2010 ~ 2011 Ninteenth Season R. Joseph Scott Conductor & Music Director
Orchestra Management Board of Directors Founding Director Joyce Cunningham Music Director & Conductor R. Joseph Scott President Miranda Thorpe Vice-President Myrl Venter Treasurer Pat Hebner Secretary Cathy Grindle Directors-at-Large Dennis Helppie Renee Kuehn Andy Hill Tim Winter Honorary Board Members Don Gerend Mayor, City of Sammamish Cheryl Pflug Washington State Senator Skip Rowley Chairman, Rowley Properties Nancy Whitten Deputy Mayor, City of Sammamish Personnel Librarian Myrl Venter Section Librarians Eric Daane, Shelby Eaton, Jonathan Feil, Dennis Helppie, Libby Landy, Shannon Nelson Grants Miranda Thorpe Personnel Jonathan Feil Concert Program Jonathan Feil Emaugo Creative Colleen Venter Webmaster Mary Corder Youth Concerto Competition Andy Hill Lobby Volunteer Coordinators Kathy Boudreau-Stroud Mariana Vail Concessions Manager Jill Nichols Hicks Sound Recording Kent Harrison Welcome to today s performance of the Sammamish Symphony Orchestra. This season marks my 12th year with this gifted group of musicians. The Orchestra continues to grow in artistic excellence, and the dedication of each member is evident in the ever-improving quality of this fine musical ensemble. The Northwest Associated Arts organization has again invited the Sammamish Symphony to take part in a special appearance at Benaroya Hall in Seattle. We will perform Carl Orff s masterpiece Carmina Burana with several Puget Sound choral R. Joseph Scott R. Joseph Scott native of Eastern Oregon, R. Joseph Scott has been a dynamic leader in the Northwest A musical community for over 40 years. He attended the University of Oregon, School of Music and studied conducting with Eugene Furst and Wolfgang Martin of the Portland Opera. After relocating to Seattle, Mr. Scott continued his studies with Henry Holt of the Seattle Opera, Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol of the Seattle Youth Symphony. He founded the Bellevue Philharmonic Orchestra, serving as Music Director, Conductor and General Manager from 1967 1997. He is currently observing his 12th year with the Sammamish Symphony Orchestra. Maestro Scott has conducted concerts featuring a diverse array of artists, including Metropolitan Opera star Roberta Peters; violinist Pamela Frank; the Seattle Opera Chorus; the Empire Brass Quintet; the Seattle Symphony Choral; and vocalists Anna Maria Alberghetti, Lou Rawls, Maureen McGovern and Marni Nixon. Mr. Scott is Resident Conductor of Lyric Opera Northwest, and has appeared with numerous musical ensembles, including the Bellevue Opera. He has conducted world premieres of works by Alan Hovhaness, Vaclav Nelhybel and various regional composers. 2 groups. I look forward to conducting this exciting work on our third collaboration with the N.A.A. It is an honor for our Orchestra to participate in this extraordinary event. The Sammamish Symphony Orchestra s 2010/2011 season offers a dynamic array of musical selections including our season opener which featured Famous Overtures with George Steward performing the exciting trumpet concerto in F minor by Oskar Bohme. Today s Holiday POPS concert will feature a variety of seasonal works with special guests from the Samantha Smith Elementary School Choir. In February, enjoy a performance of the Rachmaninoff Piano Concerto No. 2, with soloist Deborah Dewey. In March, we will join a 250 voice chorus and soloists to fill Benaroya Hall with the powerful musical explosion that is Carl Orff s Carmina Burana. Winners of our annual Youth Concerto Competition will be showcased in April and our June POPS concert will entertain you with works from Academy Award winning film scores: Music from the Oscars! Now, I invite you to sit back and enjoy the concert! R. Joseph Scott
PROGRAM ~s R. JOSEPH SCOTT, MUSIC DIRECTOR AND CONDUCTOR SUNDAY OCTOBER 17, 2010 2:00 P.M. EASTLAKE PERFORMING ARTS CENTER famous Johannes Brahms Don Gillis Giuseppe Verdi Carlos Surinach Richard Wagner Academic Festival Overture, Op. 80 Short Overture to an Unwritten Opera Overture to the Opera Nabucco Drama Jondo, Overture for Orchestra Prelude to the Opera Die Meistersinger von Niirnberg INTERMISSION OskarBohme Englebert Humperdinck Franz von Suppe Concerto in f minor for Trumpet and Orchestra, Op. 18 Allegro moderato Adagio religioso - Allegretto Rondo-Allegro scherzando George Steward, Trumpet Overture to the Opera Hansel and Gretel Overture to the Opera Light Cavalry Steinway piano provided by Sherman Clay, Bellevue, Washington Please turn off all cell phones and pagers. No audio/video recording or flash photography is allowed during the performance. 3
