.
                                          world, including St. Peter’s Basilica,
 graduation in 1999, the same year in
 which he received the Avery Fisher       St. Mark’s Cathedral, and the great      In addition to opera, Ms. Strauss
 Career Grant. In addition to his ca-     concert halls of Europe. The Cabrillo    has performed a vast repertoire of
 reer as a concert pianist, Adam Nei-     Symphonic Chorus sang the Berlin         sacred music. She has appeared as
 man devotes time to composition.         premiere of Eric Whitacre’s Paradise     the soprano soloist for Handel’s
 He has recently composed the score       Lost in 2003. In June 2007, Cabrillo     Messiah at Davies Symphony Hall
 for a documentary film entitled          Symphonic and youth Choruses             in San Francisco, and has toured
 Forgiveness by the Emmy Award-           performed the East Coast premiere        Europe, singing Bach’s B Minor
 winning director Helen Whitney,          of Imant Raminsh’s The Peace of Wild     Mass, Fauré’s Requiem, Mozart’s C
 due to air over two nights on PBS.       Things at Carnegie Hall.                 Minor Mass, Haydn’s Seasons, and
                                          Ms. Anderson has conducted nu-           the German Requiem by Brahms.
                                          merous All-State Choirs, and is in       During her tenure at Juilliard in

18    S A N TA C R U Z C O U N T Y S Y M P H ONY
                                              has also had a long associa-     Orchestras across North America
                                              tion with the New york City      and abroad for his dynamic
                                              Opera dating from the fall       performances in repertoire ranging
                                              of 1999.                         from Baroque and Bel Canto to
                                             Ms. Hines’ recent successes       20th-Century Opera. Ramsey
                                             include a return to Seattle       has performed a wide variety of
                                             Opera for Wagner’s Der Ring       roles with such opera companies
rAMSEY                  brANCOVEANU                                            as the San Francisco Opera, New
                                             des Nibelungen, singing as
NyC, she performed Mozart’s                  soloist in Verdi’s Requiem        Orleans Opera, Kentucky Opera,
Requiem for the September 11        with the Hartford Symphony Or-             Opera New Jersey, Syracuse Opera,
Commemoration at Lincoln Center. chestra; her debut with Atlanta               Opera Boston, Arizona Opera,
                                    Opera as Suzuki in Madama But-             Austin Lyric Opera, Chicago
A passionate Lied Singer, Ms.                                                  Opera Theater, and the Dublin
Strauss has performed in recitals   terfly, Palm Beach Opera, the San
                                    Antonio Symphony, Portland Opera           International Opera Festival.
at Weill Hall at Carnegie Hall and
the Goethe Institute in New york    and with the National Symphony             In great demand on the concert
City, with the Wagner Society in    Orchestra conducted by Leonard             stage, Mr. Ramsay’s numerous sym-
San Francisco, the Olympic Mu-      Slatkin. She appeared as soloist in        phonic engagements have included
sic Festival in Seattle, the Mozart Beethoven’s Symphony No. 9 with the        solo performances of Tippet’s A
Society of California in Carmel     Philadelphia Orchestra under Rossen        Child of Our Time, Tchaikovsky’s
and in Lübeck, Germany. She has     Milanov. She was also a featured           Francesca da Rimini, Verdi’s Re-
collaborated with contemporary      artist at the Marlboro Music Festival      quiem, Carmina Burana, Handel’s
composers, such as Kirke Mechem     collaborating with esteemed pianists       Messiah, Mozart’s Requiem, Bach’s
and Pulitzer Prize winner Aaron     Ken Noda and Mitsuko Uchida, has           Magnificat and Beethoven’s 9th
Jay Kernis, and has performed       performed Messiah with the New             Symphony with the American Sym-
Schönberg’s Pierrot Lunaire with    Mexico Symphony Orchestra, Pacific         phony Orchestra, Chicago’s Music
conductor Kent Nagano. She serves   Symphony Orchestra, and New Cho-           of the Baroque, Bach-Collegium
on the faculty of the San Francisco ral Society, and performed for the         Stuttgart, and major symphony or-
Conservatory’s Preparatory Divi-    American premiere of Philip Glass’         chestras of Chicago, Toronto, Saint
sion and Adult Extension.           White Raven with the Lincoln Center        Louis, Milwaukee, and Pasadena.
                                                                               During his three-season engage-
Jennifer Hines,                        Jennifer Hines holds both Bachelor of   ment with the Lyric Opera of
                                       Music and Master of Music degrees       Chicago’s Ryan Opera Center, Mr.
                                       from The Juilliard School and is a      Ramsay made his debut as Rodrigo
L  auded by Opera News for her
   “rich, dark mezzo” and “... a
voice so rich and colored that she
                                       former Apprentice Artist with Santa
                                       Fe Opera, Tanglewood Music Center
                                                                               in Verdi’s Otello alongside Canadian
                                                                               tenor Ben Heppner and American
                                       participant, and member of Seattle
easily steals any scene in which she                                           soprano Renée Fleming. During
                                       Opera’s young Artist Program.
appears”, mezzo-soprano Jennifer                                               this time, he sang principal roles in
Hines made her Metropolitan Op-                                                La Bohème, Die Zauberflöte, Parsi-
                                       Scott Ramsey, tenor
era debut as the Fourth Naked Vir-                                             fal, La Traviata, Samson et Dalila,
gin and as alto soloist in Moses und
Aron with Maestro James Levine         P     raised by The New York
                                             Times for his “impressive
                                       ... bright-voiced tenor,” Scott
                                                                               Regina, Lucia di Lammermoor and
                                                                               Madama Butterfly. Mr. Ramsay has
conducting. Since her debut she has                                            won the top prizes from the Ameri-
maintained an active relationship      Ramsay is highly regarded by
                                                                               can Opera Society and the Union
with the celebrated company, and       Opera companies and Symphony
                                                                               League Civic & Arts Foundation.

                                                                     SANTA CRUZ COUNTY SY MPHONY                   19
 guest artists continueD
                                          2010/11 season sponsors

 eugene Brancoveanu,                       Rowland & Pat
 baritone                                  Rebele
 B    rancoveanu’s robust voice
      and superior stagecraft have
 earned him critical acclaim in
                                           Rowland and Pat Rebele have
                                           been supporters of the Santa Cruz
 both North America and Europe.            County Symphony since they first
 He has performed with a wide              moved to Aptos in 1979. Rowland
 assortment of opera companies             joined the Symphony Board in the
 such as the San Francisco Opera,          early 80’s and served as presi-
 the Romanian State Opera, New             dent from 1982 to 1987. He has
 york City Opera, and the Liver-           remained active behind the scenes
 more Valley Opera. He has also            ever since. Although not an active
 performed with such sympho-               worker, Pat supports Rowland in
 nies as the American Symphony             his efforts to sustain a world-class   PAT & rOWLAND rEbELE
 Orchestra, the San Francisco              orchestra for Santa Cruz. Neither
                                           are musicians, although Rowland        performances at the Civic Center
 Symphony, and in a concert of
                                           is capable of playing the piano and    in Santa Cruz, all four concerts
 Bernstein repertoire with the
                                           Pat once played the triangle in        performed annually are now
 Pacific Symphony Orchestra.
                                           grade school. Nonetheless, grow-       performed at the Mello Center in
 With the Los Angeles Philhar-
                                           ing up in San Francisco, both were     Watsonville as well. Their hope is
 monic he continued his perform-
                                           privileged to be exposed to the        that five concerts can be presented
 ing of Michael Tilson Thomas’
                                           San Francisco Symphony Orches-         in Watsonville when funding is
 The Tomashevskys, a work which
                                           tra (then with beloved Maestro         available.
 he premiered at Carnegie Hall
 in 2005–06, has reprised with             Pierre Monteux) so the love for        Additional accomplishments with
 the New World Symphony, and               classical music performed live by      which the Rebeles are delighted
 which he performed again at the           a full orchestra was instilled at an   are the annual young People’s
 Tanglewood Music Center under             early age.                             Concerts and Family Concerts.
 Seiji Ozawa in summer 2009.               Closure of so many orchestras in       Aimed at 4th and 5th graders,
                                           cities across the nation in recent     these concerts are, for many chil-
 Originating the role of Marcello
                                           years has spurred the Rebeles on       dren, the first and only exposure
 in Baz Luhrmann’s Broadway
                                           to more substantial giving, deter-     they will have to a live symphony
 production of La Bohème, the
                                           mined not to let the Santa Cruz        performance. Prior to the con-
 honorary Tony Award winner
                                           orchestra go the way of so many        certs, docents, accompanied by
 is also a recipient of a 2004 LA
                                           others. With gifts and determina-      musicians from the orchestra, visit
 Stage Alliance Ovation Award for
                                           tion of so many in this community,     classrooms to prepare the young-
 his performances of this produc-
                                           including the hard-working League      sters for the experience. For many
 tion in Los Angeles, the winner of
                                           which raises substantial sums to       years, Rowland has been one of
 the National young Opera Singer
                                           support the symphony every year,       those docents.
 Competition in Leipzig, the In-
 ternational Music Award in Loen-          our symphony is on firm ground.        Pat and Rowland are involved in
 berg, and the International Opera         But continued annual giving is         numerous community activities,
 contest “Ferruccio Tagliavini” in         imperative and the Rebeles have        but the Symphony ranks high on
 Germany. Mr. Brancoveanu has              every intention of being a part of     their list and they hope all of you
 held a prestigious appointment as         that ongoing sustainer group.          will come, listen and enjoy our
 an Adler Fellow at San Francisco          The Rebeles are extremely              musicians as much as they do.
 Opera for two seasons.                    pleased that in addition to the

20   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                                2010/11 season sponsors

DOrOTHY WiSE                             SYMPHONY LEAgUE’S 2009 KENTUCKY DErbY DAY

The glenwood                                                                     The Symphony
                                         County, selected the center as a
equestrian Center                        best practices demonstration site       league of Santa
Dorothy Wise purchased the               for other horse property owners in      Cruz County
Glenwood Equestrian Center in            the county. In 2007, the center was
2001 with the goal of creating a         voted Favorite Stable in the Press      The Symphony League of Santa
first-class equestrian facility pro-     Banner’s Valley Faves and Raves         Cruz County was founded in
viding the highest quality training      contest. With trainers Dee White        September 1966, during the
and riding instruction in a safe,        and Jiji Mellon, the center is well     Symphony’s ninth season. As the
fun, and attractive environment.         on its way to achieving its goal of     story goes, the Symphony’s conduc-
Dorothy started riding at the age        becoming a premier competitive          tor Norman Masonson turned to
of seven and continued riding until      training facility for dressage, jump-   secretary Marian Mee during an
the birth of her first child. In 1991,   ing and eventing. For more infor-       Association Board meeting and said,
she moved to Scotts Valley to work       mation call 831.438.8432 or visit       “you need to organize a ‘Women’s’
at Borland. When the opportunity         the website at www.glenwoodeques-       Guild,” and thus was born the Sym-
came to work at startup Agile Soft-                        phony Guild with a membership of
ware, she jumped at the chance,          In addition to her love of horses       12 and Marian Mee as its first presi-
retiring in 2000 with the birth of       and the natural environment, Dor-       dent. Later in 1993, the name was
her third child. Upon purchasing         othy has been a strong supporter of     changed to the Symphony League.
this current property, she returned      the Symphony since she moved to         From that humble beginning, the
to her love of horses and started        the area in 1991. Dorothy was on        League has grown to nearly 200
riding again. During the last nine       the Symphony Board for five years       members, and last season was able
years, she has completely renovated      holding various positions, including    to support the Symphony with a
Glenwood Equestrian Center. The          Board President in 1995-96. Dur-        total contribution of $80,000—the
latest addition is a small cross-        ing the last 15 years, she has been a   largest amount to date. In recogni-
country course. In 2002, Ecology         stalwart sponsor of the symphony,       tion of this, the Symphony Asso-
Action, an organization focused on       including soloists, concerts and the    ciation has honored the League’s
designing and implementing waste         season. Thanks to Dorothy for sup-      accomplishments, and the League
reduction and pollution prevention       porting excellence in both riding       is proud to be a Season Sponsor of
programs throughout Santa Cruz           and music in Santa Cruz County!         the 2010/11 season.

