MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony

MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony


                                        SHARE EVERY

                                          FRANCESCO LECCE-CHONG
                                               Music Director                54-MUSIC (707) 546-8742
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
                   E X PL OR AT ION
                              Only with Viking, the small ship experts.

                    Make your dreams come true in 2022 and be among the first
                          to explore America’s mightiest of waterways with us.

                                call 1-800-304-9616 or see your Travel Advisor.

    2   Santa Rosa Symphony   R E S I D E N T O R C H E S T R A
CST: #2052644-40
                                                                  |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
Serving Sonoma County musicians
     and their families since
  Serving Sonoma County musicians
    and their families since 1947.

 850 4th Street Santa Rosa

                                     2020 – 2021 Season 3
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
When looking for the right
    people to manage your trust,
    start with the word itself.
     Expert financial advice is here whenever you need it.
     Ask a banker or visit

    Trust and investment products are not FDIC insured.
    Not a bank deposit. Not insured by any federal government agency.
    No bank guarantee. May lose value.

                          Trust Administration | Retirement Plan Management
                              Investment Management | Estate Settlement

4   Santa Rosa Symphony   R E S I D E N T O R C H E S T R A             |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
santa                                                                    kids know that...
                         F RANC E SC O L E C C E - C H ONG   MUS IC DIRECTO R

Francesco Lecce-Chong Welcome.  .  .  .  .  .  .  .  .  . 7
Welcome from the Association Chair .  .  .  .  .  .  .  . 9
Welcome from the President & CEO.  .  .  .  .  .  .  .  . 9
Board of Directors and Staff. .  .  .  .  .  .  .  .  .  .  .  .  . 10
Francesco Lecce-Chong Biography .  .  .  .  .  .  .  . 12                                     HELPING
Orchestra Roster .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 13
Ellen Taaffe Zwilich. . . . . . . . . . . . . . . . . . . . . 14
Program Notes Begin.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 16
Ways to Watch.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 27
Heritage Society. .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 34-35
Encore Society.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 36
Business, Corporate, Foundation
    & Government Donors.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 37
Annual Campaign Major Donors.  .  .  .  .  .  .  . 38-39                              
Tributes, Memorials, In-Kind Gifts &
    Volunteer Support . .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 40
Subscriber Benefits .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 41
2020-2021 Season Schedule .  .  .  .  .  .  .  .  . 42-43                                 Family Law Offices of
League Supporters.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 44
Symphony League President .  .  .  .  .  .  .  .  .  .  .  .  . 45                        Carol A. Gorenberg
Youth Ensembles Concert Schedule.  .  .  .  .  .  .  . 47                       
Institute for Music Education .  .  .  .  .  .  .  .  .  . 50-53
                                                                                          Orchestrating your
For Your Information. .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 54
                                                                                          UU compassion
                                                                                          family law matter with
Index of Advertisers .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 57
                                                                                          UU experience
Visit us at for the most up-to-date                                        UU integrity
information on all of our concerts and programs.                                          UU respect
Also find and engage with us on Facebook, Instagram                                       UU creative solutions
and Twitter.

Program                                                                                   2544 Cleveland Avenue, Suite 202
Editor: Sara Obuchowski-Mitchell                                                          Santa Rosa, CA 95403
Design: Performance Printing Center
                                                                                          tel. 707.523.1810
Advertising: Ann Hutchinson
Program Notes: Elizabeth Schwartz
Printing: Performance Printing Center                                                     divorce | child custody | adoptions
Cover Design: Dennis Bolt
Cover Photos: Susan and Neil Silverman Photography

                                                                                                             2020 – 2021 Season 5
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
To learn how you can benefit the next generation of
    musicians, consult with your professional advisors and
    call the Santa Rosa Symphony Development Director
    at 707 546-7097 x 214.

    Securities offered through Securities America, Inc. Member FINRA/SIPC.
    Advisory service offered through Securities America Advisors Inc.
    Rubins Financial Strategies and Securities America are unaffiliated.
6    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A | W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
Francesco Lecce-Chong, Music Director & Conductor

                                               Thank you so much for joining the Santa Rosa Symphony in a new
                                               year as we come together to celebrate the power of music to connect
                                               us—bringing joy, hope and comfort to our lives. We may not be
                                               in the Green Music Center in person, but imagine that across our
                                               community, we will all be gathering for a performance—in living
                                               rooms and backyards, on phones and TVs, with family or maybe some
                                               neighbors. In the face of the difficulties behind us and the struggles
                                               ahead, we will share the same uplifting musical experience together
                                               as we have always needed during past crises from 9/11 to the Tubbs
                                               fire. This is truly an historic moment in our Symphony's long history
                                               and we are so glad you will be a part of our first concerts, specifically
                                               programmed, directed and filmed for you to enjoy in your homes.
                                                   If you are a long-time subscriber, this will be your chance to see
                                               our musicians up close on stage, from many different angles, and fea-
                                               tured in unique formations. And if you are new, you will be immersed
                                               in our story, as you will get to know our musicians and learn about
the many ways the Santa Rosa Symphony is a centerpiece of our community. This entire undertaking
is a love letter to our community, while also being a statement to the world about what can be achieved
through goodwill, trust and a commitment to building a brighter future together.
   In this new series of five concerts, we welcome Pulitzer Prize-winning composer Ellen Taaffe Zwilich
as our first ever “Artistic Partner.” Through presentations, interviews and online interactions with our
viewers, Ellen will be giving us an incredible inside look at her artistic process as we travel through
five of her works written across four decades. I have long been inspired by Ellen’s work and it is such
a thrill to collaborate with her so closely. We will also move on from Beethoven to several 19th-century
masterworks by Dvorak, Wagner, Brahms and Tchaikovsky. And, finally, several of our works will utilize
our beautiful concert hall by using unique set-ups and letting our film crew get creative!
   I would like to finish with a personal note of gratitude. None of this would have been possible without
an unwavering commitment to keeping our music alive, even under the most difficult of circumstances,
from all our stakeholders—musicians, staff, board, donors, volunteers, ticket holders, the Green Music
Center, Sonoma State University and many public officials. From the bottom of my heart – THANK YOU!


