Chapman University Chamber Orchestra

Kamieniecki, Lauren

Skogen, Meaghan Brown

Wang, Sha

English

Chapman University Digital Commons

Chapman UniversityChapman University Digital CommonsPrinted Performance Programs (PDF Format) Music Performances4-27-2002Chapman University Chamber Orchestra 31stSeasonChapman University Chamber OrchestraLauren KamienieckiChapman UniversityMeaghan Brown SkogenChapman UniversitySha WangChapman UniversityFollow this and additional works at: http://digitalcommons.chapman.edu/music_programsThis Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. Ithas been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University DigitalCommons. For more information, please contact laughtin@chapman.edu.Recommended CitationChapman University Chamber Orchestra; Kamieniecki, Lauren; Skogen, Meaghan Brown; and Wang, Sha, "Chapman UniversityChamber Orchestra 31st Season" (2002). Printed Performance Programs (PDF Format). Paper 1065.http://digitalcommons.chapman.edu/music_programs/1065CHAPMAN MUSIC ASSOCIATES 2001-2002 Founder's Circle Dr. & Mrs. James Doti Mrs. Norma Lineberger Conductor's Circle Mr. & Mrs. Sean Crahan Patrons Ms. Barbara Bauer Mr. & Mrs. Thomas Colella Mr. & Mrs. Larry Collier Mr. & Mrs. Fred Fry Mr. & Mrs. Alan Hanson Mr. & Mrs. Lawrence Honikel Dr. & Mrs. Robert Korbelak Prof. and Mrs. John Koshak Mr. & Mrs. Jeffrey Mann Mr. Joshua Mikus-Mahoney Mr. & Mrs. Nash Rivera Mrs. Mary Jane Robinson Mr. & Mrs. Howard Sheldon Mr. & Mrs. Gordon West Members Miss Lucille Adams Miss Zoe Barlow Mr. & Mrs. Raymond Beeman Mrs. Kitty Berge! Mrs. Lynne Brown Mr. & Mrs. Michael Byrne Mr. & Mrs. Jeffrey Cogan Mr. & Mrs. Harold Curtis Mr. & Mrs. Don Curtis Mr. & Mrs. Steve Curtis Mrs. Connie Decker Ms. Gail Derrig Mr. & Mrs. Frederick Fox Mrs. Lynn Frenzel Ms. Debbie Gagnon Mr. Miguel Gonzalez Mr. & Mrs. Dale Hancock Mr. & Mrs. Arthur Harvey Mrs. Anita Hoger Mr. Jeffrey Huston Mr. & Mrs. Stephen Johnson Mr. Ted Kulpinski Mrs. Mona Lamb Dr. Joseph Matthews Ms. Penni McRoberts Mr. & Mrs. Michael Murray Mr. & Mrs. Don Myers Mr. Frank Neil Mr. & Mrs. Alfred Neukuckatz Mr. & Mrs. Richard Nordrum, Jr. Mr. & Mrs. Ralph Norris Mr. & Mrs. Paul Rutkowski Mrs. Margaret Seiler Mr. & Mrs. Gordon Shaw Mrs. Betty Bayram Sirri Mrs. Betty Skarda Mr. & Mrs. Barry Weniger Mr. Douglas Wight Mrs. Linda Wight Member of the American Symphony Orchestra League CHAPMAN UNIVERSI1'Y SCHOOL OF MUSIC presents the CI-IAPMAN UNIVERSITY CI-IAMBER ORCI-IESTRA 31st Season John J(oshak Music Director & Conductor Lauren Kamieniecki, flute Meaghan Brown Skogen, cello Sha Wang, piano Saturday, April 27, 2002 • 8:00 PM Salmon Recital Hall • Chapman University PROGRAM Fant11sia para un gentilhombre for Flute and Orchestra (1954) Villano y Ricercare Canario Joaquin Rodrigo (1901-1999) arr. James Galway Lauren Kamieniecki, flute Concerto No. 1 in C Major for Cello ttnd Orchestm (1760-65) Moderato Joseph Haydn (1732-1809) Meaghan Brown Skogen, cello Eight Russian Folk Songs, op. 58 (1906) Religious Chant: Moderato Christmas Carol: Allegretto Plaintive Song: Andante Humorous Song; Allegretto Legend of the Birds: Allegretto Cradle Song; Moderato Round Dance: Allegro Village--Dance Song: vivo INTERMISSION Anatol Liadov (1855-1914) Concerto No. 1 in B-1-lttt Minor J' Piotr Tchaikovsky fr1r Pittno and Orchestm, op. 23 (1874-1875) (1840-1893) Allegro non troppo e molto maestoso-Allegro con spirito Sha Wang, piano Overture to Lei Gazza Ladra (1817) Gioacchino Rossini (1792-1868) ABOUT THE SOLOISTS Lauren Kamieniecki, flute Lauren Kamieniecki began studying flute in 1993 and is currently a student of Larry Kaplan. She is pursuing a major in performance at Chapman University and has performed in numerous orchestras in both Washington and California. While at Chapman she has pre-sented two full recitals and appeared as a featured soloist with the University Wind Symphony during the 200 I West Coast 'four. Ms. Kamicniecki has been principal flutist of the Chamber and Symphony Orchestras for the past two years as well as the Wind Symphony for the pre-vious three. In 200 I she received the Sholuni, Scholarship for Excellence in Music Performance and is planning to continue her studies in music after graduation. Meaghan Brown Skogen, cello Meaghan Brown Skogen is a Senior Cello Performance and Music Education double major. She began studying at age nine with Ian Mckinnell until