                                                                        SANTA CRUZ COUNTY SY MPHONY                      21
 2010/11 season sponsors

 The Symphony League organizes a                                              ReCITAl
 wide range of fun social events for
 the Symphony community. It pro-
 vides the special service of Con-
 cert Previews, giving concertgoers
 a chance to see the soloist perform
 up close in a personal setting. The
 League also supplies docents for
 musical education in the public
                                                                              MUZIO CleMeNTI
 schools as part of the Symphony’s
 youth & Family Program, and
 many of our members volunteer
 to assist the Symphony office staff
 and provide housing for commut-                                              ROBeRT SCHUMANN
 ing musicians.                                                               (1810–1986)
 The Symphony League’s great-
 est hope is in the continuance of
 growth and activities made pos-
 sible by our dedicated members
 and Symphony supporters, who all
 share in extending our apprecia-
                                       Plantronics’ Chief Technology Of-
 tion and thanks for a most wonder-
                                       ficer by day). We are grateful for
 ful symphony orchestra.
                                       the symphony and the outstanding
                                       talent—and wondrous music!—it
 Plantronics                           brings to us year-after-year. We are
 Plantronics has been a member         truly fortunate to have a world-
 of the Santa Cruz community for       class symphony in our backyard.
 almost 50 years. Like the Santa       Plantronics is proud to sponsor        lUDwIg vAN BeeTHOveN
 Cruz County Symphony, we have         the Santa Cruz County Symphony         (1770–1827)
 a deep passion for beautiful sound    for the 2010/11 year. Just as we’ve
 and the people and instruments        supported the Second Harvest
 that make it happen. The Santa        Food Bank of Santa Cruz (over a
 Cruz Symphony brings music to         million pounds of food donated         interMission
 life so Mozart and Beethoven can      over the past decade!) and The
 touch your soul. Plantronics brings   United Way of Santa Cruz for           fRANZ lISZT
 phone conversations to life so a      many years, Plantronics is dedi-       (1811–1886)
 loved one sounds as if they are by    cated to helping local organizations
 your side.                            that improve the lives of people
 Our associates are great support-     in our extended community. We
                                                                              fRÊDeRIC CHOPIN
 ers of the Santa Cruz County          wish the Santa Cruz County Sym-
 Symphony—you’ll see us in the         phony great success in the coming
 audience, at fundraising events       year. For more information about
 and even in the form of the Board     Plantronics, please visit www.plan-
 President (yes, Owen Brown is

22   S A N TA C R U Z C O U N T Y S Y M P H ONY
J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

J o N N A k A M At S U , P i A N o
s o n ATA i n F - s h A R P m i n o R , o P. 25 (1786–1790)
Più tusto allegro con espressione
Lento e patetico

PA P i L L i o n s , o P. 2 (1831)
   i. introduzione: Moderato
  ii. (without indication)
 iii. Prestissimo
 iV. (without indication)
  V. Presto
 Vi. grazioso
Vii. (without indication)
Viii. Semplice
 iX. (without indication)
  X. Prestissimo
 Xi. Vivo
Xii. (without indication)
Xiii. finale

P i A n o s o n ATA n o. 14 i n C s h A R P m i n o R
“QuAsi unA FAnTAsiA” (1801)
Adagio sostenuto
Presto agitato
                                                                 LEAD SPONSOr
                                                                 THe weSTClIff fOUNDATION

R e s o n e T T i d i P e T R A R C A (1839)
Sonetto No. 47: benedetto sia l’giorno
Sonetto No. 104: Pace non trovo
Sonetto No. 123: l’vidi in terra angelici costume

A n dA n T e s P i A n AT o e T g R A n d e P o L o n A i s e
B R i L L A n T e i n e F L AT m A J o R , o P. 2 2 (1830–31)


                                                                    SANTA CRUZ COUNTY SY MPHONY   23
 the orchestra

                                   ViOLiN 2                  Megan Adie*              TrUMPET
                                   Loretta Taylor            Kelly Beecher            Warren Bartold
                                   Principal                 Plamen Velikov           Principal
                                                                                      Sponsored by
                                   Benjamin Roberts          fLUTE                    Dr. Noel & Miriam fishman
                                   Assistant Principal
                                                             Laurie Camphouse         Glenn Smith
                                   Valerie Bengal            Principal
                                   Priscilla Fisher                                   TrOMbONE
                                   Josephine Gray            Marian Concus
                                                             Carmen Lemoine           Katie Curran
                                   Nancy Kvam
                                                             Sponsored by             Principal
                                   Toshiya Nishi             Jan Hadley
                                   Leah Shrifter                                      Michael Cushing
                                   Becky Smith               ObOE                     bASS TrOMbONE
     ViOLiN 1                      Susan Worland
                                                             Bennie Cottone           Douglas Thorley
     kristina Anderson                                       Principal
                                   ViOLA                     Sponsored by
     Concertmaster                                                                    TUbA
     Sponsored by                  Chad Kaltinger            frank & kate Miller

     Cynthia kilian and waldo      Principal                 Michael Adduci           Forrest Byram
     griffin & ATT Matching fund                                                      Principal
                                   Lisa Antonino             Diane Machado-Wyant
     Chinh Le
                                   Jay Hosler
     Mac Kim                                                 CLAriNET                 TiMPANi
                                   Rachel McGuire
     Associate Concertmasters                                                         John Weeks
                                   Nina Mantcharova          Karen Sremac
     Emily Cox                     Katherine Wentink         Principal                Principal
     Sponsored by                                                                     Sponsored by
                                                             Sponsored by
     locatelli Moving & Storage                                                       Mary James & george Cook
                                                             Harry & Mary Blanchard
     Monika Gruber-Gibbons
                                   Ellen Sanders             bASSOON                  PErCUSSiON
     Graham Hsu
                                   Principal                 Jane Orzel               Norman Peck
     Astrid Huala
     Lori Jensen                   Shain Carrasco            Principal                Principal
     Akiko Kojima Crawford         Lyn Fulkerson             Richard Palm
                                                                                      Sponsored by
                                                                                      Madeline fjelstad
     Emily Packard                 Paul Hale
                                   Joel Schaefer*            HOrN                     Timothy Dent
     Terrie Baume                  Sponsored by                                       Amanda Thompson
     Concertmaster Emerita         Billie and John Mahaney   Susan Vollmer
                                   Eileen Sordyl             Principal
                                                                                      * Leave of absence
                                                             Eric Lesch*
     Strings are listed
                                   CONTrAbASS                Alex Camphouse
     alphabetically within
                                   Alden F. Cohen            John Orzel

24       S A N TA C R U Z C O U N T Y S Y M P H ONY
J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                      oUt         oF thiS                  Wo R l d     ClASSIC CONCeRT



feRNÁNDeZ (1897–1948)         B AT u Q u e (1930)

geORge geRSHwIN               R h A P s o dy i n B L u e (1916)


gUSTAv HOlST                  T h e P L A n e T s (1816)
(1874–1934)                   Mars, the bringer of War
                              Venus, the bringer of Peace
                              Mercury, the Winged Messenger
                              Jupiter, the bringer of Jollity
                              Saturn, the bringer of Old Age
                              Uranus, the Magician
                              Neptune, the Mystic

KUSP 88.9 fM WiLL
CONCErT ON                    BURROUgHS fINANCIAl SeRvICeS AND
fRIDAY, OCTOBeR 22,           lINDA BURROUgHS ReAl eSTATe;
AT 8 PM                       DOROTHY wISe
THE MUSiC. PrOgrAM            e.T. eASTeR, CIvIl eNgINeeR INC.
SUbJECT TO CHANgE.            ReDTRee PROPeRTIeS, l.P.

                                                           SANTA CRUZ COUNTY S Y MPHONY   25
             SA N TA C RUZ C O U N T Y S YM P H O N Y
             J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                                    oUt           oF thiS                 Wo R l d   eNCORe CONCeRT

             MellO CeNTeR, wATSONvIlle
             SUNDAY, OCTOBeR 3, AT 2 PM

             JOHN lARRY gRANgeR, CONDUCTINg
             ROBeRT eDwARD THIeS, PIANO

             OSCAR lOReNZO
             feRNÁNDeZ (1897–1948)           B AT u Q u e (1930)

             geORge geRSHwIN                 R h A P s o dy i n B L u e (1924)


             gUSTAv HOlST                    T h e P L A n e T s (1916)
             (1874–1934)                     Mars, the bringer of War
                                             Venus, the bringer of Peace
                                             Mercury, the Winged Messenger
                                             Jupiter, the bringer of Jollity
                                             Saturn, the bringer of Old Age
                                             Uranus, the Magician
                                             Neptune, the Mystic

             KUSP 88.9 fM WiLL
             brOADCAST THiS                  THiS CONCErT iS gENErOUSLY SPONSOrED bY
             CONCErT ON                      ROwlAND & PAT ReBele
             fRIDAY, OCTOBeR 22,
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             LATECOMErS WiLL                 CATHY RICHARDS & JACk BRADleY
             NOT bE SEATED DUriNg
             THE MUSiC. PrOgrAM
             SUbJECT TO CHANgE.

26   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                                                          prograM notes

BATuQue (1930)                           movement suite which was premiered         his own interests) was singularly
OSCAr LOrENZO fErNáNDEZ                  in 1930, Reisado do pastoreio (Pag-        responsible for propelling young
(1897-1948)                              eant of the Manger). Fernández used        Gershwin from Tin Pan Alley and

                                         a batuque to represent the black king      Broadway to the concert stage and
        efore the 1920s, many Brazil-
                                         as the three magi brought gifts to the     international recognition. Whiteman
        ian composers were strongly
                                         Christ child. Several years later, he      was the self-styled “King of Jazz”
        influenced by their European                                                who led one of New york’s best big
training. Hector Villa-Lobos, the        included this batuque in his nation-
                                                                                    bands, the Palais Royal Orchestra.
most famous of the Brazilian com-        alistic opera Malazarte, completed in
                                                                                    Whiteman’s mission was to demon-
posers, led a movement to establish      1933. Batuque was later published by       strate that jazz could be played for
a nationalistic school of composi-       the American composer Henry Cowell         serious audiences when orchestrated
tion. The European tradition was         in his Orchestra Series and was per-       for groups like his own jazz orches-
combined with the musical cultures       formed by Toscanini during the NBC         tra. He asked the 24-year-old Gersh-
of Brazilian natives and African         Symphony tour of Latin America in          win to write a lengthy jazz work as a
slaves to create a unique approach       1939. This exposure led to it becom-       centerpiece for a concert titled “Ex-
to composition. Oscar Fernández          ing one of Fernández’s most performed      periment in Modern Music” demon-
was one of the young composers           works outside of Brazil. Fernández ex-     strating the legitimacy of jazz on the
                                         tracted a three-movement suite from        concert stage. Gershwin agreed, then
who took up the call for national-
                                         Malazarte in 1941 with Batuque as the      promptly forgot about it. About one
ism. He abandoned his earlier style
                                         third movement.                            month before the concert, Ira Gersh-
with its roots in European romanti-
                                                                                    win showed his brother a newspaper
cism and impressionism and began         Malazarte is considered to be the first    article stating that he was working
to write in the new, mestizo style       successful Brazilian folk opera. The       on a jazz concerto for the upcoming
which combined the European with         opera libretto is based on a story by      event. Gershwin was hard at work
the Brazilian. He was one of the few     Graca Aranha about the Brazilian folk      on his musical Sweet Little Devil and
important Brazilian composers who        hero Pedro Malazarte who overcomes         was probably quite surprised by his
never travelled outside of Brazil to     his opponents by guile rather than         reported participation. Although he
study music. He was a student at the     strength. Nationalistic elements of        told Whiteman that he could not
National Music Institute in the early    the opera include the choruses which       possibly complete the concerto, Ger-
1920s and joined the faculty in 1924.                                               shwin was intrigued by the project
                                         are based on Brazilian folk tunes. It is
He was the founder of the Brazil-                                                   and began to consider tunes that he
                                         interesting that the opera was writ-
                                                                                    could use for the project. Whiteman
ian Conservatory of Music in Rio de      ten in Spanish, not Portuguese, and
                                                                                    also assured Gershwin that he would
Janeiro in 1936, which he directed       was then translated into Italian for       have help with the orchestration
until his death. He composed for a       the premiere. Italian was the main         and that he could write anything he
wide variety of ensembles but was        language used previously by Brazilian      wanted.
especially known for his vocal music.    opera composers and the opera-going
                                                                                    Gershwin later described the cir-
Many of his works were written in        public must have been resistant to too     cumstances that led to the composi-
the style of Brazilian folk music.       much change all at once.                   tion of Rhapsody In Blue: “There had
The batuque is a Brazilian dance of                               —Don Adkins       been so much talk about the limita-
African origin. It is a combination of                                              tions of jazz...Jazz, they said, had to
singing, dancing and percussive sounds   RhAPsody in BLue                (1924)     be in strict time. It had to cling to
including drumming, clapping and         gEOrgE gErSHWiN (1898-1937)                dance rhythms. I resolved, if pos-

stamping. The name of the energetic             aul Whiteman, dance band            sible, to kill that misconception ... I
samba style batucada comes from the             leader, promoter, and vision-       had no set plan, no structure. The
                                                ary (at least when it concerned     Rhapsody, you see, began as a pur-
batuque. Fernández wrote a three-

                                                                         SANTA CRUZ COUNTY SY MPHONY                    27
                                                  prograM notes

                                                  pose, not a plan. I worked out a few
                                                  themes, but just at this time I had to
                                                  appear in Boston for the premiere of
                                                  Sweet Little Devil. It was on the train,
                                                  with its steely rhythms, its rattlety-
                                                  bang that is often so stimulating to a
                                                  composer…I frequently hear music in
                                                  the very heart of noise. And there I
                                                  suddenly heard—and even saw on pa-
                                                  per—the complete construction of the
                                                  Rhapsody, from beginning to end. No
                                                  new themes came to me, but I worked
                                                  on the thematic material already in my
                                                  mind and tried to conceive the compo-
                                                  sition as a whole. I heard it as a sort of
                                                  musical kaleidoscope of America—of
                                                  our vast melting pot, of our undupli-
                                                  cated national pep, of our blues, our
                                                  metropolitan madness. By the time
                                                  I reached Boston I had a definite plot
                                                  of the piece, as distinguished from its
                                                  actual substance.”
                                                  Gershwin wrote a sketch of the work
                                                  in about three weeks and turned it
                                                  over to Whiteman’s chief arranger,
                                                  Ferde Grofé (who later composed the
                                                  Grand Canyon Suite), who scored it in
                                                  ten days for the small jazz orchestra
                                                  which combined eight violins with a
                                                  typical jazz band. Gershwin left large
                                                  portions of the solo piano part blank
                                                  and informed Whiteman that he
                                                  would nod to him when it came time
                                                  to bring in the orchestra. Gershwin
                                                  improvised the solo passages and then
                                                  wrote them down after the concert
                                                  when he had more time. The famous
                                                  clarinet smear that opens the work
                                                  was not invented by Gershwin but was
                                                  contributed by Whiteman’s clarinetist,
                                                  Ross Gorman, as a joke on Gershwin
                                                  during a grueling rehearsal session.
                                                  Gershwin liked the effect so much he
                                                  decided to keep it. Grofé orchestrated
                                                  the work two years later for a more
                                                  typical orchestra.

