Santa Barbara City College Symphony

Claudia Scott David Roe Cindy Weymouth Carol Sipper Karen Spechler Bonnie Luck String Basses Dege Donati, Principal Andrew Saunders Raymond Rengo Flutes Mary Maguire, Principal Kristin O

First Violins

David Stone,

Concertmaster

Kathy Leer

Victor Gasser

Henry Null

Kevin Kishiyama

Catherine Weinberger

Elaine Schott

Second Violins

Joel Schwimmer,

Principal

Tammie Wrocklage

Alice Green

Irwin Maguire

Leonard Chen

Sara Tennant

Elvira Tafoya

Veronica Fortier

Violas

Terence Geoghegan,

Principal

Kathleen Feldman

Esther Frankel

Robert Neuman

Martin Shapiro

Molly Buzick

Cellos

Carol Roe,

Principal

Hugh Snyder

Jeannot T Maha’a

Michael Burridge

Cellos (cont.)

Claudia Scott David Roe Cindy Weymouth Carol Sipper Karen Spechler Bonnie Luck

String Basses

Dege Donati, Principal Andrew Saunders Raymond Rengo

Flutes

Mary Maguire, Principal

Kristin Osaki,

Oboes

Louis Grace, Principal Elizabeth Turner

English Horn

Louis Grace Elizabeth Turner

Clarinets

Peggy Liborio Willis, Principal

Carol Simon

Bass Clarinet

Katherine Woolf

Bassoons

Hap Russell, Principal Cavit Celayir-Monezis

French Horns

Sherry Trujillo, Co-Principal Johann Trujillo Co-Principal Margaret LaFon Susan Miller

Trumpets

James Labertew, Principal

Scott Pickering Alex Feldman

Trombones

Howard Simon, Principal

Donald Faith Steve Larios

Tuba

Michael Evans

Timpani

Charles Hamilton

Percussion

Brian Alexander

Harp

Margaret Hontos

James Mooy holds music and education degrees from UCLA (B.A and M.A.) His

trumpet performance studies have been with Jimmy Valves, Ron Thompson, Tony Plog, and Mario Guarneri A Music Academy of the West alumnus, he has toured the U.S and Japan as a professional trumpet player James taught the band and orchestra program

at R.A Millikan High School in Long Beach for five years During that time he freelanced regularly in the Los Angeles area and held a full-time position as a Disneyland musician

Mr Mooy currently conducts the Lunch Break Jazz Ensemble, and the Symphony Orchestra at Santa Barbara City College Additional teaching duties include Music Appreciation and Music Technology He has served as an adjudicator for numerous solo, chamber, wind ensemble, string ensemble, and jazz ensemble festivals He has

repeatedly served as conductor for honor bands and orchestras He has served as guest conductor for the Santa Barbara Schools String Festival and the SB Youth Symphony

Jeannot T Maha'a, cello Originally from Honolulu, Mr Maha'a performs widely on both

cello and double bass and is a specialist in historical performance practice including the use of original instruments As a participant at the Baroque Performance Institute at Oberlin (Oberlin Conservatory of Music), he received instruction in Baroque cello, bass viola da gamba and double bass violone His research into the early history of bass instruments has led to a close association with Dr Nona Pyron with whom he works as a research assistant and editor at Grancino Editions, the Santa Barbara-based early music

publisher and home to the Grancino Collection of Early Cello Music, Dr Pyron's

collection of over 8,000 unknown and forgotten 17th and 18th Century works

More than a period instrument performer, Mr Maha'a's freelance work stretches well beyond the Baroque and Classical realms and includes regular performances with area Indie/Pop and Rock artists, and included a two-year stint as soloist with the Brazilian

jazz band, Cello Bossa His talents were recently featured in the Centerstage Theatre production of Michael Smith's Bad Dog and Other Plays (composing and performing a score described by the Santa Barbara News Press simply as "Beautiful"), and the Victoria Hall production of Aeschylus' The Persians (improvised score)

In addition to his freelance work, Mr Maha'a teaches privately dedicating much of his attention to children and beginning adult cellists and bassists

Mr Maha'a plays an Italian cello made by the Genoese master Paolo Castello in 1766 Tonight, however, Mr Maha'a will perform using a magnificent Milanese instrument by Giovanni Grancino, made in the year 1716, and generously loaned to him for this

performance

For more information or to hear recordings from his CD, Early Music for Violoncello, visit:

www.sbcello.com

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Russlan and Ludmilla Overture

Mikhail Ivanovich Glinka (1804-1857)