Francesco Lecce-Chong

                                                                                            2020 – 2021 Season 7
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
8   Santa Rosa Symphony   R E S I D E N T O R C H E S T R A   |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
Alan Silow, President & CEO                               Al Seidenfeld, Chairman of the Board
                         This is my 19th year of                                   As we begin our 93rd
                         writing a season welcome                                  symphony season, we
                         column to all of you as                                   remain steadfastly com-
                         the administrative leader                                 mitted to bringing music
                         of this beloved symphony                                  of the highest caliber to
                         orchestra. Yet it is my first,                            our community. We have
                         knowing it will be read as                                been presented unprec-
                         part of our brave, new,                                   edented pandemic-re-
                         virtual world, to modify                                  lated adjustments this
                         a phrase from Aldous                                      past year: cancelled and
Huxley. That is the least of the changes that have        re-scheduled concerts, re-imagined repertoire,
befallen us since mid-March 2020.                         and re-formatted music education experiences
    No matter what our particular challenges, and         for our children and youth. Yet, none of this has
there have been many, with the advent of the              dissuaded us from our primary goal of making and
COVID-19 pandemic, heat waves and wildfires, we           sharing beautiful music.
all find ourselves in a unique space between "the            The Santa Rosa Symphony is one of the finest,
no longer" and "the not yet." In this space of crisis,    best-managed orchestras in the U.S. While many
the Santa Rosa Symphony has found opportunity.            other symphonies have gone dark, we are a shin-
The opportunity to reimagine our performance              ing example of perseverance. We have an engaged
model, while staying focused on the big picture           Board of Directors, a competent and caring staff,
of enriching your connection to our music.                a dynamic music director, who delivers spirited
    And yes, of course, given this pandemic, it con-      concert performances in tandem with gifted
tinues to be virtual, not in person, for the second       musicians, and distinguished guest artists. Our
half of our season. But virtual hasn’t meant worse.       Symphony is, simply stated, a gem.
Sheltered in the safety of your home, our virtual            From humble beginnings, the Santa Rosa
performances to date gave every patron a more inti-       Symphony has grown to become a cultural force
mate concert experience, with closeups of our fine        in our community. Besides being the acclaimed
musicians and our charismatic conductor Francesco         Resident Orchestra of the renowned Weill Hall
Lecce-Chong, plus commentary and more, all cap-           of the Green Music Center, we have community
tured by a professional video production team. The        outreach programs for students of all ages. Our
results have been impressive and validating – we          Institute for Music Education reaches approxi-
had more viewing patrons, a younger demographic           mately 30,000 students per year. And, no matter
and more first-time donors than ever before.              whether we are in the concert hall live or offering
    "Plan and adjust" has been our mantra built           professionally-produced streaming, we will con-
upon a foundation of artistic and educational             tinue to bring you the finest in musical enjoyment.
excellence, fiscal ingenuity and community                   We are immensely grateful for you, our devoted
engagement. Yes, we have no doubt that substan-           audience, for your continuing support as patrons
tial challenges remain to be faced as we continue         and donors. Your contributions help us create
our ambitious and creative artistic plan. Yet for         memorable musical experiences, educate our
now, we are delighted that with your participation        community's next generation and navigate what-
we can continue a season like no other.                   ever challenges lie ahead. Your loyalty, and the
    Let us never forget the one thing that is abso-       dedication of board members, staff, volunteers
lutely clear: Our music has been and always will          and the artistry of our musicians allow for great
be an essential antidote to the trauma of our times.      things to happen.

  Alone/Together Again                                      With gratitude,
  Alan Silow, President & CEO                               Alan Seidenfeld, Chairman of the Board

                                                                                    2020 – 2021 Season 9
MOMENT SHARE EVERY 2020 2021 - Santa Rosa Symphony
Board of Directors, Emeritus Board and Staff 2020-2021
Officers                                Henry Hersch                                 Artistic Staff
Al Seidenfeld                           James Hinton                                 Francesco Lecce-Chong
Chairman of the Board                   Judith Howard                                Music Director
Corinne Byrd                            Sandra Jordan                                Bruno Ferrandis
Vice Chairman                           Carol Libarle                                Conductor Laureate
Sean Pryden                             David Marsten                                Jeffrey Kahane
Treasurer                               Art Matney                                   Conductor Emeritus
Garth Bixler                            Grant Miller                                 Corrick Brown
Secretary                               Doug Morton                                  Conductor Emeritus
Jamei Haswell                           Sonne Pedersen                               Jenny Bent
Immediate Past Chairman                 Martha Prouty                                Choral Director
                                        Sharon Robison                               Michael Berkowitz
Directors                               Eric Rossin                                  Principal Pops Conductor
Susan Adams                                                                          Bobby Rogers
                                        Judge Laurence Sawyer
Cory Antipa                                                                          Youth Orchestra Conductor
                                        Charles Schlangen
Hallie Beacham                                                                       Jennifer Huang
                                        Diane Schoenrock
Marty Behr                                                                           Aspirante Youth Orchestra Conductor
                                        Dennis Verity
Liz Bippart                                                                          Luis Zuniga
                                        Ellen Wear
Keven Brown                                                                          Debut Youth Orchestra Conductor
                                        Creighton White
Pam Chanter                                                                          Aaron Westman
                                        Sara Woodfield
Mark Dierkhising                                                                     Young People’s Chamber Orchestra Director
                                        Timothy Zainer
Nancy Doyle
Jack Dupre                              Past Chairmen                                Administrative Staff
Susan Dzieza                            Jamei Haswell 2017-2019                      Alan Silow
Betty Ferris                            Sara Woodfield: 2015-2017                    President & CEO
Judith Gappa                            James Hinton: 2013-2015                      Timothy L. Beswick
John How                                Charlie Schlangen: 2012-2013                 Artistic Operations Director
Mark Jacobson                           Eric Rossin: 2010-2012                       Wendy Cilman
                                        Charles J. Abbe: 2008-2010                   Education Director
Sara Kozel
Betha MacClain                          Sam Brown: 2006-2008                         Kathleen Gebhardt
                                        Anne Benedetti: 2004-2006                    Finance and Administration Director
Valerie Marshall
P. Kirk McAfee                          Pam Chanter: 2002-2004                       Sara Mitchell
                                        Marne Olson: 2000-2002                       Marketing and Communications Director
Bob Melder
                                        Creighton White: 1998-2000                   Ben Taylor
Shelby Milanez
                                        Diane Schoenrock: 1997-1998                  Development Director
Carol Spindler O’Hara
                                        Phyllis Apfel: 1995-1997                     Lynn Bollinger
John Reed
                                        Dennis Kuba: 1993-1995                       Patron Services Associate
Harry Rubins
                                        Harrison Comstock: 1991-1993                 Nathan Duckworth
Jacques Schlumberger                                                                 Development Associate
Barry Silberg                           Yale Abrams: 1987-1991
                                        Nancy Berto: 1985-1987                       Brenda Fox
Irene Sohm
                                        Al Mansoor: 1983-1985                        Patron Services Manager
Barb Spangler
                                        Jack Dupre: 1981-1983                        Ann Hutchinson
David Stare                                                                          Marketing Associate
Mark Wardlaw                            James Benefield: 1979-1981
                                        Carol Ziegler: 1977-1979                     Kate Matwychuk
Jerry Wunderlich                                                                     Simply Strings Manager
                                        Robert Nicholson: 1976-1977
Emeritus Board                          Ambrose Nichols: 1974-1976                   Matt Payne
Charles J. Abbe                         W. Donald Walker: 1972-1974                  Youth Ensembles Manager
Gary Bayless                            John van Dyk: 1970-1972                      Enid Rickley-Myres
                                        Leland Levinger: 1968-1970                   Executive Assistant/Donor Liaison
Anne Benedetti
Nancy Berto                             Evert Person: 1966-1968                      Jane Shelly
                                        Mrs. Elzo McClusky: 1946-1966                Education Outreach Coordinator/Youth
Gordon Blumenfeld
                                                                                       Orchestra Manager
Corrick Brown                           George Cadan: 1943-1946
Pat Clothier                            Jerome Cross: 1942-1943
Jack Dupre                              Harold Bostock: 1940-1942
Jane Dwight                             J.A. Tedford: 1937-1940
Peggy Elliott                           Mrs. Joseph Grace: 1935-1937
John Friedemann                         Ernest L. Finley: 1933-1935
Robert Hayden                           Larry Zuur: 1929-1933
                                        James Sweet: 1927-1929