28   S A N TA C R U Z C O U N T Y S Y M P H ONY
The concert took place at the Aeo-       the toes of St. Anthony….And there      extraordinary talent, just as it also
lian Hall in New york City in Feb-       were the incredible gyrations of that   shows a young composer with aims
ruary 1924 with the stage set in a       virtuoso and imp of the perverse,       that go far beyond those of his ilk,
manner described by one critic as “a     Ross Gorman [the clarinetist]. And      struggling with a form of which he is
litter of every imaginable contraption   then there was Mr. Whiteman. He         far from being master.”
of wind and percussion instruments.”     does not conduct. He trembles, wab-
                                                                                 Even though the concert was ex-
The audience was made up of both         bles, quivers—a piece of jazz jelly,
                                                                                 cruciatingly long and Gershwin’s
Tin Pan Alley musicians and many         conducting the orchestra with the
                                                                                 Rhapsody was programmed near the
famous classically-trained artists       back of the trouser of the right leg,
including Kreisler, Heifetz, Rach-       and the face of a mandarin the while.   end, it was enthusiastically received.
maninoff, Damrosch, Stokowski,           It was late in the evening when the     He was no longer known as just a
Mengelberg, Sousa and Stravinsky.        hero of the occasion appeared. Then     composer of Tin Pan Alley tunes
Olin Downes, music critic of The         stepped upon the stage, sheepishly,     and Broadway musicals but also as a
New York Times reported: “They did       a lank and dark young man—George        serious and upcoming artist whose
not play like an army going through      Gershwin. He was to play the piano      works belonged on the concert stage.
ordered maneuvers, but like the          part in the first public performance
                                                                                                         —Don Adkins
melomaniacs they are, bitten by          of his Rhapsody in Blue for piano and
rhythms that would have twiddled         orchestra. This composition shows

                                                                       SANTA CRUZ COUNTY SY MPHONY                  29
                                                  prograM notes

                                                  The PLAneTs, oP. 32 (1916)
                                                  gUSTAV HOLST (1874-1934)

                                                        he group of English compos-
                                                        ers that received international
                                                        recognition for the first time
                                                  since Henry Purcell in the 17th century
                                                  was vital and working during World
                                                  War I. George Butterworth, a promis-
                                                  ing young composer, was killed in the
                                                  trenches of the front lines. Vaughan
                                                  Williams, perhaps the greatest of this
                                                  group and the best friend of Holst, was
                                                  an ambulance driver. Holst was turned
                                                  down for service because of his physi-
                                                  cal condition so he stayed home to
                                                  teach music and contribute to the war
                                                  effort as best he could. The Planets was
                                                  written during these terrible times.
                                                  Holst was a gifted teacher and musi-
                                                  cian. His education included the study
                                                  of the Hindu religion including the
                                                  Rig Veda hymns and the ability to
                                                  read and write Sanskrit so he could do
                                                  his own translations. He was a mys-
                                                  tic though he would not call himself
                                                  one. Holst often treated friends to a
                                                  reading of their horoscope. His library
                                                  included a book called The Art of
                                                  Synthesis, by Alan Leo. Each chapter
                                                  of the book is based on a planet and
                                                  includes the astrological significance
                                                  of that planet. Musically, Holst could
                                                  not help but be influenced by two
                                                  major musical events that took place
                                                  before The Planets. Schoenberg came
                                                  to England to conduct his Five Orches-
                                                  tral Pieces, and Stravinsky also came
                                                  to conduct The Rite of Spring. Holst
                                                  initially titled The Planets as Seven
                                                  Orchestral Pieces. The dissonance
                                                  and unusual meters in Mars seem to
                                                  suggest a touch of Stravinsky. He also
                                                  shows a familiarity with Debussy’s
                                                  music in Neptune.

30   S A N TA C R U Z C O U N T Y S Y M P H ONY
A young conductor called Adrian
Boult was asked to rehearse and
conduct the first performance of The
Planets for an invited audience of
friends and fellow musicians at the
Queen’s Hall in September, 1916.
Imogen Holst, Gustav’s daughter, later
described the first run-through of The
“The orchestra rehearsed for just under
two hours and then played the work
straight through. The two or three
hundred friends and fellow musicians
who had come to listen in the half-dark
auditorium realized that this was no
ordinary occasion: the music was unlike
anything they had ever heard before.
They found the clamour of Mars almost
unbearable after having lived through
two years of a war that was still going
on. The cool to-and-fro of the chords in
Venus had a balanced tranquillity that
had not yet become a familiar device.
The scurry of Mercury was breathlessly
exciting; I can remember, during the
tuning up in the rehearsal, seeing and
hearing all those violinists frantically
trying to decide on the right fingering
for their rapid high quavers. Jupiter was
thoroughly happy, without any of the
false associations that were afterwards
to link the big tune to the words of
a patriotic hymn [I Vow to Thee, My
Country]. In Saturn the middle-aged
listeners in the audience felt they were
growing older and older as the slow
relentless tread came nearer….The magi-
cal moment in Uranus was when all the
noise was suddenly blotted out, leaving
a quietness that seemed as remote as
the planet in the sky. It was the end of
Neptune that was more memorable than
anything else at the first performance.

                                            SANTA CRUZ COUNTY SY MPHONY   31
prograM notes

Hearing the voices of the hidden choir    throughout his illustrious career.           brings not only physical decay, but
growing fainter and fainter, it was       The first public performance took            also a vision of fulfillment. Mercury is
impossible to know where the sound        place in London in 1920. Holst               the symbol of the mind.”
ended and the silence began.”             explained the work: “These pieces            Edward Evans, probably authorized
The audience was wildly enthusiastic.     were suggested by the astrological           by Holst, elaborated in The Musi-
It was reported that even the scrub-      significance of the planets. There is no     cal Times: “The generally accepted
women working outside the audi-           program-music in them, neither have          astrological associations of the planets
torium had stopped work to dance          they any connection with the deities         are in themselves a sufficient clue to
to Jupiter. Because it was a private      of classical mythology bearing the           the imagination. One may be skepti-
performance, there were no critiques      same names. If any guide to the music        cal concerning horoscopes, but one
written. Holst was thrilled and wrote     is required, the subtitle to each piece      will nevertheless be carried away with
to Boult: “you covered yourself with      will be found sufficient, especially if it   the aggressive rhythm of Mars, the
glory and the players are tremen-         be used in a broad sense. For instance,      Bringer of War; and any schoolboy
dously impressed…and your success         Jupiter brings jollity in the ordinary       pictures Mercury as the Winged Mes-
is so certain that anything I could say   sense, and also the more ceremonial          senger. The very word ‘joviality’ con-
or write would be impertinent.” Boult     kind of rejoicing associated with            notes Jupiter, and the sand-glass and
continued to champion The Planets         religious or national festivities. Saturn    scythe connect Saturn with old age.
                                                                                       It may be new to some of us to regard
                                                                                       Venus as the Bringer of Peace—as she
                                                                                       is, astrologically speaking—for many
                                                                                       have held her responsible for strife in
                                                                                       worldly affairs. It is also unfamiliar
                                                                                       to hail Neptune, the sea god, as a
                                                                                       mystic, and Uranus as a magician; but
                                                                                       once these relations are established
                                                                                       in the titles, it is easy to fall into the
                                                                                       mood of the respective movements.”
                                                                                       Holst did not enjoy the celebrity
                                                                                       brought to him by The Planets. When
                                                                                       people would ask him for his auto-
                                                                                       graph, he would hand them a typed
                                                                                       paper that stated he did not give auto-
                                                                                       graphs. The public was never satisfied
                                                                                       with his later music because he con-
                                                                                       tinually experimented with different
                                                                                       types of music and often found him-
                                                                                       self misunderstood by it. His friends
                                                                                       and fellow musicians, however, found
                                                                                       his constantly changing approaches to
                                                                                       be interesting and musically satisfying.
                                                                                                                 —Don Adkins

32     S A N TA C R U Z C O U N T Y S Y M P H ONY
      A Golden Opportunity
                                                  Would you like to help keep great classical music
                                                  alive and thriving in Santa Cruz County for
                                                  years to come? Would you like to leave a lasting
                                                  legacy that provides outstanding music education
                                                  opportunities for both adults and children in the

                                                  If your answer is yes to either of the above ques-
                                                  tions, please consider supporting the Santa Cruz
                                                  County Symphony’s Endowment.
             SANTA CRUZ COUNTY                    Endowment funds are permanent funds that will be invested
           SYMPHONY eNDOwMeNT                     and provide an annual return in perpetuity for the Sympho-
                                                  ny. An endowment gift can be designated toward a specific
               fOUNDINg MeMBeRS
                                                  purpose or as an unrestricted gift.
              John & Linda Burroughs
         David E. Davis Donor Advised Fund        Endowment gift opportunities include support for musi-
          at the Community Foundation of          cians’ chairs, concerts, guest artists, and other artistic and
                 Santa Cruz County                education programs. Recognition of major endowment gifts can
                Rowland & Pat Rebele              include public naming opportunities in perpetuity.
             gOlDeN NOTeS SOCIeTY*                The Symphony can accept numerous types of gifts to establish
         Harry & Mary Blanchard (one note)
                                                  an endowment fund. This includes outright gifts of cash, a
              Owen Brown (two notes)              charitable gift in a will or living trust, real property, appreci-
                Sue Cony (two notes)              ated stock, insurance policies, or other financial assets.
            Lee & Emily Duffus (one note)
              Jennifer & Gary Edwards             Planned gifts such as charitable remainder trusts can pro-
         in honor of Edwin Taylor (one note)      vide immediate tax benefits and a variable income for life of
              Cynthia Kilian (one note)           the donor, while creating a permanent fund that ultimately
              Mary Ann Orr (one note)             goes toward the Symphony’s endowment.
          Vicki & Rodger Wasson (one note)
               Nancy Woolf (one note)
                                                  R For more information on gift opportunities,
           eNDOwMeNT CONTRIBUTORS                 please contact Jan Derecho, Symphony Executive Director
                                                  at (831) 462-0553, ext. 13.
               Marion & R.J. Escobar
               Catharine & James Gill
                     Natalie Grant                Help create a sound financial future
                Richard & Diane Klein             for the Santa Cruz County Symphony.
              Billie & Dr. John Mahaney
                  Frank & Kate Miller
                     Jerold O’Brien
                   Nick & Ruth Royal              CONTRIBUTe TO THe gOlDeN eNDOwMeNT
                   Bernice M. Woolf               CAMPAIgN TODAY!
                *Each note represents
               a contribution of $5,000

34   S A N TA C R U Z C O U N T Y S Y M P H ONY
J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                       S t R i C t lY C l A S S i C A l                     ClASSIC CONCeRT