PERSONNEL FIRST VIOLIN Dennis Helppie, Concertmaster. Marianna Vail, Assistant Concertmaster Sandy Anuras Ian Backman David Drassal Kristin Edlund Domitille Feret Lynne Martinell Heather Raschko Haley Schaening Tim Strait Tim Winter SECOND VIOLIN Shelby Eaton, Feather Asmussen Assistant Principai Alexandra Chois Barbara Ethington Cathy Grindle Jonathan Kuehn Paula Chester Libes Donna Mansfield Fran Pope Miranda Thorpe Carly Ann Worden Richard Zong VIOLA Libby Landy, Barb Thorne, Assistant Kathryn Boudreau-Stroud Dan Pope JanRider Amanda Salmick Lorraine Terpening Myrl Venter CELLO Leslie Nielsen, Elizabeth Clawson, Assistant Andy Hill Loryn Lestz Michelle Miller Maxima Patashnik James Poirson Gail Ratley Joyce Sanford Sandra Sultan BASS Jarod Tanneberg, Natalie Johnson Ramon Salumbides Harmony Young FLUTE Melissa Underhill, Tori Berntsen Elana Sabovic-Matt PICCOLO Elana Sabovic-Matt OBOE Dennis Calvin, David Barnes, Co- Gretchen Geyer ENGLISH HORN David Barnes CLARINET Jayne Marquess, Kathy Carr BASS CLARINET Linda Thomas BASSOON Shannon Nelson, Sheldon Woodle CONTRA-BASSOON Gordon Brown FRENCH HORN Evelyn Zeller, Nels Magelssen, Acting Chris Caneva Mary Corder TRUMPET Jonathan Feil, Jeremy Jordan Stas Zakharenko TROMBONE Scott Sellevold, Matt Stoecker CALL FOR VOLUNTEERS! If you would like to help participate in a fun and rewarding experience, please call (206) 517-7777. BASS TROMBONE Gerald Larkins TUBA Mark Wiseman ' TIMPANI EricDaane, PERCUSSION David Brooks, Craig Wende Brian Yarkosky PIANO/ KEYBOARD Catherine Lowell HARP Allison Austin, Alisha Joubert THE SAMMAMISH SYMPHONY ORCHESTRA WOULD LI KE TO THANK THE CITY OF SAMMAM ISH FOR THE! R SUPPORT niel Halsey 10 4
George Steward is a full-time trumpet performer and instructor. During the 2010-2011 season, he will be soloist with the Skagit Symphony, Sammamish Symphony, Northwest Wind Symphony, and Octava Chamber Orchestra. Currently principal trumpet in the Everett Philharmonic, Everett Symphony, Cascade Symphony, and Octava Chamber Orchestra, George has previously been principal trumpet in the Elmhurst Symphony, New Philharmonic Orchestra (both in Illinois), and Evergreen City Ballet, and assistant principal in the Eastern Connecticut Symphony and Bellevue Philharmonic. He has also performed with orchestras including Civic Orchestra of Chicago, the New Haven, Hartford, Springfield and Seattle Symphonies, Seattle Opera, Tacoma Philharmonic, Philharmonia Northwest, and Orchestra Seattle. George is currently a member of the quintet Brass Reflections. He has also performed with other chamber groups, including Second City Brass, Evanston Brass Quintet, Millar Brass Ensemble, Brass Ring, King's Brass, and Brass Knuckles (his favorite name for a brass group). Among the ensembles with which George has soloed are the Wheaton Summer Symphony, Central Connecticut State University Chamber Orchestra, and Clinton Symphony. Locally, he has been soloist with Brass Band Northwest, Boeing Employees Concert Band, Cascade Symphony, and Everett Symphony. He has also performed solos live on KING-FM. George earned a Bachelor of Music at Wheaton Conservatory of Music and a Master of Music at Yale School of Music. While at Yale he received the Keith Wilson Scholarship for Outstanding Wind Player and earned Honorable Mention in the concerto competition. Also, while at Yale, he performed in France and at the 1987 New York Brass Conference. His trumpet teachers includes Terry Schwartz at Wheaton, Ross Beacraft of the Chicago Brass Quintet, William Scarlett of the Chicago Symphony, Robert Nagel of the New York Brass Quintet and trumpet professor at Yale, and David Gordon of the Seattle Symphony. George teaches private students at his home studio in Lynnwood and Spotlight Studios in Woodinville. ADD A TOUCH OF CLASS TO YOUR PARTY OR EVENT. The Sammamish Symphony Orchestra offers small chamber groups for private functions. FOR INFO CALL 206-517-7777 HAMMOND ASHLE VIOLINS ~en1"y Bischofbe-rge1" Violins Third Generation Violin Maker BRYCE VAN PARYS GENERAL MANAGER voted Evening Magazine 's Best olhestem WA lor Z()]8!' www.hkbviolins.com 425822-0717 425.392.3963 I BRYCE@HAMMONDASHLEY 320 3RD AVENUE NORTHEAST, (SSAQUAH WA 9 Sales Appraisals Repairs Rentals Are you interested in playing with us? The Sammamish Symphony Orchestra is composed of adult volunteer musicians dedicated to performing concerts and maintaining outreach programs serving Eastside communities. Rehearsals: Thursdays 7:15-9:45 p.m. Eastlake High School Holiday Pops! Featuring th e Samantha Smith Elementan; School Chorus Saturday December 11th 2010 at 7:30 pm Sunday December J2<h 2010 at 2:00 pm at the Please call 206-517-7777 or go to www.sammamishsymphony.org _5_