10    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A   |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
                                             offeringa aunique

                                     proudly supports the
      Santa Rosa Symphony                                                          give
                                                                                    give           gifg

                               give CountygBusinesses
    Providing IT Solutions to give
                              Sonoma       g             ififtsts
                                                      for over 20 years.
                                         gigiveve             ggififtsts
                                                            enjoy     (800) 761-1181

                                                                       enjojoy y

                                            gigiveve            gifgiftsts
                                                                    enenjojoy y

 D         iscover
             iscovera acollection
                                                                 Rotisserie& &Bar,

                             HIGHWAY1212ATATFARMERS    2020
                                                     LANE   –SANTA
                                                         ININ 2021
    MON- SAT
         - SAT10AM   - 6PM• •SUN
               10AM- 6PM      SUN11AM    - 5PM• •WWW.MVSHOPS.COM
                                  11AM- 5PM       WWW.MVSHOPS.COM
Francesco Lecce-Chong, Music Director & Conductor

                        Conductor Francesco                    with interviews with musicians. The programs
                        Lecce-Chong is the                     will include music by living composers Jessie
                        Music Director of the                  Montgomery, Gabriella Lena Frank and Chen Yi.
                        Santa Rosa Symphony                    The Santa Rosa Symphony will also celebrate
                        and      the    Eugene                 Beethoven’s 250th with performances of his first
                        Symphony in Oregon.                    three symphonies.
                        The press has described                   Following the paths of renowned music direc-
                        him as a “fast rising tal-             tors of the Eugene and the Santa Rosa sympho-
                        ent in the music world”                nies, including Marin Alsop, Giancarlo Guerrero
                        with “the real gift” and               and Jeffrey Kahane, Lecce Chong has made his
                        recognized his dynamic                 mark with the two orchestras, introducing a series
performances, fresh programming, deep com-                     of new music and community initiatives. In 2019,
mitment to commissioning and performing new                    the orchestras announced Lecce-Chong’s “First
music, as well as to community outreach. Lecce-                Symphony Project,” commissioning four major
Chong has appeared with orchestras around the                  orchestral works by young composers – Matt
world, including the San Francisco Symphony,                   Browne, Gabriella Smith, Angélica Negrón and
New York Philharmonic, National Symphony,                      Michael Djupstrom - to be performed over sev-
Atlanta Symphony, Pittsburgh Symphony, Toronto                 eral seasons, accompanied by multiple composer
Symphony, St. Louis Symphony, and Hong Kong                    residencies and community events. In Eugene, he
Philharmonic and collaborated with top soloists                has reinitiated family concerts and presented a
including Renée Fleming and Itzhak Perlman.                    number of innovative projects such as an original
   In spring 2019, Lecce-Chong debuted in                      multimedia performance of Scriabin’s composi-
subscription concerts with the San Francisco                   tions, engaging light and color.
Symphony. The San Francisco Chronicle called                      During his successful tenures as Associate
his conducting “first rate” praising the “vitality             Conductor with the Milwaukee Symphony under
and brilliance of the music-making he drew from                Edo de Waart and the Pittsburgh Symphony under
members of the San Francisco Symphony.” Other                  Manfred Honeck, Lecce-Chong also dedicated his
recent subscription debuts included the Colorado               time to opera, building his credentials as staff con-
Symphony, Louisville Orchestra, Louisiana                      ductor with the Santa Fe Opera, and conducted
Philharmonic and Xi’An Symphony Orchestra.                     Madama Butterfly at the Florentine Opera with the
Lecce Chong also returned to conduct the Civic                 Milwaukee Symphony.
Orchestra of Chicago, Milwaukee Symphony                          Lecce-Chong is the recipient of several distinc-
Orchestra and San Diego Symphony. The 2019-                    tions, including the prestigious Solti Foundation
2020 season marked his debut with the New                      Award. Trained also as a pianist and composer,
York Philharmonic as part of the legendary Young               he completed his studies at the Curtis Institute of
People’s Concert Series.                                       Music with Otto-Werner Mueller, after attending
   In the 2020-2021 season, an unprecedented                   the Mannes College of Music and Accademia
one for live orchestral music, Lecce-Chong will                Musicale Chigiana in Italy. He has had the privilege
conduct virtual concerts with both the Santa                   of being mentored and supported by celebrated
Rosa and the Eugene symphonies, specifically                   conductors including Bernard Haitink, David
created for online audiences. The performances                 Zinman, Edo de Waart, Manfred Honeck, Donald
will be streamed worldwide and will take a unique              Runnicles and Michael Tilson Thomas.
form of a cohesive musical journey, complete

12   Santa Rosa Symphony   R E S I D E N T O R C H E S T R A     |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Santa Rosa Symphony
                     Francesco Lecce-Chong, Music Director & Conductor
                     Bruno Ferrandis, Conductor Laureate  
                     Jeffrey Kahane, Conductor Emeritus  
                     Corrick Brown, Conductor Emeritus
                     Michael Berkowitz, Principal Pops Conductor

First Violin                    Viola                            Flute                            Trombone
Joseph Edelberg,                Elizabeth Prior, Principal       Kathleen Lane Reynolds,          Bruce Chrisp, Principal
 Concertmaster                  Dr. Gary Soren Smith and          Principal                       Amy Bowers
David Charles Johnston Chair      Barbara Faye Smith Chair       Alice Coleman Chair
                                                                                                  Kurt Patzner,
Jay Zhong,                      Meg Titchener,                   Stacey Pelinka, PICCOLO            BASS TROMBONE
 Associate Concertmaster         Assistant Principal
                                                                 Carmen Lemoine
                                Robert B. Leard, PhD. Chair                                       Tuba
Heather J. Powell,
 Assistant Concertmaster        Meg Eldridge                     Oboe                             Scott Choate, Principal
Kathryn Marshall                Alexander Volonts                Laura Reynolds, Principal
                                                                 Jane and Nelson Weller Chair     Timpani
Marcia Lotter                   Darcy Rindt
                                                                 Jesse Barrett,                   Andrew Lewis, Principal
Mark Neyshloss                  Tiantian Lan
                                                                   ENGLISH HORN
Eugenia Wie                     Cello                                                             Percussion
                                                                 Bennie Cottone
Darren Sagawa                   Adelle-Akiko Kearns,                                              Allen Biggs, Principal
Emanuela Nikiforova              Principal                       Clarinet                         Susan Jette
Tamara Voyles                   Evert B. Person Memorial Chair   Roy M. Zajac, Principal          Stan Muncy
Thomas Yee                      Robin Bonnell,                   Mark Wardlaw
Barbara Schaefer                 Assistant Principal             Mark Shannon,
                                                                                                  Dan Levitan, Principal
Natasha Makhijani               Wanda Warkentin                    BASS CLARINET