ROgeR wIlkIe, vIOlIN
JOHN wAlZ, CellO

wIlIAM BOYCe                  s ym P h o n y n o. 5 i n d m A J o R , o P. 2 (1760)

wOlfgANg AMADeUS              s ym P h o n y n o. 39 i n e b m A J o R , k . 543 (1788)
MOZART                        Adagio - Allegro
(1756–1791)                   Andante con moto
                              Menuetto: Allegretto


lUDwIg vAN BeeTHOveN          C o n C e R T o Fo R P i A n o, v i o L i n A n d C e L L o
(1770–1827)                   i n C m A J o R , o P. 56 (1804)
                              rondo alla polacca

KUSP 88.9 fM WiLL
brOADCAST THiS                THiS CONCErT
CONCErT ON                    iS gENErOUSLY SPONSOrED bY
fRIDAY, MARCH 25,             MIllIe & JeRRY fITZgeRAlD AND OweN BROwN
THE MUSiC. PrOgrAM            iS SPONSOrED iN PArT bY
SUbJECT TO CHANgE.            SHIRleY gReeNwOOD

                                                       SANTA CRUZ COUNTY S Y MPHONY           35
             SA N TA C RUZ C O U N T Y S YM P H O N Y
             J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                                     S t R i C t lY C l A S S i C A l                       ClASSIC CONCeRT

             MellO CeNTeR, wATSONvIlle
             SUNDAY, JANUARY 30, AT 2 PM

             JOHN lARRY gRANgeR, CONDUCTINg
             PACIfIC TRIO
             eDITH ORlOff, PIANO
             ROgeR wIlkIe, vIOlIN
             JOHN wAlZ, CellO

             wIlIAM BOYCe                     s ym P h o n y n o. 5 i n d m A J o R , o P. 2 (1760)

             wOlfgANg AMADeUS                 s ym P h o n y n o. 39 i n e b m A J o R , k . 543 (1788)
             MOZART                           Adagio - Allegro
             (1756–1791)                      Andante con moto
                                              Menuetto: Allegretto


             lUDwIg vAN BeeTHOveN             C o n C e R T o Fo R P i A n o, v i o L i n A n d C e L L o
             (1770–1827)                      i n C m A J o R , o P. 56 (1804)
                                              rondo alla polacca

             KUSP 88.9 fM WiLL
             brOADCAST THiS
             CONCErT ON                       THiS CONCErT
             fRIDAY, MARCH 25                 iS SPONSOrED iN PArT bY
             AT 8 PM                          THe MellO MUSIC MAkeRS
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             NOT bE SEATED DUriNg             THE SOLOiST
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36   S A N TA C R U Z C O U N T Y S Y M P H ONY
prograM notes

symPhony no. 5                            Later in his life Boyce began to go        ondly, many of his pieces were not
in d mAJoR (1760)                         deaf. He still received appointments       published until later in his lifetime,
WiLLiAM bOYCE (1711-1779)                 to the most prestigious positions,         when they were already going out
                                          such as director of the Chapel Royal       of style. The third factor is the lack

             illiam Boyce was known       for the royal family and Master of         of respect English composers have
             during his lifetime as an    the King’s Musick. Since his ex-           always been given when compared
             organist, composer and       tremely light duties made these            with the “masters” from the conti-
musicologist. He began his musical        positions easy to fulfill, he turned his   nent. Boyce’s music reappeared in
studies in the traditional English        attention to what we now call musi-        1928 in a few published editions.
manner as a boy chorister and, when       cology. The contribution for which         After World War II, numerous schol-
his voice changed, as a student in        he was known long after his com-           arly editions began to appear, placing
organ performance and composi-            positions had disappeared was the          his music into the standard Baroque
tion. As word spread of his excellent     multi-volume Cathedral Music. This         repertoire of today.
musicianship and pleasing personal-       collection of English church music         During his extensive work as theatre
ity, he received many prestigious         from the previous two hundred years        composer for Drury Lane (1749-
posts as a church musician and also       was an invaluable tool in preserving       1757) Boyce wrote the music that
had great success as a theatre com-       the English tradition of choral and        would eventually be used to form
poser. This flexibility was probably      organ music.                               the set of eight so-called symphonies
prompted not only by his talent but
                                          Charles Burney, a distinguished            published in 1760. These are not
also by financial circumstances that
                                          music historian of the times who was       symphonies in the classical sense,
required him to take whatever work
                                          unusually hard on English compos-          but rather collections of movements
was available.
                                          ers, wrote of Boyce: “There is an          taken from overtures and incidental
Musical life in England was changing      original and sterling merit in his         music written for plays and operas.
from a diversion supported primar-        productions, founded as much on            Thomas Arne was Boyce’s main com-
ily by the aristocracy to a passion       the study of our own masters as on         petitor, not only when their works
cultivated and supported by the           the best models of other countries,        were produced side by side at Drury
rising middle class. Boyce’s activities   that gives to all his works a peculiar     Lane but when Arne was writing
in the theatre and his publication of     stamp and character of his own,            for Covent Garden. The music was
music specifically for middle-class       for strength, clearness, and facility,     written to enhance the drama and
consumption took advantage of             without any mixture of styles, or          also to appeal to the popular taste of
these new trends. His twelve pub-         extraneous and heterogeneous orna-         middle-class theatre patrons and to
lished trio sonatas were extremely        ments.” Boyce’s music was similar          demolish the competition. Boyce’s
popular with amateurs and with            in many ways to that of London’s           effort to rework his earlier theatre
theatre orchestras, who would use         most famous composer after Handel,         music into these symphonies for
various movements as incidental           Johann Christian Bach.                     publication demonstrates his good
music for plays. Extra instruments                                                   business sense in recycling already-
                                          Three factors contributed to the
would double the parts as available,                                                 successful material.
                                          fact that Boyce did not enjoy fame
a practice that Boyce condoned and
                                          outside of England. First, his non-                               —Don Adkins
even recommended as a way to add
                                          theatre music was performed only
interest to the sound. Only the trio
                                          sporadically because there were
sonatas by Corelli were more popu-
                                          not enough orchestras available in
lar in England than Boyce’s.
                                          England to play the large number
                                          of compositions being produced. Sec-

                                                                          SANTA CRUZ COUNTY SY MPHONY                   37
                                                  prograM notes

                                                  ConCeRTo FoR PiAno,
                                                  vioLin And CeLLo in C,
                                                  oP. 56, “TRiPLe” (1804)
                                                  LUDWig VAN bEETHOVEN

                                                           eethoven’s greatest accom-
                                                           plishment of 1804 was the
                                                           completion of Symphony No.
                                                  3. At the same time he was constantly
                                                  frustrated by his attempts to write
                                                  his only opera Fidelio, due to various
                                                  intrigues between Vienna’s two major
                                                  opera houses. During all of these dis-
                                                  tractions (distraction seems to be one
                                                  of the constants in Beethoven’s life)
                                                  the Triple Concerto was written. Initial
                                                  sketches for the concerto appear on the
                                                  last three pages of the Symphony No.
                                                  3 sketchbook. Beethoven offered the
                                                  concerto to his publisher Breitkopf and
                                                  Härtel in 1803 even though he had
                                                  only the overall conception in mind
                                                  and those few completed sketches. He
                                                  offered it to them again in 1804 still
                                                  incomplete. Although 1804 is listed as
                                                  the year of completion in his catalogue,
                                                  it is possible that he actually did not
                                                  finish the work until after the unsuc-
                                                  cessful premiere of Fidelio in 1805.
                                                  The Triple Concerto falls into the cat-
                                                  egory of sinfonia concertante, the Clas-
                                                  sical period’s version of the popular
                                                  Baroque concerto grosso where a small
                                                  group of soloists contrast with the larg-
                                                  er orchestra. Many sinfonie concertanti
                                                  had been written before Beethoven,
                                                  but none that we know of features the
                                                  combination of solo piano, violin and
                                                  cello. In order to handle three such
                                                  dominating solo instruments without
                                                  making the work excessively long,
                                                  Beethoven resorted to many tricks.
                                                  The most common is the appearance

38   S A N TA C R U Z C O U N T Y S Y M P H ONY
of the soloists as either a violin-cello
duet or piano solo. The balance between
the orchestra and piano or violin solo
is not difficult but the lower register of
the cello makes it difficult to be heard.
Beethoven solved this problem by keep-
ing the cello frequently in its upper
register, making it the most virtuosic of
the three parts. Beethoven’s most obvi-
ous acknowledgement of the Baroque
heritage of this piece is his choice of a
polacca for the last movement. The dis-
tinct rhythm of this nationalistic Polish
dance, also known as a polonaise, brings
to mind the Baroque dance suites by
German composers such as J.S. Bach,
who frequently included this dance for
its characteristic flavor.
Anton Schindler, friend of Beethoven
and one of his biographers, believed the
solo parts were written for Beethoven’s
young piano student Archduke Rudolph,
respected violinist Carl Seidler, and the
cellist for whom Haydn wrote one of his
famous concertos, Anton Kraft. After
successful tryouts by these three in pri-
vate, Beethoven had the work published
in 1807. The initial public performance
in 1808 was a disaster, with the blame
placed squarely on the shoulders of the
ill-prepared soloists, none of whom was
in the original trio. The concerto was
then ignored until after Beethoven’s
death, when three German soloists
performed it in Paris to great acclaim in
1830. The major hurdle in performing
the Triple Concerto is finding three excel-
lent soloists who are willing to share the
spotlight. Musically, the quality of this
concerto places it in the same category
as his five frequently-performed piano
concertos and the violin concerto.
                            —Don Adkins

                                              SANTA CRUZ COUNTY SY MPHONY   39
                                         prograM notes

                                        symPhony no. 39                            economy improved, the number of
                                        in eb, k. 543 (1788)                       commissions increased significantly,
                                        WOLfgANg AMADEUS                           and by 1791 his music was receiving
                                        MOZArT (1756-1791)                         just as many performances as ever.
                                                                                   At the time, many families were scal-

                                                   ne of the greatest demon-
                                                                                   ing back households, selling horses,
                                                   strations of musical creativ-
                                                                                   dismissing servants and doing every-
                                                   ity over a short span of time
                                                                                   thing possible to economize. Mozart
                                        took place during the summer of
                                                                                   moved his family from rather expen-
                                        1788, when Mozart wrote all three of
                                                                                   sive lodgings in Vienna to a quieter
                                        his last symphonies. Most of Mo-
                                                                                   place in the suburbs with a lower
                                        zart’s biographers have made a point
                                                                                   rent. He looked forward to this move
                                        of describing his life at this time as
                                                                                   because he now found himself with
                                        miserable: embarrassing letters to
                                                                                   free time and wanted a quieter place
                                        friends asking for money, a public
                                                                                   to complete several projects for the
                                        that no longer supported his music, a
                                                                                   coming concert season. His anticipa-
                                        move to less than satisfactory lodgings
                                                                                   tion of a set of subscription concerts
                                        in the suburbs of Vienna, the death of
                                                                                   at the Casino during the Fall of 1788
                                        a young child and the serious illness
                                                                                   was his reason for creating his last
                                        of his wife. This period, according
                                                                                   three symphonies. He even printed
                                        to many writers, is the beginning of
                                                                                   tickets for the concerts and sent two
                                        Mozart’s long slide into a “pauper’s
                                                                                   free tickets to his friend (and financial
                                        grave” which is a misunderstanding
                                                                                   supporter) Michael Puchberg. The
                                        of the actual situation. Along with
                                                                                   concerts never took place because
                                        these tribulations comes the mystery
                                                                                   the usual subscription audience, the
                                        of why he wrote three symphonies
                                                                                   upper class and the aristocracy, no
                                        that were not performed during his
                                                                                   longer had enough disposable income
                                        lifetime. A look at the facts can clear
                                                                                   for luxuries. His letters requesting
                                        up these misconceptions.
                                                                                   loans of money from Puchberg, often
                                        Mozart did lose a child to illness in      interpreted as desperate requests,
                                        June and his wife was quite ill. As        were written to a friend who regularly
                                        to his career, he was not suffering        loaned reasonable amounts to many
                                        any more than others in Vienna.            people. Puchberg was fully confident
                                        Austria was at war with the Turks          that Mozart would be able to repay
                                        and was experiencing a depressed           the loan in a few months. Mozart’s
                                        economy that affected even the ar-         burial three years later was done ac-
                                        istocracy. Performance groups were         cording to the standard procedure of
                                        being disbanded, concerts canceled         the day and was not a result of poor
                                        and commissions to composers               finances. Due to public health issues
                                        withheld. Every musician, Mozart           and a concern for the high expense
                                        included, was being performed              of funerals, Emperor Joseph had
                                        less often because fewer concerts          decreed that all burials except for
                                        were taking place. As soon as the          nobility would take place in a com-