Save the dates! We invite you to join us for our 2010-2011 Season Saturday, December 11th 2010 7:30 pm Sunday, December 12th 2010 at 2:00 pm Sunday, February 27th 2011 at 2:00 pm Holiday Pops Featuring the Samantha Smith Elementary School Chorus Rachmaninoff Featuring Deborah Dewey, Piano Carmina Burana Featuring the Kirkland Choral Society, Bellevue Chamber Chorus, Cantare Vocal Ensemble, and the Northwest Associated Youth Chorus Sunday, March 2ih 2011 at 2:00 pm Benaroya Hall, Seattle Extraordinary Young Soloists Saturday, April 30th 2011 at 7=30 pm Mary Queen of Peace Church, Sammamish Saturday, May 14th 2011 at 6:oopm The Plateau Club, Sammamish Sunday, June 12th 2011 at 2:00 pm 2011 Dinner Auction: An Evening in Paris Music from The Oscars: Award Winning Film Scores...--p -::: -_- = c=.. ~ 3 =- BECOME A SUBSCRIBER! Apply today's ticket toward the purchase of a season ticket series. Includes Carmina Burana at Benaroya Hall and one free concert! _6_
PROGRAM NOTES Overture mid-13c., "an introductory proposal," from Old French overture "opening, proposal," from Latin apertura "opening," from aperire "to open, uncover" (see overt). Orchestral sense first recorded in English 1660s. The concept of an orchestral overture dates at least as far back as the 17th century operas of Peri and Monteverdi. By the tum of the 19th century, opera overtures were beginning to be performed as separate items in the concert hall. While the specially composed overture continued to rule in opera, two other overture variations emerged. Many 19th century operettas and light operas substituted a potpourri of airs based on the tunes of the songs that were to follow. Overtures accompanying Broadway musicals almost always follow this pattern. At the other reach, the concert overture, intended specifically as an individual concert piece without reference to stage performance, began to appear early in the Romantic era. Tchaikovsky's 1812 Overture is the most popular example of that genre. Our program this afternoon includes both traditional opera overtures (the pieces by Humperdinck, Suppe, Verdi, and Wagner) and concert overtures (the pieces by Brahms, Gillis, and Surina ch). Johannes Brahms Academic Festival Overture Op. 80 Academic Festival Overture was one of a pair of contrasting concert overtures writtep. l:>y Johannes Brahms (1833-1897), the other being the Tragic Overture, Op. 81. Brahms composed the Academic Festival Overture during the summer of 1880 as a musical thank-you to the University of Breslau, which had awarded him an honorary doctorate the previous year. In the German title, the word "Festouvertiire" connotes a festive or celebratory overture. This clarifies that it is the overture that is festive, not the academic festival occasioning it. With a masterful balance of serious and light-hearted elements, the emphasis is on the "festival" rather than the "academic" in an overture that brims with an irrepressible sense of fun. The work also sports the most extravagant orchestral forces the composer ever employed. Brahms himself described the piece as "a very boisterous potpourri of student songs." Excerpts from four student beer-hall tunes play a significant role in the orchestral texture. The composer himself conducted the premiere at a special convocation held by the University on January 4, 1881. Due to its easily-grasped structure, lyrical warmth, excitement, and humor, the work has become a staple of today's concert-hall repertoire. Academic Festival Overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, and contra bassoon; four horns, three trumpets, three trombones, and tuba; timpani and percussion (bass drum, cymbals and triangle); and strings. Don Gillis Short Overture to an Unwritten Opera Don Gillis (1912-1978) was a prolific composer, arranger, and music educator. He began his career in radio in Dallas, Texas, in the 1930s and rose to become a well-travelled conductor and composer in the 1940s and a radio producer for NBC' s Symphony of the Air during the Toscanini era. In the 1960s and 1970s he was