N i n t e e n t h S e a s o n

2010 ~ 2011R. Joseph Scott

Conductor & Music Director

BENAROYA HALLSpecial Location

Welcome to today’s performance of the Sammamish Symphony Or-

chestra.

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 evi-dent in the ever-improving quality of this fi ne musical ensemble.

The Northwest Associated Arts organi-zation has again invited the Sammamish Symphony to take part in a special appear-ance at Benaroya Hall in Seatt le. We will perform Carl Orff ’s masterpiece Carmina Burana with several Puget Sound choral

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 HelppieRenee Kuehn

Andy HillTim Winter

Honorary Board Members

Don GerendMayor, City of Sammamish

Cheryl Pfl ugWashington State Senator

Skip RowleyChairman, Rowley Properties

Nancy Whitt enDeputy 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 FeilEmaugo Creative

Colleen Venter

Webmaster

Mary Corder

Youth Concerto Competition

Andy Hill

Lobby Volunteer Coordinators

Kathy Boudreau-StroudMariana Vail

Concessions Manager

Jill Nichols Hicks

Sound Recording

Kent Harrison

2

A native of Eastern Oregon, R. Joseph Scott has been a dynamic leader in the Northwest musical community for over 40 years. He att ended the University of Oregon, School of

Music and studied conducting with Eugene Furst and Wolfgang Martin of the Portland Opera.

After relocating to Seatt le, Mr. Scott continued his studies with Henry Holt of the Seatt le Opera, Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol of the Seatt le 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 Seatt le Opera Chorus; the Empire Brass Quintet; the Seatt le Symphony Choral; and vocalists Anna Maria Alberghett i, 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.

R. Joseph Scott

R. Joseph Scott

groups. I look forward to conducting this exciting work on our third collab-oration with the N.A.A. It is an honor for our Orchestra to participate in this extraordinary event.

The Sammamish Symphony Orches-tra’s 2010/2011 season off ers a dynam-ic array of musical selections includ-ing our season opener which featured Famous Overtures with George Stew-ard 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 Saman-tha 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 fi ll Benaroya Hall with the powerful musical explosion that is Carl Orff ’s Carmina Burana. Winners of our annual Youth Concerto Com-petition will be showcased in April and our June POPS concert will enter-tain you with works from Academy Award winning fi lm 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

OskarBohme

Englebert Humperdinck Franz von Suppe

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

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,

Principal 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,

Principal Barb Thorne,

Assistant Principal Kathryn Boudreau-Stroud

Dan Pope JanRider

Amanda Salmick Lorraine Terpening

Myrl Venter

CELLO Leslie Nielsen,

Principal Elizabeth Clawson, Assistant Principal

Andy Hill Loryn Lestz

Michelle Miller Maxima Patashnik

James Poirson Gail Ratley

Joyce Sanford Sandra Sultan

BASS Jarod Tanneberg,

Principal Natalie Johnson

Ramon Salumbides Harmony Young

FLUTE Melissa Underhill,

Principal Tori Berntsen

Elana Sabovic-Matt

PICCOLO Elana Sabovic-Matt

OBOE

Dennis Calvin, Principal

David Barnes, Co-Principal

Gretchen Geyer

ENGLISH HORN David Barnes

CLARINET Jayne Marquess,

Principal Kathy Carr

THE SAMMAMISH SYMPHONY ORCHESTRA

WOULD LI KE TO THANK

THE CITY OF SAMMAM ISH

FOR THE ! R SUPPORT

BASS CLARINET

Linda Thomas

BASSOON Shannon Nelson,

Principal Sheldon Woodle

CONTRA-BASSOON Gordon Brown

FRENCH HORN Evelyn Zeller,

Principal Nels Magelssen, Acting Principal

Chris Caneva Mary Corder

TRUMPET Jonathan Feil,

Principal Jeremy Jordan

Stas Zakharenko

TROMBONE Scott Sellevold,

Principal Matt Stoecker

BASS TROMBONE Gerald Larkins

TUBA Mark Wiseman

Principal '

TIMPANI EricDaane, Principal

PERCUSSION David Brooks,

Principal Craig Wende

Brian Yarkosky

PIANO/ KEYBOARD Catherine Lowell

HARP Allison Austin,

Principal Alisha Joubert

CALL FOR VOLUNTEERS!