40   S A N TA C R U Z C O U N T Y S Y M P H ONY
mon grave with the bodies encased only
in linen sacks.
The Symphony No. 39 is sometimes con-
sidered to mark the start of Mozart’s last
period. E.T.A. Hoffman thought it both
the “swan song” of his younger style and
the beginning of a new approach: “Love
and melancholy breathe forth in purest
spirit tones; we feel ourselves drawn
with inexpressible longing towards the
forms which beckon as the clouds to
another sphere.” The pure joy that can
be found in this symphony is followed
by the pathos of his Symphony No. 40
and the grandeur of No. 41. At the time
they were written, Mozart probably
envisioned them as the cornerstones of
three different concerts in his Casino
subscription series.
Many concepts in the first of these three
symphonies reflect ideas in his great
operas The Marriage of Figaro, The Magic
Flute and Don Giovanni. The opening
slow Adagio is closely related to the
opening of the overture to The Magic
Flute. The choice of key, Eb, along with
the type of melodies found throughout
the score, place this symphony close
to the music he wrote for the Masonic
lodge. The last movement is the most
Haydnesque of symphonic movements
written by any composer other than
Haydn. Of the approximately ten thou-
sand symphonies written during the
1700s, only a small number are per-
formed. Of those still heard, Mozart’s
Symphony No. 39 is certainly one of the
most appealing, thanks to its abundant
energy, sonority and lyricism.
                          —Don Adkins

                                             SANTA CRUZ COUNTY SY MPHONY   41
       Fundraising Events
                Home Tour
                & Boutique                             Co-ed golf
                December 3 & 4                        Tournament
                Friday and Saturday, 4-8 pm              spring 2011
             A self-guided tour of wonderful and
            unique homes throughout the county.
          Join us at our Friday evening Gala Grand
           Opening for refreshments and intro-
             duction of a new and exciting silent
           auction and a very special opportunity
                                                        derby day
                call Pamela Raabe at 359-5599              may 7, 2011
              or Mary Ann Hobbs at 466-9524

         Come join the League for an opportunity to
           attend a preview on Friday before each
         concert. Meet Maestro John Larry Granger
                                                             Date to be announced
         and our soloists, enjoy food, refreshments   Dinner | Dancing | Entertainment
         and hear musical excerpts and an informa-    Auction | Wine tasting | Cocktails
           tive talk on the pieces to be presented.     call Angela Clark at 423-2749
                 Call Gail Mowatt at 425-7772          or Mary Ann Hobbs at 466-9524

               round robin
                 bridge                               join us!
                                                             For more information
               Gather with friends old and new to         visit the Symphony League’s
                support the Symphony League                    website at
                            ongoing                    or call Connie Adams at 335-7882
                Call Jan D. Hadley at 438-4494

42   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                              Message froM
                                               the sYMphonY league presiDent

Directors & Officers              As we enter the 2010-2011 sym-          One of the most popular League
gene Wright                       phony season—the 53rd of our            events is our Performance Preview
President                         outstanding symphony orchestra—         Series which is held each Friday
Clyde Vaughn                      one only needs to peruse the pro-       prior to the weekend performances.
President Elect                   gramming adopted by our Music           Established as a special concert-
frank Miller                      Director, John Larry Granger, to        preview for League members,
Past President, Parliamentarian   appreciate what a treasure of classi-   we invite interested community
Mary Ann Hobbs                    cal musical talent we enjoy in Santa    residents to join us. The previews
Vice-President, Fund Raising      Cruz County. The theme Great            are conducted by Maestro Granger
& Public Relations
                                  Music Lives Forever is the back-        and feature the guest soloist. If
gail & bill Mowatt                drop for what promises to be an         you are a first-time visitor to one
Vice Presidents, Educational
Programs & Previews
                                  exciting and memorable sequence         of the previews, you may attend
                                  of performances.                        as our guest if invited by a League
Connie Adams
Vice-President, Membership        The Santa Cruz County Symphony          member. Or, you may initiate

Ola Monaghan                      League is dedicated to provide the      an invitation by contacting Gail
Recording Secretary               highest possible support for the        Mowatt at 831-425-7772 or email
Peggy Minier                      Santa Cruz County Symphony,    A wine
Corresponding Secretary           its performances and programs,          and appetizer reception follows
Sheila Vaughn                     and for classical music education       each preview and we will attempt
Treasurer                                                                 to recruit you as a member.
                                  in the community. With a current
Donna Large & Pamela raabe        membership of more than 170 we          The League wishes each concert at-
At Large Board Members
                                  strive to accomplish our mission        tendee the very best classical music
Jan Pierce
                                  through a series of fundraising         experience during the season with
Rehearsal Refreshments
                                  events that you may review on the       a confidence that has long been es-
Ann Hayden
                                  opposite page. We rely heavily on       tablished by our symphony orches-
Volunteer Coordinator
                                  the participation of all Santa Cruz     tra. We look forward to seeing you
Lee Slaff
Communications Coordinator        County residents who value quality      at each and every performance. We
                                  classical music and its presence in     also look forward to your participa-
Marie Tomasi
Historian                         the community. We invite all inter-     tion in League events, activities and
Cathy Parisie                     ested folks to join us in our quest     fundraisers. Visit us at our website
Housing Musicians                 to support our valued orchestra and     at for up-to-date
Jan Davis Hadley                  the dedicated musicians who make        information throughout the year.
Round Robin Bridge                it possible. Anyone interested in                    Gene Wright, President
Joseph Scott                      membership may obtain informa-                         The Symphony League
Auditions Committee               tion from Connie Adams by calling                      of Santa Cruz County
Danene forman                     831-335-7882 or email
Office Volunteers       

                                                                 SANTA CRUZ COUNTY SY MPHONY                     43
 R hYthMS              oF     l iFe      fAMIlY CONCeRT



       leONARD BeRNSTeIN                oveRTuRe To ‘CAndide’ (1956)

       RUSSell PeCk                     The ThRiLL oF The oRChesTR A (1985)

       JOSÉ l. elIZONDO                 esTAmPAs mexiCAnAs (1996)

       CAMIlle SAINT-SAËNS              BACChAnALe, FRom ‘sAmson And deLiLAh’ (1877)

       JOHN PHIlIP SOUSA                WAshingTon PosT mARCh (1889)

        fUNDiNg fOr THE                 SUSAN CONY
        YOUTH & fAMiLY PrOgrAM          DIANe & DONAlD COOleY
        SPONSOrS                        lee & eMIlY DUffUS
                                        JAMeS & CATHARINe gIll
                                        RUSSell & MARY ANN HOBBS
                                        MONTeReY PeNINSUlA fOUNDATION YOUTH fUND
                                        ROwlAND & PAT ReBele
                                        JACk & BARBARA RITCHeY
                                        SANTA CRUZ MeMORIAl
                                        wellS fARgO BANk

44   S A N TA C R U Z C O U N T Y S Y M P H ONY
J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                       deCA deNt deliGhtS                                ClASSIC CONCeRT



PeRCY gRAINgeR                i n A n u T s h e L L (1916)
(1882–1961)                   i.     Arrival at Platform Humlet
                              ii.    gay but Wistful
                              iii.   Pastoral
                              iV.    The gum-Suckers’ March

fRANZ lISZT                   P i A n o C o n C e R T o n o. 1
(1811–1886)                   i n e b m A J o R , s .124 (1849)
                              Allegro maestoso
                              Quasi adagio
                              Allegretto vivace
                              Allegro marziale animato
fRANZ lISZT                   P i A n o C o n C e R T o n o. 2
(1811–1886)                   i n A m A J o R , s .125 (1857)
                              Adagio sostenuto assai - Allegro agitato assai
                              Allegro moderato
                              Allegro deciso - Marziale un poco meno allegro
                              Allegro animato

NIkOlAY RIMSkY-kORSAkOv C A P R i C C i o e s PAg n o L , o P. 34 (1887)
(1844–1908)             Alborada
KUSP 88.9 fM WiLL             Scena e canto gitano
brOADCAST THiS                fandango asturiano
                              THiS CONCErT iS gENErOUSLY SPONSOrED bY
LATECOMErS WiLL               TODD & CORINNe wIPke
SUbJECT TO CHANgE.            SHIRleY gReeNwOOD

                                                           SANTA CRUZ COUNTY S Y MPHONY    45
             SA N TA C RUZ C O U N T Y S YM P H O N Y
             J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                                      deCA deNt deliGhtS                                eNCORe CONCeRT

             MellO CeNTeR, wATSONvIlle
             SUNDAY, MARCH 27, AT 2 PM

             JOHN lARRY gRANgeR, CONDUCTINg
             ADAM NeIMAN, PIANO

             PeRCY gRAINgeR                  i n A n u T s h e L L (1916)
             (1882–1961)                     i.     Arrival at Platform Humlet
                                             ii.    gay but Wistful
                                             iii.   Pastoral
                                             iV.    The gum-Suckers’ March

             fRANZ lISZT                     P i A n o C o n C e R T o n o. 1
             (1811–1886)                     i n e b m A J o R , s .124 (1849)
                                             Allegro maestoso
                                             Quasi adagio
                                             Allegretto vivace
                                             Allegro marziale animato
             fRANZ lISZT                     P i A n o C o n C e R T o n o. 2
             (1811–1886)                     i n A m A J o R , s .125 (1857)
                                             Adagio sostenuto assai - Allegro agitato assai
                                             Allegro moderato
                                             Allegro deciso - Marziale un poco meno allegro
                                             Allegro animato

             NIkOlAY RIMSkY-kORSAkOv C A P R i C C i o e s PAg n o L , o P. 34 (1887)
             (1844–1908)             Alborada
             KUSP 88.9 fM WiLL               Scena e canto gitano
             brOADCAST THiS                  fandango asturiano
             CONCErT ON
             fRIDAY, APRIl 22,
             AT 8 PM                         THiS CONCErT iS gENErOUSLY SPONSOrED bY
             LATECOMErS WiLL                 ROwlAND & PAT ReBele
             NOT bE SEATED DUriNg
             THE MUSiC. PrOgrAM
             SUbJECT TO CHANgE.

46   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                                                          prograM notes

in A nuTsheLL           (1916)           His travels took him through North         admirers, Grainger’s contributions to
PErCY grAiNgEr (1881-1961)               America, Europe, New zealand and           20th c. music are still not considered
                                         South Africa with frequent visits to       influential.

        ercy Grainger was born in        Australia.                                 Grainger provided the following
        Australia but spent most of
                                         Grainger’s musical interests were          description of In a Nutshell:
        his adult life away from his
                                         extremely eclectic. At one point in        Suite for orchestra, piano and Dea-
home country. He studied music
                                         his life he declared his three favorite    gan percussion instruments. No folk-
in Frankfurt including piano with
                                         composers to be Bach, Delius and           songs or any other popular tunes are
Busoni and started his extremely
                                         Duke Ellington. Along with his love        used in any of the numbers of this
successful career as a concert pianist
                                         of popular music, he also worked           suite. The piano is not treated as a
in England in 1901. He didn’t like
                                         extensively with music of all ages         virtuoso solo instrument, but merely
traditional European classical music
                                         from medieval to the latest 20th c.        as a somewhat outstanding item of
and found himself strongly attracted
                                         experimental music. He worked with         the general orchestral make-up. 4
to popular British music. His com-
                                         several experts, including Arnold          novel Deagan percussion instruments
positions began to be published in
                                         Dolmetsch, in the transcription of         (marvelously perfected examples of
1911 and were heard in several of
                                         early music into modern notation.          American inventive ingenuity in the
London’s more famous concert halls.
                                         His popular British Folk Music Set-        field of musical instrument-making)
Grainger hated automobiles and
                                         tings was a result of his extensive folk   are grouped together with the usual
was a fanatic for physical fitness. He
                                         music collecting activities. He devel-     xylophone, glockenspiel and celesta.
sometimes hiked from concert to
                                         oped a system of “free music” that         Their names are:
concert if the distance was not too
                                         was based on eight pitches with com-
great. He loved to ride trains, second                                              Deagan steel Marimba or Marimba-
                                         plete rhythmic freedom written on
class only, where he could work on                                                  phone [or Hawkes’ Resonaphone] (a
                                         graph paper. He experimented with
his compositions while enjoying the                                                 sort of bass glockenspiel);
                                         collections of theramins (the first
scenery. Grainger constantly gave
                                         electronic live performance instru-        Deagan wooden Marimba-
to charity. He would sometimes
                                         ment) and the use of phonographs           phone or Marimba-Xylophone (a sort
depart the train one station early
                                         with changing speeds. Later in his         of bass xylophone);
and donate the savings in the fare
                                         life he helped develop, along with         Deagan Swiss Staff Bells (similar to
to charity. He would also stay in
                                         singer Burnett Cross, a “Free Mu-          ‘Swiss hand bells’ in tone); and
cheaper hotels, calculate the differ-
                                         sic Machine” which would take his
ence from the most expensive hotel                                                  Deagan Nabimba (a 5-octave instru-
                                         graph compositions written on dif-
and give the difference to the local                                                ment combining some of the charac-
                                         ferent types and colors of paper and
charities. Army surplus stores were                                                 teristics of South-American Marim-
                                         process them into electronic music.
his favorite source for underwear,                                                  bas with a strongly-marked clarinet
                                         Grainger experimented with random
boots and socks. He would not wear                                                  and bass-clarinet quality). In a Nut-
                                         music which predated that of John
a coat in bad weather and never wore                                                shell is divided into four movements.
                                         Cage by thirty years and invented
a hat which was almost unknown                                                      Grainger described Arrival at Platform
                                         several unique instruments to play
for men in the early 1900s. He was                                                  Humlet as “Awaiting the arrival of be-
                                         his extremely avant-garde composi-
sometimes mistaken by the police as                                                 lated train bringing one’s sweetheart
                                         tions. All of this extremely creative
a vagrant and was twice arrested. He                                                from foreign parts; great fun! The
                                         and energetic activity was looked
moved to the United States in 1914                                                  sort of thing one hums to oneself as
                                         upon by the musical establishment
after the outbreak of World War I                                                   an accompaniment to one’s tramping
                                         as unworthy of serious consideration.
and became a US citizen after serv-                                                 feet as one happily, excitedly, paces
                                         In spite of the efforts of his many
ing in the US army as a bandsman.                                                   up and down the arrival platform….