vice-president of Interlachen Music Camp and joined the faculties of Southern Methodist University, Dallas Baptist College, and the University of South Carolina. Gillis composed in virtually all contemporary styles and genres. His music is accessible, engaging, humorous, and often satirical with whimsical titles (such as his "Gone With the Woodwinds" and "Symphony No. 5Vz, A Symphony for Fun," and his book of anecdotes "The Unfinished Symphony Conductor"). He employed American musical idioms of jazz, bebop, and the blues, and his compositions often reflect a wonderful sense of regional flavor and Americana. Short Overture to an Unwritten Opera (1945) was the first number of Gillis' s ever played by the NBC Symphony. The "unwritten opera" surely would have had to be a comedy; its overture is energetic, jazzy, sassy, and over almost before you know it. Short Overture to an Unwritten Opera is scored for two flues, two oboes, two clarinets, bass clarinet, and two bassoons; three horns, three trumpets, three trombones, and tuba; timpani, percussion (xylophone, cymbals, triangle, claves, snare drum); harp; and strings. 7
Giuseppe Verdi Overture to the Opera: Nabucco Nabucco is an opera in four acts by Giuseppe Verdi (1813-1901) to an Italian libretto by Temistocle Solera, based on the Biblical story in Jeremiah and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue. It is Verdi's third opera and the one which is considered to have permanently established his reputation as a composer. Nabucco follows the plight of the Jews as they are assaulted, conquered, and subsequently exiled from their homeland by the Babylonian King Nabucco (in English, Nebuchadnezzar). The historical events are used as background for a romantic and political plot. The first performance of the opera took place on March 9, 1842 at the Teatro alla Scala, Milan under the original name of Nabucodonosor. The definitive name of Nabucco for the opera (and its protagonist) was first used at a performance at the San Giacomo Theatre of Corfu, in September, 1844. Nabucco's Overture is scored for two flutes (second doubling on piccolo), two oboes, two clarinets, and two bassoons; four horns, two trumpets, two trombone, and tuba; timpani and percussion (snare drum and bass drum); and strings. Carlos Surinach Drama ]ondo, Overture for Orchestra Barcelona-born Carlos Surinach (1915-1997) was among this century's premier composers for the dance. His works combined the fiery imagery of his native Spain with the technical sophistication of his German musical education. Studies in composition at the Barcelona Conservatory were followed by advanced work at the Diisseldorf Conservatory, the Cologne Hochschule, and Berlin's Prussian Academy as well as at lectureseminars under Strauss. He was conductor of the Barcelona Philharmonic and the Orchestra of the Gran Teatro del Liceo before moving to the United States in 1951 where he gained renown as both composer and conductor. In the United States, Surinach's scores were quickly picked up by choreographers and dance companies including Martha Graham and the Joffrey Ballet. Graham included his Acrobats of God and Embattled Garden in her Edinburgh Festival programs and the Joffrey programmed his Feast of Ashes for their Russian tour in 1963. Surinach taught at Carnegie Mellon University and received commissions and grants from the Louisville Orchestra, Ricordi, the Rothschild Foundation, Martha Graham, MGM Records, and many other institutions. He was awarded England's Bax Society Medal for Non-Commonwealth Composers in 1966 and the Spanish title of Knight Commander of the Order of Isabella I of Castille in 1972. Surinach's Drama Jondo was commissioned for the Milwaukee Symphony, which premiered the work in 1965. From the composer's preface to the published score: Drama Jondo is an overture without any theatrical work to follow. I call it overture merely because it is a musical short piece more or less adjusted to the traditional patterns of the classical overture. My intention, though, is to associate my own style, prosody, and rhythmical structure... to the established form of an overture. Within the title, the word "drama" is not casual. It is very deliberate. Since the word "drama" means also action, effect, and motion. It is not, then, an overture to an unknown drama, but rather an overture with dramatic implications in its musical content. On the other side, the word "jondo" (a derivation from the Spanish Flamenco, meaning "deep") is to be associated with the idiom of the work, which is - as most of my music - predominantly Spanish. It is, I think, a new assimilation of the Flamenco physiognomy into the serious music (which I am trying to establish throughout my entire work). I do not intend, then, to write custom-made folk music, but rather to give my own interpretation to an ethnical feeling which I try to use with utmost technical freedom. Drama Jondo Overture is scored for three flutes (second and third on pie- Instruments Bows Repairs Supplies Clinics Services WWW. STRINGSPECIALIST. COM TRING INSTRUMENT SPECIALISTS IAN EDLUND 3445 H OLLYWOOD D RIVE NE. OLYMPIA, w.a. 98516 TEL.l?PHONE: (360) 491-3931 fax060) 491-4979 E -.\!AI L: IEIJl.UND@')TRINCSPECIAUST. COM Myrl Venter 425-1 l 7-05 19 myrh-c11tcr@111s11.con1 8
colo), three oboes (third on English Horn), three clarinets (third on bass clarinet), and two bassoons; four horns, three trumpets, three trombones, and tuba; timpani, percussion (xylophone, military drum, bass drum, cymbals, pandero (a large tambourine without jingles), and snare drum); harp; and strings. Richard Wagner Prelude to the Opera: Die Meistersinger van Nurnberg Die Meistersinger von Niirnberg (The Mastersingers of Nuremberg) is an opera in three acts, written and composed by Richard Wagner (1813-1883). It is one of the most popular operas in the repertory, and is among the longest still commonly performed today, usually taking around four and a half hours. It was first performed at the Konigliches Hof-und National Theater in Munich, on June 21, 1868. The conductor at the premiere was Hans von Biilow. Die Meistersinger is a musical composition in which the composition of music is a pivotal part of the story. The story takes place in Nuremberg during the middle of the 16th century. At the time, Nuremberg was an Imperial Free City, and one of the centers of the Renaissance in Northern Europe. The story revolves around the real-life guild of Meistersinger (Mastersingers), an association of amateur poets and musicians, mostly from the middle class and often master craftsmen in their main professions. The Mastersinger developed a craftsmanlike approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its charm from its faithful depiction of the Nuremberg of the era and the traditions of the Mastersinger guild. Die Meistersinger von Niirnberg occupies a unique place in Wagner's oeuvre. It is the only comedy among his mature operas, and is his only opera centered on a historically well-defined time and place rather than a mythical or legendary setting. It is the only mature Wagner opera to be based on an entirely original story, devised by Wagner himself. It is also the only one of Wagner's mature operas in which there are no supernatural or magical powers or events. It incorporates many of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias, choruses, a quintet, and even a ballet. 425 557 H64 emaui:;o.com { OUR BUS!Ness IS to manai;e percepcion OUR -~ervjces are StRatei:;1c 1mapNatION and 1mpLemeMatJON OUR passion JS BRaND IDCNtJl:y Prelude to Die Meistersinger is scored for piccolo, two flutes, two oboes, two clarinets, and two bassoons; four horns, three trumpets, three trombones, and tuba; timpani and percussion (bass drum, cymbals, and triangle); harp; and strings. OskarBohme Concerto in F Minor for Trumpet and Orchestra, Op.18 Oskar Bohme (1870-1938) was born in Potschappel, a small town near Dresden, Germany, the son of Wilhelm Bohme, also a trumpeter, For much of his early career, after studying trumpet and composition in the Leipzig Conservatory of Music until graduating in 1885, it The Sammamish Symphony would like to thank Gordon Brown and the Gordon Brown Donation Fund for the generous contribution for music to build the Symphony's library. Gordon has been an active member and contra-bassoon player with the symphony for many years. ;in Lesson s.. sa1i Discover the joy of music! V8JfirJJffJti/ Rent~s l//jt/8/c Lessons for all instruments $28 each, or get an 8 lesson package for $200! Other packages also available. Visit us online at www.plateaumusic.org 425-388-8333 4532 Klahanie Dr SE Issaquah, WA 98029 9