attending Chapman University, where she has studied with Richard Treat. Mrs. Skogen has served as a principal cellist in the Chapman Symphony Orchestra for the last two years. She has been the recipi-ent of the Placentia Cultural Arts and Placentia J.inda 'lcachers Association Scholarships for 1998-1999, and is the current recipient of the 2001-2002 Erwin Johnson Scholarship. She has served in the capacity of Orchestra Vice President for two years, and is currently this year's Orchestra President. Mrs. Skogen was a soloist with the Santiago String Youth Orchestra for their 1 () .. year anniversary, and freelances throughout Orange County. She has recorded with various bands and performance groups, including, Midsummer, J. Cabrera, and the Dave Elliot Five. She teaches cello lessons and has served as an orchestra clinician for the Fullerton Community College 2000 Music Festival, and chamber coach for Valencia High School. Upon graduating, Mrs. Skogen plans on pursuing a Masters Degree in Cello Performance, and looks forward to a career in performance. Sha Wang, piano Born into a musical family in Tianjin, China, Sha Wang started her formal training in both piano and music theory at the age of five. She came to the United States in 1998 and has been majoring in piano performance at Chapman University, where she studies with Mrs. Karen Scoville. While in school, she has given mrmerous recitals, both 011 and off campus. She has won the Adult Seminar sponsored by MTAC and was invited to play at their State Convention in Monterey. Ms. Wang has also given solo recitals for the Classical Music ran Club of LA. and Chapman University. In 2000, she won the grand prize of the concnto competition of Long Beach Mozart Festival, playing Beethoven's Emptror Concerto. The critic said, "this young lady is a real tal-ctH ... 11 In the summer of 200 I, she was accepted as a scholarship recipiem by the Aspen Music Festival and School, where she studied with Mr. John Perry. During the festival, she flew to Washington, D.C. and won the first place in the 16th Annual International Young Artists Piano Competition. After graduating from Chapman, she plans to continue her surdy at the grad uatc level. PROGRAM NOTES Fantasia para un gentilhombre for Flute and Orchestra (1954) Joaquin Rodrigo (190 l-J,999) • arr. James Galway Joaquin Rodrigo was born in Sagunto, Spain on November 22, the day of Santa Cecilia, patron of music. He lost his sight at age three during an outbreak of diphtheria and was almost completely blind his entire life. He began studying music at age eight at the Valencia Conservatory although he was no! officially enrolled as a student. He moved to France in 1927 and began to study with Paul Dukas. While in Paris his music would coniinue to show his characteristic delicate and lyrical style with a harmonic colors reminiscent of Ravel. The majority of Rodrigo's works arc concertos, the best known is the Concierto de Aranjuez for guitar and orchesira. The Fantt1sft1 para rm gentilhombre was also written for gui-tar and orchestra and was transcribed for flute in 1978 by Sir James Calway. The world pre-miere of the Fantasia was given in 1958 in San Francisco. The work, inspired by solo guitar music by the 17th century composer Gaspar Sanz ( 1640-1710), is upbeat and combines the mood of 17th century Spanish courtly dances with 20th century style. The movements retain the original tides by Sanz and are expanded on by Rodrigo. The first movement is a lyrical Vil!i11no followed by a Ricercar, an early form of the fugue that consists of many expositions strung together. The final movement, Can11ri11, is both a popular dance in the Canary Islands and influenced by the Canary, as bird like song can be heard near the end of the movement. f,auren Kamieniecki Concerto No, 1 in C Major for Cello and Orchestra (1760-65) Joseph Haydn (I 732-1809) This partirnlar cello concerto was lost for nearly 200 years. Found in 196 I by Pulkcrt in the National Museum of Prague, ir has become a much sought after staple of the cello repertoire. It is assumed that the concerto was written between the years of 1760-1765 Haydn originally wrote ir for Joseph Weigl, a cellist in the Esterhazy Capcllc and a close friend. The concerto is written in what is referred to as Haydn's "C Major Eisenstadt courtly style." This style is influenced by rhe French Overture and can be broken down into