                                                                         SANTA CRUZ COUNTY SY MPHONY                   47
prograM notes

It is marching music composed in an        Grainger finished the scoring of the      and top to total today’s standard of
exultant mood in a railway station.”       suite in New york City during the         88, the metal frame was developed
The second movement Gay But Wist-          summer of 1916. The premiere of In        so strings could be thicker and the
ful (Tune in a Popular London Style)       a Nutshell took place at the Norfolk      instrument louder, the action be-
is “An attempt to write an air with        Festival of Music in Norfolk, Con-        came quicker and more powerful,
a ‘Music Hall’ flavor embodying the        necticut, later that year. Grainger       and the pedals were placed on the
London blend of gaiety with wistful-       conducted the performance which was       floor. Liszt, the greatest pianist of
ness so familiar in the performances       warmly received, probably due more        all time, raised the level of tech-
of George Grossmith, Jr., and other        to the popular elements rather than       nique to unheard-of heights. Critics
vaudeville artists. The ‘Gay but wist-     the experimental portions of the work.    loved him when he was profound
ful’ tune consists of two strains, like    He also had the piece published in ver-   and hated his shallow displays of
the ‘solo’ and ‘chorus’ of music-hall      sions for band, solo piano and piano-     virtuosity. He was a major force in
ditties.” The third movement, Pastoral,    four hands.                               changing music and anticipated the
is the longest of the four movements                               —Don Adkins       future with several revolutionary
with dense, chromatic harmonies that                                                 works. Clara Schumann, one of the
remind the listener of the American                                                  great piano virtuosi of the time, first
composer Charles Ives. This is one of
                                           PiAno ConCeRTo                            heard him in 1838: “I sobbed aloud,
Grainger’s longest uninterrupted piec-
                                           no. 1 in e-FLAT                           it overcame me so.”
                                           (1849, rev. 1853 and 1856)
es of music and one of the few where                                                 His off-stage life was a whirlwind
                                           frANZ LiSZT (1811-1886)
he did not make some descriptive                                                     of activity and women. He could be

comments about its meaning or the                    ne of the new features of       a despicable cad one day and then
context of its creation. He did dedicate             the Romantic period was         perform the most selfless acts of kind-
it “For my dear comrade in art and                   the rise of the solo, vir-      ness the next. Anyone who wanted to
thought Cyril Scott” and said that any     tuoso instrumentalist. Not only did       get ahead in the music world wanted
interpretation should be “restful and      these artists display amazing, almost     Liszt’s attention. He lived with two
dreamy, but wayward in time.”              impossible technique, but they also       different married women for a num-
                                           possessed charismatic personalities.      ber of years and had children with
The final movement, The Gum-
                                           Their popularity was unrivaled,           one of them. Later in life he left the
Suckers’ March, was first sketched
                                           and they led lives similar to today’s     wild life behind, took religious orders
about ten years before the other three
                                           highest-paid popular music stars. Ni-     and wrote a large body of sacred mu-
movements. The title refers to the
                                           colo Paganini was the prototype for       sic. The only thing predictable about
label “Gum-suckers” which is given to
                                           this type of musician. He was tall,       Liszt is that whatever he did would
the natives, including Grainger, of the
                                           gaunt, and mysterious and played          be interesting.
Australian state of Victoria. Grainger
                                           the violin in ways that even today
explained this label: “ ‘Gum-suckers’                                                Even though both of his piano
                                           would electrify audiences. He wrote
is a nick-name for Australians hailing                                               concertos were composed simultane-
                                           his own music to demonstrate his
from the state of Victoria, the home                                                 ously, he created two entirely differ-
state of the composer. The leaves of       unique technique and was popular
                                                                                     ent works. The first is more popular
the ‘gum’ (Eucalyptus) trees are very      both on and off the stage.
                                                                                     due, in part, to its showy, outgo-
refreshing to suck in the parching         Liszt wanted to do for the piano          ing qualities. The second is more
summer weather.” The main tune             what Paganini did for the violin. The     personal and introspective. Piano
quotes Grainger’s earlier Up-country       modern piano as we know it today          Concerto No. 1 is a good example of
Song which he originally wrote in an       was just starting to be developed.        a few of Liszt’s innovations. It has
attempt to create the Australian ver-
                                           More keys were added to the bottom        four major sections, like a symphony,
sion of a Stephen Foster tune.

48     S A N TA C R U Z C O U N T Y S Y M P H ONY
but no breaks, similar to the sym-
phonic poems that were replacing
the symphony. Two main themes are
heard throughout the concerto. This
technique of using the same themes
in various movements to help unify
a work is called thematic or cyclical
Liszt first completed Concerto No.
1 in 1849, when he decided not to
play the piano in public any longer.
One of the exceptions to his with-
drawal was the premiere of this
concerto in 1855. Berlioz conducted
a concert including his own works
and the Liszt concerto, with Liszt
as soloist. Liszt continued to refine
the work but never performed it
himself again. Eduard Hanslick, the
most feared critic of this time, was
divided in his attitudes towards the
concerto. Although he considered
it a powerful, moving work, he was
especially critical of its “bizarre” ele-
ments such as the solo triangle in the
third section. He gave the concerto
the derisive nickname “The Triangle
Concerto.” Liszt replied: “As to the
triangle, I do not deny that it may
give offense, especially if struck too
strong and not precisely…. In the
face of the most wise prescription
of the learned critics I shall, how-
ever, continue to employ percussion
instruments and think I shall yet
win for them effects little known.” A
story has been told that Liszt would
often sing softly the first theme
with the words “Das versteht ihr alle
nicht!” (None of you understand
this) during performances, perhaps a
jab at Hanslick.
                           —Don Adkins

                                            SANTA CRUZ COUNTY SY MPHONY   49
prograM notes

PiAno ConCeRTo no. 2                       a dreamland, in which you would            with contrasting sections that could
in A mAJoR (1857, rev. 1861)               have liked to dwell forever; Liszt was     be seen as corresponding to a multi-
frANZ LiSZT (1811-1886)                    all sunshine and dazzling splendor,        movement format of first move-

       he life of Franz Liszt is full of   subjugating his hearers with a power       ment, scherzo, slow movement and
       change and contradictions. He       that none could withstand. For him,        finale. Another innovative feature
       was a charismatic superstar,        there were no difficulties of execu-       of Liszt’s compositional style is the
intelligent and outgoing, a responsible    tion, the most incredible seeming          use of thematic transformation: a
music administrator, a priest, the         child’s play under his fingers. One of     main theme appears throughout
greatest pianist of all time, a com-       the transcendent merits of his play-       the work in different variants. The
poser of both sublime and shallow          ing was crystal-like clearness which       different versions of the theme give
as well as sacred music, a seducer of      never failed for a moment even in the      it various emotional qualities, allow-
women and unmarried father to sev-         most complicated and, to anybody           ing the same melodic material to be
eral children, the most faithful and       else, impossible passages; it was as       used in contrasting sections. The use
generous of friends, a leader of the       if he had photographed them in the         of this unifying yet malleable the-
musical avant-garde and a respected        minutest detail upon the ear of his        matic technique coupled with the
musical icon whose mere word could         listener. The power he drew from his       single-movement structure gives the
make or break a young musician’s           instrument was such as I have never        music an organic, rhapsodic qual-
career. He chose the great violinist       heard since, but never harsh, never        ity without losing its sense of unity
Niccolò Paganini as his inspiration in     suggesting thumping.”                      and completeness. Liszt made such a
developing a new virtuosic approach        Liszt started work on both of his pia-     significant and persuasive break from
to the piano which is still considered     no concertos in 1839. He worked on         tradition with this piano concerto
the standard for any professional          them at the same time, creating two        that composers after him were “given
pianist. In spite of his youthful dis-     pieces of different character. The first   permission” to rethink the standard
plays of technical virtuosity, he was      is outgoing, full of the pyrotechnics      three-movement form that domi-
later a model for Robert Schumann’s        that makes this a popular piece for        nated for so many years.
concepts of how to write musically         both pianists and audience. The sec-       When listening to his more popular
for the piano while using an amazing       ond is more introverted and personal       music today, his quasi-Hungarian
number of technical tricks.                and is not performed as often. He          music which is well-known through
Since Liszt wrote piano music to           completed the first version of Piano       its use in cartoons or the virtuosity
feature his own skills and personality,    Concerto No. 2 in 1849 but revised it      of his piano music, it is sometimes
it is important to have a picture of       at least three times. The final version    difficult to realize that Liszt contin-
him as a performer in order to help        was published in 1861.                     ued to be an innovative composer to
understand his music. Charles Hallé,       As an innovative composer, Liszt is        the end of his career. He, along with
conductor and pianist, heard Liszt         best known for establishing the tone       Berlioz and Wagner, was considered
play many times. He wrote:                 poem as a popular type of orchestral       a modernist. His later music antici-
                                           music. Unlike the multi-movement           pated several 20th-century styles—
“Such marvels of executive skill and
                                           symphony, the tone poem is a fairly        the impressionism of Debussy and
power I could never have imagined.
                                           lengthy single-movement work for           the atonality of Schoenberg. He
He was a giant, and Anton Rubin-
                                           orchestra with several contrast-           sometimes treated harmony in ways
stein spoke the truth when, at a time
                                           ing sections in a variety of forms.        that defied the conventions of func-
when his own triumphs were great-
                                           He took this same approach to the          tional harmony. He also anticipated
est, he said that in comparison with
                                           structure of his Piano Concerto No.        12-tone music, writing the opening of
Liszt all other pianists were children.
                                           2. It is written as a single movement      his Faust Symphony with what would
Chopin carried you with him into
                                                                                      later be recognized as a 12-tone row.

50      S A N TA C R U Z C O U N T Y S Y M P H ONY
KBOQ 103.9 FM

prograM notes

His manipulation of large-scale form       writes: “Repeating Balakirev’s words,    Rimsky had returned to his nation-
and smaller musical structures was         I used to call Bach a ‘composing         alistic roots, based upon the solid
innovative and immediately influen-        machine’....I did not understand         foundation of his studies of earlier
tial. Liszt was truly the most repre-      then that counterpoint had been the      music. Capriccio demonstrates what
sentative figure of the spirit of the      poetic language of that composer of      Rimsky-Korsakov described as “a
Romantic period, not only in his per-      genius....I had no idea of the evolu-    considerable falling off in the use
sonality, public success and respect,      tion of the civilized world’s music      of contrapuntal devices, which is
but also as an innovator in pursuit of     and had not realized that all modern     noticeable after The Snow Maiden.”
a more expressive musical language.        music owed everything to Bach.”          He commented in his autobiography
                         —Don Adkins       Already an established and success-      that these works “close a period of
                                           ful composer, Rimsky-Korsakov            my work, at the end of which my
CAPRiCCio esPAgnoL                         found himself teaching others with       orchestration had attained a con-
(1887)                                     a sense that he knew nothing. He         siderable degree of virtuosity and
NiKOLAY riMSKY-KOrSAKOV                    devoted himself to studying Bach and     warm sonority without Wagnerian
(1844-1908)                                Palestrina and continually subjected     influence, limiting myself to the
                                           himself to ruthless self-examination.    normally constituted orchestra used