is unknown what Bohme' s musical activities were, though it is probable he concertized, playing in smaller orchestras around Germany. From 1894-1896 he played in the Budapest Opera Orchestra and then moved to St. Petersburg, Russia, in 1897. Bohme played cornet for 24 years in the Mariinsky Theatre, turned to teaching at a music school on Vasilievsky Island in St. Petersburg for nine further years, from 1921-1930, and then returned to opera with the Leningrad Drama Theatre until 1934. In 1934, however, the Great Terror began under Stalin and in 1936 a committee was established to oversee the arts in Soviet Russia. According to its anti-foreign policies, Bohme was exiled to Orenburg on account of his German heritage. It is said that he died there in 1938, though he was also said to be seen working on the Turkmenistan Canal in 1941. Bohme wrote in the Romantic style, primarily works for trumpet and brass instruments in general, of which the best known are his Brass Sextet and Trumpet Concerto. The Concerto (1899) was originally written in E Minor, probably for trumpet in A, but is today mainly performed in the key of F Minor, which is more readily played on today's B-flat trumpet. While, as a consequence of his exile, his works were neglected, Bohme is increasingly being rediscovered. Concerto for Trumpet and Orchestra is scored for two flutes, two oboes, two clarinets, and two bassoons; four horns, two trumpets, three trombones, and tuba; timpani and percussion; strings; and solo trumpet. Engelbert Humperdinck Overture to the Opera: Hansel and Gretel The modem reputation of Engelbert Humperdinck (1854-1921) rests chiefly on his opera Hansel and Gretel, on which he began work in Frankfurt in 1890. He first composed four songs to accompany a puppet show his nieces were giving at home. Then, using a libretto by his sister Adelheid Wette rather loosely based on the version of the fairy tale by the Brothers Grimm, he composed a Singspiel of 16 songs with piano accompaniment and connecting dialogue. By January 1891 he had begun working on a complete orchestration. The opera premiered in Weimar on December 23, 1893, under the baton of Richard Strauss, who called it "a masterpiece of the highest quality." With its highly original synthesis of Wagnerian techniques and traditional German folk songs, Hansel and Gretel was an instant and overwhelming success. In 1923 the Royal Opera House in London chose Hansel and Gretel for their first complete radio opera broadcast. Eight years later it was the first opera transmitted live from the Metropolitan Opera in New York. It has been associated with Christmas since its earliest performances and today it is still most often performed at Christmas time. In Great Britain and the United States, it is often performed in English. Hansel and Gretel Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinet, bass clarinet, and two bassoons; four horns, two trumpets, three trombones, and tuba; timpani and percussion (cymbal, triangle, and tambourine); harp; and strings. Franz von Suppe Overture to the Opera: Light Cavalry Towards the end of the 1850s Viennese audiences became captivated by the satire and exuberance of Jacques Offenbach's operettas. Far removed from the homespun fare of Austrian theatre repertoire of the time, these Parisian stage works led directly to the creation 10 of a specifically Viennese operetta school whose founder was the young conductor-composer Franz von Suppe (1819-1895). In 1840 Suppe secured his first musical post in Vienna as third conductor at the Theater in der Josefstadt. Here he not only conducted but also composed the requisite incidental music to accompany many stage works. Suppe was a prodigious composer, creating some three hundred stage works besides a variety of instrumental, orchestral, and sacred music. Today, with the exception of a handful of his operettas which are still produced in Europe, comparatively few of his compositions are performed. His reputation lives on, however, in their superbly crafted, rousing overtures. The "military operetta" Leichte Kavallerie (Light Cavalry) received its premiere at Vienna's Carl-Theater on March 21, 1866. The score combined Hungarian national music with that of Italy and Germany and was a considerable success. While much of the operetta remains in relative obscurity, the overture is one of Suppe's most well-known pieces. Many orchestral groups have the piece in their repertoire, and the main theme of the overture has been quoted numerous times by musicians, cartoons, advertising, and other media. Light Cavalry Overture is scored for two flutes (second on piccolo), two oboes, two clarinets, and two bassoons; two horns, two trumpets, and three trombone; timpani and percussion (snare drum and bass drum); and strings.