If you would like to help

participate in a fun and

rewarding experience,

please call (206) 517-7777.

4

niel Halsey 10

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, North­

west 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. FOR INFO CALL 206-517-7777 The Sammamish Symphony Orchestra offers small chamber groups for private functions.

HAMMOND ASHLE

VIOLINS

BRYCE VAN PARYS GENERAL MANAGER

425.392.3963 I BRYCE@HAMMONDASHLEY

320 3RD AVENUE NORTHEAST, (SSAQUAH WA 9

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

Please call 206-517-7777 or go to www.sammamishsymphony.org

Sales

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Holiday Pops! Featuring the Samantha Smith Elementan; School Chorus

Saturday December 11th 2010 at 7:30 pm

Sunday December J2<h 2010 at 2:00 pm

at the Eastlake Performing Arts Center

_5_

Save the dates! We invite you to join us for our 2010-2011 Season

Holiday Pops Featuring the Samantha Smith Elementary School Chorus

Saturday, December 11th 2010 7:30 pm Sunday, December 12th 2010 at 2:00 pm

Eastlake Performing Arts Center

Rachmaninoff Featuring Deborah Dewey, Piano

Sunday, February 27th 2011 at 2:00 pm Eastlake Performing Arts Center

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

2011 Dinner Auction: An Evening in Paris

Saturday, May 14th 2011 at 6:oopm The Plateau Club, Sammamish

Music from The Oscars: Award Winning Film Scores

Sunday, June 12th 2011 at 2:00 pm Eastlake Performing Arts Center

.... --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.

7

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.

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.

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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-

Myrl Venter 425-·1 l 7-05 19 myrh-c11tcr@111s11.con1

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 National­Theater 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 perform-ing 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.

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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.

425-388-8333 4532 Klahanie Dr SE Issaquah, WA 98029

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 Ter-ror 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.

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INDIVIDUALS AND FAMILIES WHO PURCHASED DONATED GOODS AND SERVICES AT OUR SAMMAMISH SYMPHONY AUCTIONS.

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King County Employee Giving Program Kevin and Lynne Martinell

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String Instrument Specialists Tim Strait

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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

PROGRAM DESIGN Emaugo Creative

REFRESHMENTS Safeway/Costco

Klahanie QFC/Pine Lake QFC FAC ILITIES

Eastlake High School

PIANO Sherman Clay

REHEARSAL SPACE Bellevue Christian School

PROGRAM NOTES Jonathan Feil

PERCUSS ION EQl,llPMENT Dave Pitt/Beaver Lake Middle School

RECORD ING 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

SundayOctober 17th, 2010, 2:00 PM

Eastlake Performing Arts Center

Saturday & SundayDecember 11th, 2010, 7:30 PM

December 12th, 2010, 2:00 PMEastlake Performing Arts Center

SundayFebruary 27th, 2011, 2:00 PM

Eastlake Performing Arts Center

SundayMarch 27th, 2011, 2:00 PM

A SPECIAL BENAROYA HALLBENAROYA HALL EVENT200 University Street - Seattle

SaturdayApril 30th, 2011, 7:30 PM

Special LocationSpecial LocationMary, Queen of Peace Church

1121 228th Ave SE - Sammamish

SundayJune 12th, 2011, 2:00 PM

Eastlake Performing Arts Center

For more information please visit www.SammamishSymphony.orgThank you to our generous sponsors.

2010OCTOBER

2010DECEMBER

2010 ~ 2011 Season

2011FEBRUARY

2011MARCH

2011MARCH

2011JUNE