          f the Russian nationalistic
                                           His friends, who referred to him as      by Glinka.” By the winter of 1888,
          school of composers known
                                           “Dear Sincerity,” did not understand     Rimsky-Korsakov and Alexander
          as “The Mighty Five,”
                                           the changes: “They began, indeed,        Glazunov had immersed themselves
Rimsky-Korsakov was considered
                                           to look upon me with a certain pity,     in the world of Wagner by attending
the most skilled at compositional
                                           as one on the downward path.” His        rehearsals and performances of The
techniques, especially in writing for
                                           transitional works during this time      Ring. He then began to follow more
orchestra. He often helped his col-
                                           were not very successful but a foun-     Wagnerian orchestral techniques and
leagues with their compositions and,
                                           dation was being laid that would give    focused on composing opera. His
in the case of Alexander Borodin’s
                                           his later work more cohesiveness and     total operatic output included thir-
Prince Igor and Modest Mussorgsky’s
                                           substance. Another composer who          teen full-length operas. The general
Khovanshchina, was responsible
                                           was shunned by the nationalists be-      opinion of his operas in the context
for completing and bringing them
                                           cause of his rigorous musical training   of music history appears to be: great
to performance after his friends’
                                           —Tchaikovsky—seemed to be one of         music—poor dramatic sense.
deaths. The godfather of this group
                                           the few supportive of Rimsky-Korsa-      Capriccio Espagnol was written during
of composers was Mily Balakirev.
                                           kov’s efforts: “I do not know how to     a pleasant summer spent in a rented
He emphasized Russian nationalistic
                                           express all my respect for your artis-   home beside a lake: “In the middle of
tendencies to the point that compos-
                                           tic temperament. I am a mere artisan     the summer this work [completing
ers such as Bach were ridiculed for
                                           in music, but you will be an artist in   Borodin’s Prince Igor] was interrupted.
their skill in counterpoint. If music
                                           the fullest sense of the word.”          I composed the Capriccio Espagnol
was not identifiable with Russia, it
had no meaning or worth. Rimsky            Three orchestral works were writ-        from the sketches of my projected
recalls seeing Balakirev joking as he      ten in 1887-88 that now represent        virtuoso violin fantasy of Spanish
danced to the music of a Bach fugue,       the Rimsky-Korsakov most familiar        themes.” The violin fantasy was to
waving a different arm or leg each         to the public: Capriccio Espagnol,       serve as a companion piece to the
time another voice entered. This is        Scheherazade, and the The Russian        recently completed Fantasia on Two
the musical atmosphere in which the        Easter Overture. Six years had passed    Russian Themes. Borodin’s unexpected
young composer was raised.                 since the completion of his last         death in February 1887 was a shock to
                                           major work, The Snow Maiden, and         Rimsky-Korsakov and severed the last
In his memoirs of 1874, Rimsky

52       S A N TA C R U Z C O U N T Y S Y M P H ONY
strong tie to his past. He immedi-         the privilege of dedicating the com-
ately set to work on Prince Igor, drop-    position to them. General delight
ping all other projects. Capriccio was     was the answer. The Capriccio went
probably written as a welcome break        without difficulties and sounded bril-
from the intense activity of bringing      liant. Despite its length, the compo-
his friend’s opera to life.                sition called for an insistent encore at
Rimsky-Korsakov’s book on orches-          the concert.” Ten years later Tchaik-
tration is still a standard for today’s    ovsky wrote Rimsky: “your Capriccio
composers. His attitude toward             Espagnol is a colossal masterpiece of
the importance of orchestration is         instrumentation, and you may regard
revealed in comments about Capric-         yourself as the greatest master of the
cio: “The change of timbres, the           present day.”
felicitous choice of melodic designs       The score is dedicated to all sixty-
amid figuration patterns, exactly          seven musicians of the Imperial Rus-
suiting each kind of instrument,           sian Opera House orchestra. Its five
brief virtuoso cadenzas for solo           movements are to be played without
instruments, the rhythm of the per-        a pause.
cussion instruments, and so forth,         Alborada: A morning song or sere-
constitute here the very essence of        nade. In this case, Rimsky-Korsakov
the composition, and not its garb of       starts with a brilliant outburst from
orchestration. The Spanish themes,         the orchestra and finishes with a
                                           delicate passage.
of dance character, furnished me
with rich material for putting in use      Variations: The theme is played by
multiform orchestral effects. All in       the horn and followed by five varia-
all, the Capriccio is undoubtedly a        tions of various colors and a solo
purely external piece, but vividly         flute cadenza.
brilliant for all that.”                   Alborada: A repetition of the open-
                                           ing movement with different orches-
Capriccio represented a complete
                                           tration and in a different key.
change in the compositional style
practiced by Rimsky-Korsakov since         Scene and Gypsy Song: A drum roll
                                           introduces a series of cadenzas. A
1874, and probably caught many mu-
                                           harp glissando leads to the gypsy
sicians off-guard. A series of Russian
                                           song. For music trivia fans: The flute
Symphony Concerts begun in 1886
                                           and clarinet tune in the gypsy song
provided a forum for the premiere          was used for a song called Xanadu in
of new works. The Capriccio was            the television musical from the mid-
scheduled for the fifth concert of the     1950s, The Adventures of Marco Polo.
second season on October 31, 1887.
                                           Fandango of the Asturias: The
“At the first rehearsal, the first move-   fandango is a dance from Andalusia
ment had hardly been finished when         played with guitar and castanet ac-
the whole orchestra began to ap-           companiment. The Alborada returns
plaud. Similar applause followed all       at the end.
the other parts wherever the pauses
                                                                   —Don Adkins
permitted. I asked the orchestra for

                                                                            SANTA CRUZ COUNTY SY MPHONY   53

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54   S A N TA C R U Z C O U N T Y S Y M P H ONY
J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                                        ode          to      J oY      ClASSIC CONCeRT



lUDwIg vAN BeeTHOveN          s ym P h o n y n o. 9 i n d m i n o R , o P. 125 (1824)
(1770–1827)                   Allegro ma non troppo, un poco maestoso
                              Molto vivace
                              Adagio molto e cantabile

KUSP 88.9 fM WiLL
fRIDAY, MAY 27, AT            ROwlAND & PAT ReBele
8 PM
NOT bE SEATED DUriNg          DR. fReD & kATe CHeN
                              JOAN OSBORNe

                                                     SANTA CRUZ COUNTY S Y MPHONY        55
             SA N TA C RUZ C O U N T Y S YM P H O N Y
             J o h n l a r r Y g r a n g e r , M u s i c D i r e c to r • 2 010 /11 s e a s o n

                                                          ode       to     J oY      eNCORe CONCeRT

              MellO CeNTeR, wATSONvIlle
              SUNDAY, MAY 1 AT 2 PM

              JOHN lARRY gRANgeR, CONDUCTINg
              JeNNIfeR HINeS, AlTO
              SCOTT RAMSeY, TeNOR
              eUgeNe BRANCOveANU, BARITONe
              CHeRYl ANDeRSON, CHORAl DIReCTOR

              lUDwIg vAN BeeTHOveN            s ym P h o n y n o. 9 i n d m i n o R , o P. 125 (1824)
              (1770–1827)                     Allegro ma non troppo, un poco maestoso
                                              Molto vivace
                                              Adagio molto e cantabile

              KUSP 88.9 fM WiLL
              brOADCAST THiS
              CONCErT ON
              fRIDAY, MAY 27, AT
              8 PM                                THiS CONCErT iS gENErOUSLY SPONSOrED bY
              LATECOMErS WiLL                     DAvID e. DAvIS DONOr ADViSED fUND AT THE
              NOT bE SEATED DUriNg                COMMUNiTY fOUNDATiON Of SANTA CrUZ COUNTY
              THE MUSiC. PrOgrAM
              SUbJECT TO CHANgE.

56   S A N TA C R U Z C O U N T Y S Y M P H ONY
prograM notes

symPhony no. 9
in d minoR “ChoRAL”
oP. 125 (1824)

        he music critic Philip Hale
        wrote in 1899: “... if this
        music had been written by
Mr. John L. Tarbox, now living in
Sandown, NH, would any conduc-
tor here or in Europe be persuaded
to put it in rehearsal?” The work
in question was Beethoven’s Ninth
Symphony. The 1825 London pre-
miere was deplored as “obstreperous
roarings of modern frenzy,” and 46
years later Louis Spohr declared the
Ninth Symphony finale “so ugly, in
such bad taste, and in the concep-
tion of Schiller’s Ode so cheap that
I cannot even now understand how
such a genius as Beethoven could
write it down.” Critics used words
such as eccentric, willful and even
incompetent to describe a piece they
considered an inartistic mixture of
the sublime and the banal.
Despite the criticism concerning
the last movement, the first three
movements of the symphony were
generally well-accepted. Gustav
Nottebohm, a highly regarded
music scholar of the 19th century,
studied the musical notebooks used
by Beethoven in creating his Ninth
Symphony and came to the conclu-
sion that he was actually working on
two versions. One was to be purely
instrumental and the other to in-        Cards • Jewelry • Purses • Soaps and much more!
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                                                               SANTA CRUZ COUNTY SY MPHONY                    57
58   S A N TA C R U Z C O U N T Y S Y M P H ONY
                                                prograM notes

debate at this time between the sup-      the tempos to the choir master who
porters of pure instrumental music        was standing next to Beethoven and
and those who thought vocal music         actually leading the group with the
drama was the wave of the future.         baton. There are numerous descrip-
A story was quickly circulated that       tions of the disastrous results caused
Beethoven himself voiced misgivings       by such split leadership and the
even as he was completing the sym-        difficulties of the music itself. The
phony. After its first performance he     group focused on the choir mas-
is said to have told Carl Czerny that     ter as Beethoven performed vari-
he was convinced the vocal end-           ous gestures of his own. Violinist
ing was a mistake and he intended         Joseph Böhm described the scene:
substituting an instrumental move-        “Beethoven himself conducted, that
ment later on. Beethoven did keep         is, he stood in front of a conductor’s
the manuscript for six months after       stand and threw himself back and
the premiere before sending it to the     forth like a madman. At one mo-
publishers and chose not to change        ment he stretched to his full height,
the last movement. Whatever the           at the next he crouched down to the
controversy surrounding its creation,     floor, he flailed about with his hands
it is impossible to imagine our own       and feet as though he wanted to play
musical universe without this mag-        all the instruments and sing all the
nificent choral finale.                   chorus parts. The actual direction
The text for the finale of Symphony       was in Duport’s hand; we musicians
No. 9, Schiller’s ode “To Joy,” was       followed his baton only.”
first considered by Beethoven for a       At some point in the concert
musical setting in 1793 when he was       Beethoven became lost, because of
age 23. Beethoven was forty-two           his deafness, in a way that was obvi-
when he planned to use the ode in an      ous to the audience. The retelling
overture with chorus and the earliest     of the actual occurrence has taken
surviving sketches for Symphony No.       many forms but the romanticized
9 date from 1817. Both Schiller and       versions place the incident at the
Beethoven understood the profound         end of the symphony. George Grove
effects of the French Revolution.         was told this version by the alto
They were also champions of the           soloist, Caroline Unger, long after
concept of the brotherhood of man-        Beethoven’s death: “The master,
kind, the subject of “To Joy.” Schiller   though placed in the midst of this
died barely a week before Napoleon        confluence of music, heard nothing
betrayed the revolution by proclaim-      of it at all, and was not even sensible
ing himself Emperor of France.            to the applause of the audience at
Beethoven, in spite of his total deaf-    the end of his great work, but con-
ness, took his place at the podium        tinued standing with his back to
for the premiere performance in           the audience and beating the time,
Vienna on May 7, 1824. Beethoven’s        until Fraulein Unger turned him, or
role in the performance was to give       induced him to turn and face the

                                                                          SANTA CRUZ COUNTY SY MPHONY   59
prograM notes

people, who were still clapping           conviction thereby forced on every-     on all present, and a volcanic explo-
their hands and giving way to the         body that he had not done so before     sion of sympathy and admiration
greatest demonstrations of pleasure.      because he could not hear what was      followed.”
His turning about, and the sudden         going on acted like an electric shock                            —Don Adkins

symPhony no. 9 in d minoR oP. 125 TEXT Of THE fiNAL MOVEMENT
English Version by Henry G. Chapman

        O Freunde, nicht diese Töne!                     Baritone O friends, these sad tones no longer!

        Sondern lasst uns angenehmere anstimmen,         Solo      Rather, raise we now together our voices,
        Und freudenvollere!                                        And joyful be our song!

        Freude schöner Götterfunken                                Joy, thou spark from flame immortal,
        Tochter aus Elysium!                                       Daughter of Elysium!
        Wir betreten feuertrunken                                  Drunk with fire, O heav'n-born Goddess,
        Himmlische dein Heiligtum!                                 We invade thy halidom!

        Deine zauber binden wieder                                 Let thy magic bring together
        Was die Mode streng geteilt                                All whom earth-born laws divide.
        Alle Menschen werden Brüder                                All mankind shall be as brothers
        Wo dein sanfter Flügel weilt                               'Neath thy tender wings and wide.

        Deine zauber...Flügel weilt.                     Chorus    Let thy magic...wings and wide.

        Wem der grosse Wurf gelungen                     Solo      He that's had that best good fortune,

        Eines Freundes Freund zu sein                    Quarter To his friend a friend to be,
        Wer ein holdes Weib errungen                             He that's won a noble woman,
        Mische seinen Jubel ein!                                 Let him join our jubilee!