CONTRIBUTORS IN ADDITION TO THE FOLLOWING DONORS WE GRATEFULLY ACKNOWLEDGE THOSE INDIVIDUALS AND FAMILIES WHO PURCHASED DONATED GOODS AND SERVICES AT OUR SAMMAMISH SYMPHONY AUCTIONS. BENEFACTORS ($500+) Anonymous (2) Sandy Anuras The Boeing Company Gordon Brown Foundation David Campbell Shelby Eaton Bob and Cathy Grindle Preben & Ruth Hoegh-Christensen Paul and Robin Holland City of Issaquah Arts Commission City of Sammamish King County 4Culture King County Employee Giving Program Kevin and Lynne Martinell Microsoft Corporation Estate of Eleanor Nein Skip Rowley Rowley Properties Scott and Meredith Selfon Symetra Financial Cheri and Jay Tihinem Herman & Myrl Venter Pat and Allyn Hebner Patrick and Debbie Mc.Cormick Kenneth Morse SPONSORS ($100-499) Arthur and Lora Lee Allan Aletha Barnes Bischofberger Violins Costco Wholesale Corporation Joel & Laverta Dauterman Kristin Edlund and Ken Rosenow Don and Sue Gerend Joel Green Ray Carol Griffin Chris Holmes and Chris Katzmar-Holmes Judith Johnson Rosemarie Michaels Leslie Nielsen Gail Ratley String Instrument Specialists Tim Strait Linda Thomas Barbara Thorne Miranda Thorpe Paula Upjohn David Van Moorhem Mark and Linda Wiseman Ann and John Backman David Barnes and Melissa Underhill Annette and Les Eaton Boyer and Gretchen Halvorsen N. Jayne Marquess and Peter Sefton Ted and Lenore Martinell Karina and Michael Neale Heather and Michael Raschko Christine and Doug Watson Sheldon Woodle SUPPORTERS ($1-99) Anonymous (1) James and Wendy Agee Patty & Vinney Bauer Tom Bird Verna Borup Shirley Burris Erika Clausen Jonathan Feil Phyllis Feil Gehl Flowers-Gifts Rita and Noboru Hara Glenn and Nancy Lentz Rich & Susan Lindsay Wilma Luttermoser Dwight Martin RuthMolzan Philip and Phyllis Ross Carl Schwartz Penny Short R. Joseph Scott Jim White Susan Richardson and Jim Osgood Fran and Dan Pope YOL CA:\ :\0\\ DO:\AI f- 0:\11:\E VIA PAYP,\L 01'\ OLR WEBSITE Al www.sammamishsymphony.org We are seeking donations from supporters like you to help us sustain and expand our programs. Please join the generous individuals and organizations who have provided support to enable us to make the music our audiences love to hear. All contributions are tax-deductible. Please contact one of our representatives about how you can help. To the Many Supporters of the Sammamish Symphony Orchestra, THANK YOU! ACKNOWLEDGEMENTS Many people have worked together to make our community orchestra possible. They have given of their time, talent, and energy. Thank you! EQVIPMENT STORAGE Joyce Cunningham/Providence Point FAC ILITIES Eastlake High School PIANO Sherman Clay PROGRAM DESIGN Emaugo Creative REHEARSAL SPACE Bellevue Christian School PROGRAM NOTES Jonathan Feil REFRESHMENTS Safeway/Costco Klahanie QFC/Pine Lake QFC PERCUSS ION EQl,llPMENT Dave Pitt/Beaver Lake Middle School RECORDING ENGINEER Kent Harisson The Sammamish Symphony Orchestra Association (SSOA) is a Non-Profit Corporation under Section 501(c)(3) of the Internal Revenue Service. For further information, contact the SSOA: P.O. Box 1173, Issaquah, WA 98027 www.sammamishsymphony.org (206) 517-7777 11
2010 ~ 2011 Season Saturday & Sunday Sunday October 17th, 2010, 2:00 PM 2010 December 11th, 2010, 7:30 PM December 12th, 2010, 2:00 PM DECEMBER Sunday Saturday March 27th, 2011, 2:00 PM A SPECIAL BENAROYA HALL EVENT 200 University Street - Seattle 2011 February 27th, 2011, 2:00 PM 2011 2010 OCTOBER MARCH Sunday April 30th, 2011, 7:30 PM Special Location Mary, Queen of Peace Church 1121 228th Ave SE - Sammamish 2011 FEBRUARY Sunday June 12th, 2011, 2:00 PM MARCH For more information please visit www.sammamishsymphony.org Thank you to our generous sponsors. 2011 JUNE