Aromi Park                      Corinne Antipa                                                    Piano/Celesta
                                Kelley Maulbetsch                                                 Kymry Esainko, Principal
Second Violin                                                    Carla Wilson, Principal
                                Vanessa Ruotolo
Karen Shinozaki Sor,                                             Karla Ekholm                     Orchestra Librarian
                                Rebecca Roudman
 Principal                                                       Shawn Jones,                     Karen Zimmerman
Henry Trione Memorial Chair
                                Elizabeth Vandervennet
                                Dieter Wulfhorst                                                  Stage Manager
Michelle Maruyama,
 Assistant Principal                                             Horn                             David Badella
                                                                 Meredith Brown, Principal
Edmond Fong                     Andy Butler,                                                      Sound Engineer
Jeanette Isenberg                Acting Principal                Alex Camphouse
                                                                                                  Krieg Wunderlich
Zinovy Zelichenok                                                Suzanne Chasalow
                                Andrew McCorkle
Calvin E. Lewis, Jr.                                             Henry Viets                      Recording Engineer
                                Karen Zimmerman
Laurie Moore                                                     Caitlyn Smith Franklin           Mark Lemaire
                                Raymond Vargas
Claudia Fichera                 Jon Keigwin                      Trumpet                          Piano Technician
William R. Williams                                              Kale Cumings,                    Larry Lobel
Claire-Jeanne Martin                                              Acting Principal
                                                                                                  Artist Liaisons
Stephanie Bibbo                                                  Scott Macomber
                                                                                                  David Hanes
                                                                                                  Roy Payment
* Leave of Absence                                                                                Michelle Sikora
+ Acting Member

Santa Rosa Symphony Musicians are members of the American Federation of Musicians, represented by Local 6.

                                                                                                2020 – 2021 Season 13
Meet the Symphony’s
     Artistic Partner                                                           2020
     Ellen Taaffe Zwilich!


           The Symphony welcomes Pulitzer Prize-winning composer Ellen Taaffe Zwilich as
     its SRS @ Home Artistic Partner. One of her works will be included in each SRS @ Home
     concert. She will also engage with SRS @ Home audiences and the community throughout
     the 2020-2021 season.
           A prolific composer in virtually all media, Ellen Taaffe Zwilich’s works have been
     performed by most of the leading American orchestras and by major ensembles abroad.
     Her works include five symphonies and a string of concertos commissioned and performed
     over the past two decades by the nation’s top orchestras.
           Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer
     Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague
     Coolidge Chamber Music Prize, the Arturo Toscanini Music Critics Award, the Ernst von
     Dohnányi Citation, an Academy Award from the American Academy of Arts and Letters,
     a Guggenheim Fellowship, four Grammy nominations, the Alfred I. Dupont Award, Miami
     Performing Arts Center Award, the Medaglia d’oro in the G.B. Viotti Competition, and the
     NPR and WNYC Gotham Award for her contributions to the musical life of New York City.
     Among other distinctions, Zwilich has been elected to the American Classical Music Hall of
     Fame, the Florida Artists Hall of Fame, the American Academy of Arts and Sciences, and
     the American Academy of Arts and Letters. In 1995, she was named to the first Composer’s
     Chair in the history of Carnegie Hall, and she was designated Musical America’s Composer
     of the Year for 1999. Zwilich, who holds a doctorate from The Juilliard School, currently
     holds the Krafft Distinguished Professorship at Florida State University.

      Watch this introductory video
      on the Symphony’s YouTube channel.

14   Santa Rosa Symphony   R E S I D E N T O R C H E S T R A   |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Santa Rosa Symphony
                 Francesco Lecce-Chong, Music Director & Conductor
                 Bruno Ferrandis, Conductor Laureate
                 Jeffrey Kahane, Conductor Emeritus
                 Corrick Brown, Conductor Emeritus

Enhanced concert experience streamed on
Sunday, January 24, 2021 3 pm
Music Recorded at the Green Music Center expressly for this concert
Francesco Lecce-Chong, conductor

ANTON WEBERN, arr.                                Sinfonia in C major
Ricercare à 6 from Das Musikalische                   Allegro con spirito
Opfer [The Musical Offering]                          Andante ma non troppo
ELLEN TAAFFE ZWILICH                                  Allegro spiritoso
Concerto Grosso 1985 for Chamber
Orchestra [after Handel]
                                                  WOLFGANG AMADEUS MOZART
                                                  Symphony No. 39 in E-flat major, K. 543
                                                      Adagio – Allegro
                                                      Andante con moto
                                                      Menuetto (Allegretto) e Trio
                                                      Finale: Allegro

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors
Concert Sponsor: Willow Creek Management
Francesco Lecce-Chong underwritten by David and Corinne Byrd
Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat

See page 27 for Ways to Watch

                                                                             2020 – 2021 Season 15
January 2021 Program Notes by Elizabeth Schwartz
JOHANN SEBASTIAN BACH / Anton Webern, arranger
Ricercare à 6 from Das Musikalische Opfer [The Musical Offering]
COMPOSER: J. S. Bach was born on March 21, 1685 in Eisenach, and died on July 28, 1750 in Leipzig. Anton Webern
  was born on December 3, 1883 in Vienna, and died on September 15, 1945 in Mittersill, Austria.
WORK COMPOSED: Bach began The Musical Offering in May 1747 and finished it two months later. It is dedicated to
   Frederick the Great, who provided the original theme. Webern orchestrated it in 1934-1935, on a commission
   from Universal Edition, and dedicated it to BBC music producer Edward Clark.
WORLD PREMIERE: Webern conducted the first performance on a live broadcast of the BBC on April 25, 1935,
   in London.
INSTRUMENTATION: flute, oboe, English horn, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, timpani
   and strings

    In 1747, Johann Sebastian Bach traveled to                      No one would ever mistake a work of Bach’s
Potsdam to visit his son Carl Philipp Emanuel,                  for that of Webern, or vice versa, but despite their
who was employed as a musician in the court of                  dissimilar styles, the two composers had much
Frederick the Great. When they met, Frederick                   in common. Both loved musical puzzles and had
presented the elder Bach with a rather long and                 a penchant for manipulating pitches – Bach with
complex theme (Thema Regium), and by way of                     palindromes or number symbology, and Webern
a challenge, asked Bach to improvise a three-                   with the 12-tone rows he constructed, reversed
voiced fugue on the spot, using one of his new                  and inverted. When Webern set himself the task
“pianofortes” – a precursor to the modern piano.                of orchestrating Bach’s six-voiced ricercare, he
Bach complied, whereupon Frederick demanded a                   wanted to showcase both the Thema Regium and
six-voiced fugue. Bach assented, using a theme of               the distinctive timbres of the orchestra’s different
his own, but after he returned home to Leipzig, he              instruments. He wrote, “The theme throughout
composed another 6-voiced fugue with the Thema                  must not appear disintegrated. My orchestration
Regium. Two months later, Bach completed a col-                 tries (here I am speaking of the whole work) merely
lection of 13 keyboard canons, fugues and a trio                to reveal the motivic coherence.”
sonata, all based on the Thema Regium, and sent                     Webern highlights Bach’s pitches by use of an
it to Frederick as “a musical offering.”                        orchestration technique he learned from his teacher
    In a 1999 essay in the New York Times, the late             Arnold Schoenberg, known as Klangfarbenmelodie
pianist and musicologist Charles Rosen described                (tone-color melody). A muted solo trombone intones
the 6-voiced fugue, or ricercare, as “among the                 the opening notes, followed by trumpet, then horn.
greatest achievements of Western European civ-                  As the theme repeats, different instruments, from
ilization.” Like many of Bach’s masterpieces, it                flute to oboe to strings, play brief fragments before
transcends the time, place and instrumentation                  passing the melody along. In this manner, the
for which it was originally conceived. Several com-             interlocking structure of the music and the unique
posers have arranged it for orchestra, but Anton                colors of each instrument gradually emerge until
Webern’s 1935 version stands head and shoulders                 the Offering is completely revealed.
above the rest.