three parts. First is a strong dotted rhythm, which is heard in the opening of the cello solo, and ocrnrs quile frequently throughout the work. The second is the "Lombard rhythm," which is a reverse dotted rhythm; it can be heard in the double stops in the solo cello. Last is the orchestration, consisting of strings, oboes, horns, and bassoons (regarded as a basso contin-uo). The first movement is very courtly and fi1ll of challenging technique for the soloist. The cadenza being performed today was wriitcn by John Waltz. Meaghr1n !Jroum Skogen Eight Russian Folk Songs, op, 58 (1906) •Anatol Liadov (1855-1914) Anatol Liadov was born in St. Petersburg in 1855 and died there in 1914. He came from a long line of professional musicians, and was honored in his day, achieving a professorship at the conservatory in St. Petersburg, where he had previously studied under Rimsky-Korsakov. He had the misfortune to follow in the wake of such giants as Tchaikovsky, Clinka, and Rimsky-Korsakov, and his work seems too imitative of others for him to have received much acclaim. Lia<lov was active in the collection of Russian folk music, and thus had some influence in the development of Soviet music with its emphasis on 1hc common man. The Fight R11ssian Folk Songs will remind listeners of the works of a nu 111bcr of later Russian composers, partic-ularly, Stravinsky, because he prompted the use of folk themes in serious music. The eight folk songs are divided so as to form three groups, each one beginning with a slow movement. There are two movements in 1he first group, and 1hrcc in the next two groups. The first movement, Religious Song, consists of a simple melody repealed four times, with the themes overlapping in such a way as to remind one of a round. Each time the theme is repeated, a new instrument is fearured. Cradually, the whole orchestra is involved, and 1he effect is of chiming church-bells, reminding one q[ Mussorgsky's Boris Cr'odo11no11 or Rimsky-Korsakov's Russian Faster Overt11re. The second movement, Christmas Song, is in E minor. It is a quicker rnovcmcnl with a richly orchestrated mid-section. The opening work of the second section is Plaintive Song and features the cellos. The next piece in the second section, Humorous Song, is given over to the woodwinds. The third piece of the middle group is the Legend o/the BirdL It opens with an imiiation of a chicken, reminding one of Mussorgsky's Pictures at an Fxhibition. This piece offers the rich--est orchestration so far. The 1hird group opens with C'radle Song, reminding some of the later Firebinl, by Stravinsky. This is followed by a very short, but lively Round Dance, for piccolo. The final piece, Vi!lr1ge-Dance Song, shows off the enrirc orcheslra. The work begins and ends in the key of C major, with a midsection in keys related to rhe subdorninant. This, 1ogether with the alternating rhythms, contributes to the unity of the work. David Whitehill Concerto No, 1 in B-jlat Minorfor Piano and Orchestm, op, 23 (1874-1875) Piotr Tchr1ikovsky (I 840-1893) On many occasions, Tchaikovsky spoke or wrole of his great love and admiration for Mozart's music. Yel anything less Mozartian 1han his conception of a co11ceno could hardly be imagined. All his fr·eling and fervor went inro producing a work tha1 is densely sym-phonic, causing the soloist to ba1tlc to sustain his or her role. When, rowards 1hc end of 187/i (before it was orchestrated), Tchaikovsky played the conccrro for his friend Nicholas Rubinstein, he was mortally offended by Ruhinm:in's bi1ing comments. I .at er the q11arrel was resolved and Tchaikovsky subsequently revised 1he piano part md issued a new edition in 1889. But, in the meantime, he dedicated it 10 ! lam. von l\iilow, who gave 1he firs! per-formance in Boston in 1875. The firs! movement dominates rhc conceno; ii is nearly half of die !oral playing 1imc of the work. The "grand" manner of rhe concerto is csiablishcd during the heroic D-flal major melody at 1he beginning. But the theme, the very theme which made ihc cnnceno hcrnrne so popular, is only inrroduclory and never rel urns. tlaving slipped q11ickly from l\-fla1 minor inio D-flat major, it would be difficult to imagine a more compelling con1ras1 10 1he danc-ing folksong inlleciions of the soloist's !