        Ja, wer auch nur eine Seele                                Ay, and who a single other
        Sein nennt auf dem Erdenrund;                              Soul on earth can call his own;
        Und wers nie gekonnt, der stehle                           But let him who ne'er achieved it
        Weinend sich aus diesem Bund.                              Steal away in tears alone.

        Ja, wer auch...aus diesem Bund.                  Chorus    Ay, and tears alone.

        Freude trinken alle Wesen                        Solo      Joy doth every living creature

60     S A N TA C R U Z C O U N T Y S Y M P H ONY
An den Brüsten der Natur.             Quartet     Draw from Nature's ample breast.
Alle Guten, alle Bösen                            All the good and all the evil
Folgen ihrer Rosenspur.                           Follow on her roseate quest.

Kusse gab sie uns und Reben                       Kisses doth she give, and vintage
Einen Freund geprüft im Tod.                      Friends who firm in death have stood.
Wollust ward dem Wurm gegeben                     Joy of life the worm receiveth
Und der Cherub steht vor Gott!                    And the Angel dwells with God!

Kusse gab sie...steht vor Gott!       Chorus      Kisses doth she give...dwells with God!

Froh wie seine Sonnen fliegen         Tenor       Glad as burning suns that glorious

Durch des Himmels prächt’gen Plan,    Solo        Through the heavenly spaces sway,
Laufet, Brüder, eure Bahn,                        Haste ye, brothers, on your way,
Freudig wie ein Held zum Siegen.                  Joyous as a knight victorious.

Laufet Brüder...Held zum Siegen.      Tenor       Haste ye...knight victorious.


Freude schöner....Flügel weilt.       Chorus      Joy, thou spark...wings and wide.
Seid umschlungen, Millionen!                      Love toward countless millions swelling
Diesen Küss der ganzen Welt!                      Wafts one kiss to all the world!
Brüder, übern Sternenzelt                         Surely, o’er yon stars unfurl’d
Muss ein lieber Vater wohnen!                     Some kind Father has his dwellings!

Ihr stürz nieder, Millionen                       Fall ye prostrate, O ye millions!
Ahnest du den Schöpfer, Welt?                     Dost thy Maker feel, O World?
Such ihn übern Sternenzelt,                       Seek Him o’er yon stars unfurl’d
Über sternen muss er wohnen!                      O’er the stars rise His pavilions!

Freude schöner....Flügel weilt.                   Joy, thou spark....wings and wide

Seid umschlungen....muss er wohnen!               Love toward....His pavilions!

Freude, Töchter aus Elysium!          Solo        Joy, daughter of Elysium!
Deine zauber....Flügel weilt.
                                      Quartet Let thy magic....wings and wide.
Seid umschlungen....Vater wohnen!     & Chorus
FREUDE SCHÖNER GÖTTERFUNKEN,          Chorus      Love toward....has His dwelling!
                                                  Joy thou spark from flame immortal!
                                                  Daughter of Elysium!

                                                        SANTA CRUZ COUNTY S Y MPHONY        61
                                                  Donations &


62   S A N TA C R U Z C O U N T Y S Y M P H ONY
64   S A N TA C R U Z C O U N T Y S Y M P H ONY
 gifts in-kinD

                               THeRe ARe SO MANY wAYS OUR COMMUNITY
                                       SUPPORTS THe SYMPHONY.
                       we recognize those who have given their time, products and services,
                          which have allowed us to make new friends and raise vital funds
                    for the Symphony. we wish to thank the following friends of the Symphony.

 IN-kIND                                  OffICe vOlUNTeeR                     Robert Ley
 Photography:                             Coordinator:                         Pat McVeigh

 Dina Scoppettone
 Kennan & Karen Ward
                                          Danene Forman
                                          Mila Herman
                                                                               Carol Merrell
                                                                               Gail Mowatt
                                                                               Jerold O’Brien

 Concert Reception
  and Event Hosting:
                                          Nancy Krantz
                                          Joan Osborne
                                                                               Winkie Rose
                                                                               Nick Royal
                                          Jan Pierce                           Dan Rutan
 Gabriella Cafe                                                                Dori Schack
 Cynthia Kilian                           YOUTH & fAMIlY                       Paul Seever
 Mary Ann Orr& Gifts                      PROgRAM                              Jill Steinberg
 The Prophet Elias                        Chair:                               Karen Wichelman
   Greek Orthodox Church                  Catharine Gill                       Christine young
 Silver Mountain Vineyards
                                          Docents:                             We apologize if an error or omission
 Concert Flowers:                         Myrna Britton                        has been made in the listing of
                                          George Bunch                         your name. We deeply appreciate all
 Ferrari Florist
                                                                               your support and generosity.
 SANTA CRUZ LOCATION                      Mary Jane Chambers
 Guest Artist Housing:                    Sue Cony
                                          Diana Dean
 Hilton Santa Cruz/ Scotts Valley         Lee Duffus
        FRONT STREET                      Tom Ellison
        SANTA CRUZ
 Carousel Motel/Seaside Company           Larry Friedman
 Kelly Garbarino                          Judy Geer
 Mackenzies Chocolates                    Catharine Gill
 Jan Metz                                 Kent Imai
 Proud Floral Sponsor
 Vicki Wasson                             Kay Kirby

            of the
       Cabrillo Festival
                                                      Flowers & Gifts

      LOCAL: 831.216.4895           Ferrari Florist
     TOLL FREE: 888.800.1156
       24 HR: 888.800.1156
                                                         FRONT STREET
                                                          SANTA CRUZ
                                                      LOCAL 831.460.7000
                                                     TOLL FREE: 831.460.7000
                                                       24 HR: 888.800.1156

       S A N TA C R U Z C O U N T Y S Y M P H ONY
Sales • Rentals • Repairs • lessons
          1010-H Fair Ave.
        Santa Cruz, CA 95060
           (831) 425-0110

                                                 Advertise with the
                                      Santa Cruz County Symphony.

                                           Build your business while
                                        supporting one of Santa Cruz
                                         County’s cultural resources!

                                      SANTA CRUZ COUNTY SY MPHONY       67
                                                  continued from page 15

                                                  Kenneth Konviser &
                                                    Nancy Faulstich
                                                  Marie and Anthony Krajci
                                                  Nancy Krantz
                                                  Donna Krilanovich
                                                  Ken Kubo
                                                  Estella Lacey
                                                  Jeanne Lance
                                                  Arnold & Estelle Levine
                                                  Alice Leyland
                                                  Kirsten Liske
                                                  Michael Luther
                                                  Scott Malon
                                                  Mike & Leta Marx
                                                  Mark Massoud
                                                  Nadine & Eugene Mastin
                                                  Don & Sharon Maxwell
                                                  Anne and Neil McCallum
                                                  Sigrid McLaughlin
                                                  Phyllis Medek
                                                  Michael & Joan Mellon
                                                  George Melville
                                                  John & Barbara Meyer
                                                  Gail Milholland
                                                  Adrienne Momi
                                                  William & Peggy Moore
                                                  Vlada Moran
                                                  Helen Motyka
                                                  Judy Murillo
                                                  Jeanette Muten
                                                  Richard Myers
                                                  Stan Names
                                                  Margaret Newman
                                                  Alberta Nidever
                                                  Lynette Nugent
                                                  Jerold O’Brien
                                                  Joycie Peloso
                                                  Martin & Lucille Pine
                                                  Terry & Sarah Pink
                                                  Gerald Pitman
                                                  Harold & Francine Raphael
                                                  Marianne Rebele
                                                  Gloria Reed
                                                  Paula Reed-Kiehne
                                                  Dick Riechel
                                                  Dr. & Mrs. Jules Riskin

68   S A N TA C R U Z C O U N T Y S Y M P H ONY
Anonymous                       Deborah Sweeney
Winkie Rose                     Janet Tainty
Jacqueline Ryan                 Naomi Takamoto
Ernest Sabloff & Anita Liesel   Art Thivierge
Priscilla Schleich              Marie & Myron Tomasi
Mark Schwartz                   Wendy Toshitsune
Martha Schwartz                 Lisa Wallace
Michael Simone                  Marilyn & Joe Walsh
Carol Skolnick                  Carolyn Wardrip
Chris Smith                     Margaret Watkins
Thomas Snell                    Patricia Williams
Barbara & Barton Snyder         Muriel & Robert Wiser
Nathan & Billie Sorensen        We apologize for any errors or
Paula Stanfield                 omissions. Please call the Symphony
Dr. Jill Steinberg              Office with any corrections.
Casey Stith

                                                                SANTA CRUZ COUNTY SY MPHONY   69
                      Classic Mini Series         Jan. 30   Mar 27   April 30

                                     $165                    $165
                                     $128                    $109
                                       $60                    $49

                      Encore Mini Series          Jan. 31   Mar 27   May 1

                       Orchestra     $165                    $139
                       Balcony       $165                    $139
                       Parterre      $128                    $109

70   S A N TA C R U Z C O U N T Y S Y M P H ONY
inDex of aDvertisers
Allanson Insurance ................. p. 65         India Joze ................................ p. 57      Santa Cruz Follies................... p. 69
Bay Federal Credit Union. ...... p. 59             KBOQ. ................................... p. 51        Santa Cruz /
Bay Photo................................ p. 67    KUSP. ..................................... p. 64        Scotts Valley Hilton. ............ p. 33
Bedell & Nelson/ Harbert Insurance                 Lifespan Care. ........................ p. 57          Santa Cruz Weekly ................. p. 63
 Don Eppenbach ................... p. 65           Literary Guillotine. ................ p. 65            Santa Cruz youth Symphony . p. 62
Benedictine Healing Products. p. 65                Marguerite Meyer Graphics.... p. 67                    SC41 .................... Inside Front Cover
Care from the Heart ..........................     Montalvo Center for the Arts. p. 41                    Shoppers Corner. .................... p. 28
                         Inside Back Cover         Nate Smith’s Optimal Auto. .. p. 49                    Silver Mountain Vineyards. .... p. 1
Cabrillo College                                   New Leaf Market .................... p. 39             Lee Slaff, Real Estate .............. p. 65
 Distinguished Artist Series .. p. 68              Pacific Trading Company. ....... p. 2                  Smith’s China Shop ................ p. 40
Casablanca Restaurant. ........... p. 40           Palace Art and Office . ........... p. 49              Soif. ........................................ p. 31
The Crepe Place. .................... p. 32        Patrick James .......................... p. 38         Spokesman Bicycles. ............... p. 29
Crow’s Nest/Shadowbrook ..... p. 9                 Kathleen Pouls Acupuncture .. p. 65                    Symphony League of
Dharma’s Restaurant. ............. p. 59           Printworx. .............................. p. 72          Santa Cruz County. ............. p. 42
Dominican Oaks..................... p. 10          Real Options Realty. ............... p. 41             Stagnaro’s Restaurant ............. p. 65
Easter Engineering .................. p. 53        Ristorante Avanti. ................... p. 53           Tannery Arts ......................... p. 9
Ensemble Monterey. ............... p. 67           Sanderlings. ............................ p. 3         Three Little Birds ................... p. 57
Ferrari Florist .......................... p. 66   Santa Cruz Civic Auditorium. p. 38                     Thomas Musical Instruments . p. 67
Good Times ............................ p. 58      Santa Cruz Coffee Roasting                             Well Within Spa. .................... p. 39
Greenspace ............................. p. 57       Company. ......................Back Cover            UCSC Arts Events. ................. p. 31
Alan Heit, D.D.S. ................... p. 65        Santa Cruz Community
Hoffman’s Bakery. .................. p. 30           Credit Union ........................ p. 69

inDex of prograM notes

            lUDwIg vAN BeeTHOveN                   Concerto for Piano, Violin and Cello in C Major, Op. 56 .................. p. 38
                                                   Symphony No. 9 in D Minor, Op. 125 .............................................. p. 57
                         wIllIAM BOYCe             Symphony No. 5 in D Major, Op. 2 ................................................... p. 37
      OSCAR lOReNZO feRNÁNDeZ                      Batuque ............................................................................................ p. 27
                    geORge geRSHwIN                Rhapsody in Blue ............................................................................... p. 27
                       PeRCY gRAINgeR              In a Nutshell ...................................................................................... p. 47
                          gUSTAv HOlST             The Planets ........................................................................................ p. 30
                              fRANZ lIZST          Piano Concerto No. 1 in E Flat Major, S. 124 .................................... p. 48
                                                   Piano Concerto No. 2 in A Major, S. 125 .......................................... p. 50
   wOlfgANg AMADeUS MOZART                         Symphony No. 39 in E Flat Major, K. 543 ......................................... p. 40
      NIkOlAY RIMSkY-kORSAkOv                      Capriccio Espagnol, Op. 34 ............................................................... p. 52

                                                                                               SANTA CRUZ COUNTY SY MPHONY                                      71
72   S A N TA C R U Z C O U N T Y S Y M P H ONY

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