16    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A     |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Concerto Grosso 1985 for Chamber Orchestra [after Handel]
COMPOSER: Born April 30, 1939, Miami, FL
WORK COMPOSED: 1985. Commissioned by the Washington Friends of Handel to mark the 300th anniversary of
  George Frideric Handel's birth.
WORLD PREMIERE: Stephen Simon led the Handel Festival Orchestra (now the Washington Chamber Symphony) at
  the Kennedy Center in Washington, D. C. on May 9, 1986.
INSTRUMENTATION: flute, 2 oboes (1 doubling English horn), 2 horns, harpsichord and strings

    In our January through May concerts, the Santa       both inspired by Handel’s sonata and, I hope, imbued
Rosa Symphony is showcasing music of Ellen Taaffe        with his spirit.”
Zwilich, an acclaimed American composer whose                The Concerto Grosso features a five-movement
work has earned her numerous prizes and honors.          arch structure. The first and final movements
The first female composer to win the Pulitzer Prize      include direct quotes from Handel’s violin sonata,
in 1983 for her Symphony No. 1, Zwilich has also         interspersed with Zwilich’s contemporary style. To
received the Elizabeth Sprague Coolidge Chamber          highlight the sectional quality of the music, Zwilich
Music Prize; the Arturo Toscanini Music Critics Award;   indicates in the score that the “Handelian” and
the Ernst von Dohnányi Citation; a Guggenheim            “Zwilichian” contrasts be emphasized as much as
Fellowship; and four Grammy nominations. In 1995,        possible. The second and fourth movements, marked
Zwilich was named to the first Composer’s Chair in       Presto, are free-flowing and slightly agitated; they
the history of Carnegie Hall; Musical America named      serve as frames for the central third movement.
her Composer of the Year for 1999.                       Zwilich describes this keystone section, marked
    In 1984, the Washington Friends of Handel asked      Largo, as “the emotional peak, the most personal
Zwilich to write a commemorative work in honor of        movement of the concerto. It, too, is a free fantasy,
George Frideric Handel’s 300th birthday. Zwilich         inspired by Handel’s theme, but without the direct
immediately thought of Handel’s D major violin           quotations I used in movements one and five.
sonata. “I performed the work many years ago,”           Throughout the work, I found myself using compo-
she said, “and I especially love the opening theme       sitional techniques typical of the Baroque period,
of the first movement – the striking head motive and     including terraced dynamics, repeated melodic
the beauty of the generative tension between the         phrases, and suspension-like constructions. These
theme and the elegant bass line.” Zwilich describes      are techniques I would not normally use, but I felt
her Concerto Grosso as a “20th-century response to       inspired to do so because of the fact that this piece
the spirt of George Frideric Handel. My concerto is      was based on Handel.”

Sinfonia in C major
COMPOSER: Born May 4, 1744, Vienna; died December 13, 1812, Vienna
WORLD PREMIERE: Undocumented
INSTRUMENTATION: 2 flutes, 2 oboes, 2 horns, 2 trumpets, timpani, harpsichord and strings

    Vienna in the latter half of the 18th century           Marianna Martínes was a product of Vienna’s
overflowed with music, musicians, composers,             musical ferment. Before relocating to Vienna,
aficionados, poets and patrons. All the best of          Martínes’ father Nicolo lived in Italy, where he
Europe came to Vienna – either to stay or at least       became lifelong friends with a poet named Pietro
to visit – which made the city a focal point for         Trapassi, better known as Metastasio. As an opera
creativity, just as the Italian city of Florence had     librettist, Metastasio achieved great fame. In
emerged as the center of Renaissance art, music,         1730, he relocated to Vienna, where he lived with
literature and science some 350 years earlier.           Nicolo and his six children for the rest of his life.

                                                                                    2020 – 2021 Season 17
The Martínes family lived in a multistoried building         by her beloved mentor Metastasio, which she also
that still stands on the Michaelerplatz, an elegant             performed. A polished, highly intelligent woman,
city square near Vienna’s historical city center. Other         Martínes spoke multiple languages: German,
residents of the building included a young and largely          French, Italian and English.
unknown composer named Joseph Haydn; the dow-                      As an adult, Martínes managed to do something
ager princess of the aristocratic Esterházy family;             even Mozart could not achieve: build a successful
and the renowned Italian composer and singing                   career teaching music lessons and composing her
teacher, Nicola Porpora. All of these neighbors, along          own works without benefit of a royal patron. She
with Metastasio, became acquainted and also influ-              and her sister cared for Metastasio until the old
enced the musical development of young Marianna.                man died; in gratitude and love for the woman
   In a letter from 1773, Martínes wrote, “I was                Metastasio considered his adopted daughter, the
born in the year 1744 on the 4th day of May. In                 poet left his considerable estate to Marianna. This
my seventh year they began to introduce me to                   gave her economic security and independence, a
the study of music, for which they believed me                  rarity for women in those times.
inclined by nature. Its rudiments were taught me by                Martínes never married, and music remained
Signor Giuseppe Haydn, now Maestro di Cappella                  the central focus of her life. She hosted regular
to Prince Esterházy … But in all my studies, the                evenings of music in her home, which were
chief planner and director was always, and still is,            attended by Vienna’s finest musicians, including
Signor Metastasio, who, with the paternal care he               Mozart and Haydn (Martínes was also one of
takes of me and all of my numerous family, renders              Mozart’s favorite duet partners). Sometime during
an exemplary return for the incorruptible friendship            her 50s, Martínes opened a singing school, where
and tireless support which my good father lent him              she taught many of Vienna’s best musicians.
up until the very last days of his life.”                          Martínes’ Sinfonia in C Major (also known as
   Martínes more than fulfilled her youthful                    the Overture in C major) from 1770 is the only
potential. She became a skilled composer in many                known classical symphony composed by a wom-
genres, including sacred oratorios and masses;                  an. Written when Martínes was 26, the music
choral and solo vocal pieces; and instrumental                  exudes a fresh elegance, featuring singable mel-
music for orchestra. She regularly set texts written            odies and lively dance rhythms.