\-flat minor thc111e. This cvcn1ually passes in10 a s1:11c-ly melody which begins with a rising note-hy-note paltern and ends wi1h downward leaps. This important melody reaches iis fidl stature in the devclopmcnl and rccapiwlaiion. The orchestra and soloist participate in many angry exchanges, bur 1hc soloist is often left alone in a number of cadenzas, showcasing his or her technical ability. S/Jr1 Wrmg Overture to La Gflzza Lfldrll (1817) • Gioacchino Rossini (1192-1868) Rossini was one of the most popular musical figmes of his day; in the early nineteenth cmtury the "Rossini craze" swept trough Europe and his style of Opera Buffa (comic opera) was immensely popular. He was an atypical composer for his time period because most of his music was comical and light-hearted, a drastic contrast to the deep and sensitive works of is Romantic countctparrs. 1-k wmte for the public, not for the imellectual. He was also a pro-lific composn, known to complete operas in a nuttcr of clays or weeks. Rossini began his n111sical career at the age of twelve when he entered the Bologna Conservatory. I le wrote his first significant composition when he was sixteen years old and by his early twenties was an established opera composer. Between 1815 and 1821 he wrote sixteen operas, !.a (;r1zy1 Lrtdm being composed in 1817 and premiered at the Teatro Alla Scala in Milan. His career was short-lived however and in 1829 he wrote his last opt~ra, Cuillame 'Jell. At the height of his fame he decided to stop composing and throughout the remaiudcr of his life only composed a few non-operatic works. 'fo this day his overtures are a staple of the orchestral repertoire and !.a GttzZtt l.f/drrt's overture is no exception. In Rossini's usual manner, he began composing the overture after he had completed the opera. l !is infomous procrastination and carefree attitude almost got him in trouble on this occasion. His memoirs state, "! wrote the overture to Lr1 GaZZ!l L1dm on the acrnal day of' the first performance of' the opera, 11mlcr the guard of four stage-hands who had orders to throw my manuscript out of the window, page by page, as I wrote it, to the waiting copying - and if I didn't supply the manuscript, they were going to throw me om myself. Nothing excites inspiration like nccessit y." The ovenure to La G1zzt1 Ladm has no thematic relationship to the opera but contains a wide variety of contrasting styles. The snare drum introduces the stately march which starts the piece then returns to introduce the second theme. This light melody in the strings grad-11ally builds to a famous "Rossini crescendo" and climaxes with a powcrftil melody in the trombones. Suddenly the orchestra stops completely in its tracks, only to make way for a familiar tune in the woodwinds and horns that any "Looney 'limes" fan will recognize. The trombone theme rct11rns and then the light violin motif comes back as a transition to rhe woodwind and horn melody. This theme builds to the final section of rhe work. The orches·-tra then pushes forward at full force with driving rhythms to a fast and furious finish in typ-ical Rossini style. Aaron ValdiZtin CHAPMAN UNIVERSITY CHAMBER ORCHESTRA JOHN KOSHAK, MUSIC DIRECTOR & CONDUCTOR Flute/Piccolo Lauren Kamieniecki* Yoon Cho Hiroko Yamakawa Oboe Maralynne Mann* Manhew LaGrange Clarinet Monica Mann** Samantha Pankow** Bassoon Heather Cano** Mindi Johnson** Horn Aubrey Acosta** Erin Crampton** Matthew Murray lrmnpet Diana Joubert* Webster Peters Aaron Valdizfo Trombone Jeremy DelaCuadra* Michael Fisk Nicole Tondreau Tuba Matthew Minegar Timpani/Percussion Melissa Roskos* Elizabeth Beeman Adrian Hernandez Dan Reighley Violin Junko Hayashi i· Anna Komandyan H Johanna Kroesen* Jori Alesi Grace Camacho Jennifer Deirmendjian Sbigeru Logan Vanessa Reynolds Stephanie Smith Miki Toda Ian Wang Viola Jared Turner* Olga Goija*** Cathy Alonzo Matthew Byward Noelle Osborne Tracy Salzer Cello Meaghan Skogen* Justin Du bi sh*** KHie Andersen Seungmi Hur David Whitehill Bass David Vokoun* David Weniger Inst. Music Officers Meaghan Skogen, President Webster Peters, Vice President of Publicity Jennifer Deirmencljian, Vice President of Cultural & Social Events Mindi Johnson, Secretary and Treasurer "f Concertmaster H Assisumt Concertmaster *Principal ** Co-Principal ***Assistant Principal 

Chapman University Chamber Orchestra 31st Season

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Chapman University Chamber Orchestra 31st Season

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