Symphony No. 39 in E-flat major, K. 543
COMPOSER: Born January 27, 1756, Salzburg, Austria; died December 5, 1791, Vienna
WORK COMPOSED: Summer 1788
WORLD PREMIERE: Undocumented
INSTRUMENTATION: flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

   When 25-year-old Wolfgang Amadeus Mozart                     success both in Vienna and abroad, the income
arrived in Vienna in 1781, he astonished every-                 they generated did not offset the enormous costs
one with his dazzling skill as a pianist. He quickly            of production. Furthermore, Mozart was notori-
became the most sought-after performer in town                  ously incapable of managing money.
and people flocked to his concerts.                                In the beginning of the summer of 1788, Mozart
   By 1787, however, Mozart’s fortunes had                      found himself in dire financial circumstances. He
shifted. His numerous attempts to secure a royal                wrote a series of anguished letters to friend and
court appointment, which would have provided a                  fellow Freemason Michael Puchberg, pleading for
steady living, had proved unsuccessful. Mozart                  loans. Mozart also pawned several valuables, tried
also stopped writing and performing piano con-                  to get advances from his publisher, and attempted
certos for his subscription concerts in order to                to sell his manuscripts; these humiliating efforts
concentrate on the greater creative rewards of                  to raise funds yielded little.
opera. Although Mozart’s operas met with some                                                             Continued on page 28

18    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A     |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Santa Rosa Symphony
                 Francesco Lecce-Chong, Music Director & Conductor
                 Bruno Ferrandis, Conductor Laureate
                 Jeffrey Kahane, Conductor Emeritus
                 Corrick Brown, Conductor Emeritus

Enhanced concert experience streamed on
Sunday, February 28, 2021 3 pm
Music Recorded at the Green Music Center expressly for this concert
Francesco Lecce-Chong, conductor

WILLIAM GRANT STILL                               ANTONÍN DVOŘÁK
Serenade for Small Orchestra                      Czech Suite in D major for Small
                                                  Orchestra, Opus 39
RICHARD WAGNER                                        Preludium (Pastorale): Allegro moderato
Siegfried Idyll for Small Orchestra
                                                      Polka: Allegretto grazioso
ELLEN TAAFFE ZWILICH                                  Sousedská (Minuetto): Allegro giusto
Prologue and Variations for String                    Romance: Andante con moto
Orchestra                                             Finale (Furiant): Presto
    Prologue – Andante misterioso
      Tempo Primo – Andante misterioso

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors
Concert Sponsor: Joseph A. and Judith M. Gappa
Concert Supporting Sponsor: Exchange Bank
Francesco Lecce-Chong underwritten by David and Corinne Byrd
Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat

See page 27 for Ways to Watch

                                                                             2020 – 2021 Season 19
February 2021 Program Notes by Elizabeth Schwartz
Serenade for Small Orchestra
COMPOSER: Born May 11, 1895, Woodville, MS; died December 3, 1978, Los Angeles, CA
WORK COMPOSED: 1957, for the Great Falls High School Orchestra in Great Falls, MT
WORLD PREMIERE: Paul Schull led the Great Falls High School Orchestra on May 7, 1958
INSTRUMENTATION: flute, clarinet, harp and strings

   Known as “the dean of African American                       Communist affiliations made him an ongoing target
composers,” William Grant Still composed music                  for vindictive anti-Communist and racist attacks.
in a wide variety of genres: symphonies, opera,                 Still, who had been battling the white-dominated
chamber music, choral works, solo songs, and                    cultural establishment for years in his efforts to get
concertos. As a young man, he made his living                   his music performed, had now alienated himself
playing commercial music on violin, oboe, and                   from the black community, as well as from liberal
banjo. Over the span of his six-decade career,                  whites who had formerly championed Still’s work.
Still worked as a performer, arranger, orchestrator,            As Leon Botstein explains, “In the 1950s, during
conductor, and composer.                                        the nascent years of the civil rights movement, the
   A black man who took pride in his race and also              effective alliance was between liberal and progres-
refused to be limited by it, Still’s career is peppered         sive white America that had severe doubts about the
with Afro-American “firsts:” first to have a sympho-            saber rattling and arms race of the Cold War, and
ny performed by a major orchestra; also the first to            the [political and cultural] leadership of the black
conduct a major symphony orchestra when Still led               community. Still, in what was considered to be an
the Los Angeles Philharmonic Orchestra in a concert             appalling betrayal of Black American progressivism
of his own compositions at the Hollywood Bowl in                at the time, sided with the enemy by embracing
1936; first to have one of his operas produced by               the traditions of a rigid, suspicious, and somewhat
a major company, when New York City Opera pre-                  intolerant anti-Communism.” As a result, Still’s
sented Troubled Island in 1949; and the first to see            music was effectively if unofficially blacklisted by
one of his operas televised on a national network.              record companies, orchestras, opera companies,
   In the early 1950s, Still’s professional life                the media, and the black community from the early
derailed. He was a staunch anti-Communist who                   1950s until the late 1980s.
offered to name Communists and Communist sym-                      The Serenade was originally conceived as part
pathizers for Joe McCarthy’s House Un-American                  of a cello concerto undertaken at the suggestion of
Activities Committee in 1951. Two years later, Still            cellist Gregor Piatigorsky. Written for young amateur
publicly denounced prominent Communists, includ-                players, the music is both technically approachable
ing the acclaimed singer Paul Robeson, whose                    and full of expressive melodies and lush textures.

Siegfried Idyll for Small Orchestra
COMPOSER: Born May 22, 1813, Leipzig; died Feb. 13, 1883, Venice
WORLD PREMIERE: Wagner led a small ensemble of 13 musicians in the premiere on his wife Cosima’s birthday,
   December 25, 1870. The ensemble performed on the stairs outside Cosima’s bedroom in Tribschen, the Wagners’
   home in Switzerland.
INSTRUMENTATION: flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet and strings

   Unlike Richard Wagner’s heroic, larger-than-life             Written as a combined Christmas and birthday gift
music dramas, the Siegfried Idyll has a tender                  for his wife Cosima, Wagner’s original title was
intimacy not commonly found in Wagner’s music.                  “Tribschener Idyll, with Fidi’s Birdsong and Orange

20    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A     |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Sunrise, as a Symphonic Birthday Greeting from             it had died away, R. came into my room with the five
Richard to Cosima.” (Tribschen was the Wagners’            children and gave me the score of his ‘Symphonic
home on Lake Lucerne in Switzerland; Fidi was              Birthday Greeting’ - I was in tears, so was everybody
the nickname of their 18-month-old son Siegfried.)         in the house. R. had placed his orchestra on the
                                                           staircase, and thus our Tribschen is consecrated
Wagner surprised Cosima with the Idyll, going to
                                                           for all time.”
great lengths to keep his rehearsals secret. At dawn
on Christmas Day 1870, Cosima was awakened by
                                                            Scholar and critic Ernest Newman describes the
a small ensemble of 13 musicians arranged on the
                                                         Idyll as “a series of domestic confidences.” Most
stairs and landing outside her bedroom.
                                                         of its themes are found in the opera Siegfried;
   The Idyll, a musical love poem, is full of private
                                                         the opening melody comes from Act III, but it
references known only to Wagner and Cosima.
                                                         actually originated in a string quartet Wagner
Cosima’s reaction to her husband’s gift was so
                                                         wrote for Cosima six years earlier. Similarly, the
profound she could not find words to describe her
                                                         German folk lullaby “Schlaf’, Kindchen, schlafe,”
feelings. In her diary, Cosima wrote:
                                                         played by solo oboe, was assumed to refer to
                                                         baby Siegfried; however, Newman discovered it
  “I can tell you nothing about this day, my children,
  nothing about my feelings, nothing about my mood,      was actually linked to the Wagners’ older daughter
  nothing, nothing. I shall merely inform you, plainly   Eva. These and other musical references, whose
  and simply, of what took place. A sound awoke me       meaning remained hidden for many years, reveal
  which grew ever stronger; I knew I was no longer       the Idyll’s levels of personal significance for both
  dreaming, there was music, and what music! When        Wagner and Cosima.

Prologue and Variations for String Orchestra
COMPOSER: Born April 30, 1939, Miami, FL
WORK COMPOSED: Work commissioned by the Chattanooga Symphony Orchestra in 1983.
WORLD PREMIERE: Richard Cormier led the Chattanooga Symphony on April 10, 1984.
INSTRUMENTATION: String orchestra

   The Pulitzer Prize for Music was first awarded in     This subtle change indicates Zwilich’s expansive
1943, to William Schuman. Exactly 40 years later,        approach to what constitutes a variation. Typical
the Pulitzer committee chose Ellen Taaffe Zwilich’s      theme-and-variations begin with a theme, usually
Symphony No. 1 for the top honor. Zwilich, the first     a straightforward melody, often well known – think
woman to receive the prize, also became the first        of Mozart’s famous variations on “Twinkle Twinkle
woman to earn a doctorate in composition from            Little Star” – and continue with a series of increas-
the Juilliard School of Music. The Pulitzer brought      ingly florid elaborations on that theme.
Zwilich’s music to national attention, establishing          Zwilich’s Prologue is a series of musical ideas
her as a significant American composer.                  and contrasting tempos. Most prominent among
   In a 1985 New York Times interview, Zwilich           these is Dmitri Shostakovich’s famous musical
told critic Tim Page, “It is not enough to manip-        signature D. SCH, which corresponds to the notes
ulate abstract forms and ideas. A composer must          D-E-flat-C-B in German notation (Zwilich helpfully
also provide color, thrust, and purpose, allowing        places these four notes at the very beginning of the
a work to unfold gradually over a length of time.        Prologue, and follows them with a brief pause; the
As such, composition is both a written and a per-        D. SCH theme recurs throughout).
forming art – it must sound.” This compositional             The four variations all use material from the
credo perfectly describes Zwilich’s Prologue and         Prologue, but, as Zwilich explains in her comments
Variations for Orchestra, one of the first works         in the published score, “these are not ‘variations’ in
she composed post-Pulitzer. Note the use of the          the traditional sense … In using the word ‘Prologue,’
word “Prologue” rather than “Theme” in the title.        I meant to suggest a dramatic analogy, because, in

                                                                                    2020 – 2021 Season 21
a way, the function of the Prologue in this work                that the drama unfolds. Another important aspect
is to introduce ‘characters’ (musical ideas), some              of Prologue and Variations is that it celebrates the
of which are drawn rather fully, while others are               special sonorities, character, and expressiveness
only suggested. It is in the ensuing … ‘Variations’             of the string orchestra.”

Czech Suite in D major for Small Orchestra, Opus 39
COMPOSER: Born September 8, 1841, Nelahozeves, near Kralupy (now the Czech Republic); died May 1, 1904, Prague
WORLD PREMIERE: Adolph Čech led the Provisional Theatre Orchestra in Prague on May 16, 1879.
INSTRUMENTATION: 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

   An artist has his country, in which he must have firm        of one’s native soil, without prideful defiance.
   faith and an ardent heart.” – Antonín Dvořák                   The five movements of the Czech Suite incor-
                                                                porate dance rhythms primarily from Bohemia and
   Music publisher Friedrich August Simrock,                    Moravia. These rhythms would be recognizable to
known as Fritz, had a keen sense of what music                  anyone who lived or spent time in these regions.
his customers would buy. When Johannes                          Dvořák uses these rhythms in a series of original
Brahms’ Hungarian Dances became a bestseller                    melodies that sound like folk tunes, even though
for Simrock in 1869, the publisher realized region-             they are the composer’s invention. The opening
al and ethnic music were obvious gold mines.                    Prelude welcomes the listener with a gentle
   Antonín Dvořák first came to Simrock’s                      introductory melody. The Polka, a dance that
attention via Brahms, who had introduced the                    originated in the Czech region before evolving into
two men by correspondence. In an 1877 letter                    its better-known Polish version, has little oom-
to Simrock, Brahms mentioned Dvořák’s talent                   pah; instead it features two contrasting sections:
and versatility, and took particular note of “a vol-            one with a graceful theme in the strings, the other
ume of duets for two sopranos with pianoforte,                  emphasizing a lively forward-rushing tempo. The
which seem to me all too pretty, and practical                  central Sousedska, a slower dance in ¾ time,
for publication … The value of the duets will be                features a distinctive 2-note rhythm that sounds
obvious to you, and they might become a ‘good                   like a bird chirping. This little motive punctuates
commodity’ … please know … that I don’t make                    the melody throughout, as it meanders through a
recommendations hastily.”                                       series of harmonies and is traded back and forth
   Simrock shrewdly gambled on the young and                    among the instruments. In the Romanza, flute and
largely unknown Bohemian composer, and pub-                     oboe take turns with a lilting tune, while the strings
lished Dvořák’s Moravian Duets, which became                   pulse gently beneath. The closing Furiant, a fiery
an instant hit, followed by the first set of Slavonic           dance with a tempo to match, picks up energy and
Dances, Op. 46. Once published, Op. 46 made                     motion as it progresses, before concluding with a
Dvořák an international composer-celebrity.                    shout from trumpets and timpani.
   Musical nationalism – the widespread 19th cen-                  Interestingly, although Simrock was Dvořák’s
tury practice of incorporating specific regional or             primary publisher – he had right of first refusal
national melodies and rhythms to evoke a particu-               for all of Dvořák’s music initially – he passed on
lar place – can result in statements of grandiosity,            the Czech Suite. Schlesinger, a firm in Berlin,
punctuated by military marches and other sorts of               published Op. 39 in 1881.
musical chest-thumping. Dvořák was a devoted                                                         © 2021 Elizabeth Schwartz
Czech patriot who championed use of the Czech                                               (see bio and terms of use on page 28)
language despite the oppressive policies of the
Austro-Hungarian Empire, which ruled Bohemia
during his lifetime. Dvořák’s musical nationalism,
however, expresses itself as a deeply rooted love

22    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A     |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
Santa Rosa Symphony
                 Francesco Lecce-Chong, Music Director & Conductor
                 Bruno Ferrandis, Conductor Laureate
                 Jeffrey Kahane, Conductor Emeritus
                 Corrick Brown, Conductor Emeritus

Enhanced concert experience streamed on
Sunday, March 28, 2021 3 pm
Music Recorded at the Green Music Center expressly for this concert
Francesco Lecce-Chong, conductor
Zuill Bailey, cello

JESSIE MONTGOMERY                                 CHARLES IVES
Starburst for String Orchestra                    The Unanswered Question for Chamber
                                                  Orchestra, S. 50
Adagio for Strings, Opus 11                       JOHANNES BRAHMS
                                                  Serenade No. 2 in A major
ELLEN TAAFFE ZWILICH                              for Orchestra, Opus 16
Concerto for Cello and Orchestra
                                                      Allegro moderato
    I.                                                Scherzo: Vivace
    II.                                               Adagio non troppo
    III.                                              Quasi menuetto
                                                      Rondo: Allegro

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors
Concert Sponsor: Jim Lamb
Francesco Lecce-Chong underwritten by David and Corinne Byrd
Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat

See page 27 for Ways to Watch

                                                                             2020 – 2021 Season 23
March 2021 Program Notes by Elizabeth Schwartz
Starburst for String Orchestra
COMPOSER: Born December 8, 1981, New York City
WORK COMPOSED: 2012 for the Sphinx Virtuosi
WORLD PREMIERE: September 2012 by the Sphinx Virtuosi at the New World Center in Miami, FL
INSTRUMENTATION: string orchestra (originally for string quartet)

   In December 2020, the Santa Rosa Symphony                    time laureate of the annual Sphinx Competition
presented acclaimed composer Jessie                             and was awarded a generous MPower grant
Montgomery’s Source Code (2013), an homage                      to assist in the development of her 2016 debut
to the work of African American artists during                  album, Strum: Music for Strings (Azica). In 2019,
the Civil Rights era. On this concert, we continue              the New York Philharmonic selected Montgomery
showcasing Montgomery’s innovative voice.                       as one of the featured composers for its Project
Her work combines classical language with                       19, which marks the centennial of the ratification
elements of vernacular music, improvisation,                    of the 19th Amendment granting American women
language and social justice. The resulting music                the right to vote.
has earned Montgomery rave reviews for her                         “This brief one-movement work for string
“vibrantly inventive original works for strings”                orchestra is a play on imagery of rapidly changing
( ) and numerous awards,                       musical colors,” Montgomery writes of Starburst.
including the ASCAP Foundation’s Leonard                        “Exploding gestures are juxtaposed with gentle,
Bernstein Award. Montgomery’s works are per-                    fleeting melodies in an attempt to create a multidi-
formed frequently around the world by leading                   mensional soundscape. A common definition of a
musicians and ensembles.                                        starburst— ‘the rapid formation of large numbers
   Since 1999, Montgomery has been affiliated                   of new stars in a galaxy at a rate high enough to
with The Sphinx Organization, which supports                    alter the structure of the galaxy significantly’—
young African-American and Latinx string players.               lends itself almost literally to the nature of the
She currently serves as composer-in-residence                   performing ensemble who premiered the work,
for the Sphinx Virtuosi, the Organization’s flagship            the Sphinx Virtuosi, and I wrote the piece with
professional touring ensemble. She was a two-                   their dynamic in mind.”

Adagio for Strings, Opus 11
COMPOSER: Born March 9, 1910, West Chester, PA; died January 23, 1981, New York City
WORK COMPOSED: The Adagio for Strings was originally the second movement of Barber’s String Quartet in B minor,
   which he composed in Europe in 1936. It was first performed on December 14 of that year in Rome. Two years
   later, Barber arranged it for string orchestra.
WORLD PREMIERE: Arturo Toscanini led the NBC Symphony in the orchestral version of the Adagio on November
   5, 1938.
INSTRUMENTATION: string orchestra

   Plato’s Republic, which concerns itself with the                Certainly Samuel Barber’s Adagio for Strings,
disposition of a “just society” and the education               perhaps the most recognizable work written by an
of its citizens, has a lot to say about music. Plato,           American classical composer, would be included
speaking through Socrates, even goes so far as to               in Plato’s list of objectionable music. Its ability to
suggest banning certain modes (scales) because                  evoke profound sadness makes it what one broad-
their melancholy qualities trigger feelings of weak-            caster has called our “national funeral music.”
ness in the listener.                                           Americans associate the Adagio with the deaths

24    Santa Rosa Symphony   R E S I D E N T O R C H E S T R A     |   W E I L L H A L L, T H E G R E E N M U S I C C E N T E R
of Franklin D. Roosevelt and John F. Kennedy,             launch him onto the national stage. Biographer
the bombing of the federal building in Oklahoma           Barbara Heyman writes, “Toscanini’s broadcasts
City in 1995, and the attacks on 9/11. Many also          were generally regarded with almost religious
connect it with the Vietnam War, thanks to Oliver         reverence, but the ten o’clock broadcast on the
Stone’s 1986 film, Platoon, which featured the            evening of November 5, 1938, held additional sig-
Adagio in its score. Plato, with his emphasis on          nificance, for it marked recognition by the Italian
reason over emotion, perhaps did not appreciate           conductor that there was enough merit in works
the cathartic role such music plays in assuaging          by an American composer to bring them to the
grief, but there is little doubt Barber’s Adagio has      attention of a national audience.”
both moved and comforted many in mourning.                   In his later life, Barber regretted that so much
   The Adagio began as the second movement                of his musical reputation rested on the Adagio.
of Barber’s String Quartet in B minor. Two years          According to scholar Thomas Lawson, in his
later, Barber arranged it for string orchestra and        book The Saddest Music Ever Written, “After the
gave the score to Arturo Toscanini, in hopes              lament took musical wing in 1936, it became an
that the conductor would perform it on the radio          emotional albatross from which he was never
with the NBC Symphony. Twenty-eight-year-                 free … Barber even forbade the Adagio from
old Barber was a rising star, whose music had             being played at his funeral, so that at least in
already attracted favorable notice, but he knew           death he would be free of it.”
that Toscanini’s endorsement of his work would

Concerto for Cello and Orchestra
COMPOSER: Born April 30, 1939, Miami, FL
WORK COMPOSED: Commissioned by the South Florida Symphony Orchestra. Dedicated to its music director, Sebrina
  María Alfonso, and cellist Zuill Bailey in 2019-2020.
WORLD PREMIERE: Alfonso led the South Florida Symphony Orchestra, with soloist Zuill Bailey, on March 5, 2020.
INSTRUMENTATION: solo cello, string orchestra

   At a time when the musical offerings of the            the human voice – from the lowest male voice to
world are more varied than ever before, few com-          the highest soprano (I particularly like its mezzo
posers have emerged with the unique personality           soprano). But I sometimes refer to string instru-
of Ellen Taaffe Zwilich. Her music is widely known        ments as ‘singers on steroids’ because of the
because it is performed, recorded, broadcast, and         power they give to a composer to explore virtuosity
– above all – listened to and enjoyed by all sorts        as well as expressivity.
of audiences the world over.                                  “My Cello Concerto engages both the lyrical,
   Zwilich’s works include five symphonies and            singing nature of the instrument and its technical
a string of concertos commissioned and per-               possibilities. Throughout the piece, the orchestra
formed by the nation’s top orchestras. In 1983,           plays a significant role with many interactions,
her Symphony No. 1 earned her the Pulitzer Prize,         including some unusual dialogues (e.g. between
making Zwilich the first woman so honored.                the cello and a trumpet).”
Among her many honors are membership in the                   The concerto was commissioned by the South
American Academy of Arts and Sciences and the             Florida Symphony Orchestra, and Zwilich notes that
American Academy of Arts and Letters.                     it is "dedicated to conductor Sebrina María Alfonso
   “One of the things I love about the cello,” says       and cellist Zuill Bailey, and written in memory of
Zwilich, “is that it has virtually the entire range of    [cellists] Leonard Rose and Mstislav Rostropovich.”

                                                                                   2020 – 2021 Season 25
You can also read
NEXT SLIDES ... Cancel