Cello Concerto, Op 129 in A minor

Robert Schumann (1810-1856)

I Nicht zu schnell

II Langsam

III Sehr lebhaft

Jeannot T Maha'a, - cello

Intermission

Our Town

Aaron Copland (1900-1990)

L'Arlesienne, Suite No 1

Georges Bizet (1838-1875)

I Allegro deciso

II Minuet , Allegro giocoso ( minuetto )

III Adagietto

IV Carillon - Allegro moderato

James D Mooy, Director

Program Notes Russlan and Ludmilla Overture (1842)

Glinka's opera is based on a poem of the same name by Alexander Pushkin, who had also agreed to write the libretto for the opera but was killed in a duel before starting

on the project The typically operatic plot begins at the betrothal feast of the knight Russlan and the princess Ludmilla In a poof of smoke, Ludmilla disappears, abducted

by the evil dwarf Tchernomor The rest of the opera concerns Russlan's adventures in trying to find Ludmilla ahead of two other suitors But Russlan has two advantages his competitors don't: a magic sword bestowed on him by a giant, singing head; and a ring enchanted by a good wizard named Finn With the help of these implements, Russlan manages to return the princess to Kiev and awaken her from her enchanted slumber

Glinka's overture has become one of the favorites of the orchestral repertoire and

is based largely on the wedding music at the conclusion of the opera Its lush

orchestration and use of folk tunes is one of the earliest examples of the so-called Russian national sound, and set the stylistic stage for Glinka's successors, including Rimsky-Korsakov, Tchaikovsky, and even Stravinsky

Cello Concerto, Op 129 in A minor (1850)

Schumann's Cello Concerto was composed in the short space of only two weeks, but it did not receive its premiere until four years after the composer's death Though most biographers agree that Schumann was fully lucid when penning the Cello

Concerto, it was likely around this time that he began to suffer from the advancing mental illness that eventually led to his death in an asylum six years later Current scholarship theorizes that the symptoms of Schumann's insanity (which included

frequent "conversations" with Felix Mendelssohn, who had died in 1847) are consistent with mercury poisoning, which he likely contracted from treatment for syphilis

Schumann may in fact have been chatting with ghosts, because the Cello

Concerto shares some significant traits with Mendelssohn's Violin Concerto, written in

1846 The most notable points in common are the sudden entrance of the soloist after the briefest of orchestral introductions, and the seamless segues between the three movements In Schumann's case, after just three introductory woodwind chords, the cellist enters with a mysterious-sounding theme, which builds in waves then crashes triumphantly into the first full orchestral passage Where the listener might traditionally expect a solo cadenza, the storm of the first movement instead disperses suddenly, pivoting on a paraphrase of the opening chords the lullaby-like second movement, a romantic duet between the concerto soloist and the principal orchestral cellist over pizzicato strings However, the spell is broken quite abruptly, accelerating into the vigorous rondo-form finale The last movement is punctuated by an accompanied cadenza, which was an innovation virtually without precedent in Schumann's time The orchestra then joins with the soloist in earnest for the triumphant final chords

Our Town (1940)

The film version of Our Town, released in 1940, was adapted from Thornton Wilder’s famous play of the same name The story is set in the fictional town of Grover’s Corners, and follows the life of its main characters, George and Emily, through their childhood, marriage, and (spoiler alert!) Emily’s eventual death Wilder himself

describes the play in the preface: "Our Town is not a picture of life in a New Hampshire village; or a speculation about the conditions of life after death It is an attempt to find a value above all price for the smallest events in our daily life."

Copland’s evocative score capitalizes on his quintessentially American sound Our Town was nominated for Best Score at the 1940 Academy Awards, but lost to Pinocchio Interestingly, the very next year, the Academy began offering separate awards for Best Original Score and Scoring of a Musical Picture Copland did eventually win an Oscar in 1949 for his score to The Heiress

L'Arlesienne, Suite No 1 (1872)

Boy meets girl and falls madly in love Girl is unfaithful, boy throws himself off balcony Thus summarizes the story of Alphonse Daudet's play L'Arlesienne Georges Bizet was commissioned to write incidental music for the production, and originally scored it for small orchestra and chorus He re-worked it into an orchestral suite after the play’s critical failure

The Prelude acts as a mini-overture, opening with a theme and variations on the jaunty Spanish Christmas carol "March of the Kings." The march gradually dies away, leading into an operatic intermezzo whose seductive first theme is one of the great and one of the only orchestral solos for saxophone The Minuet begins on a jarring

dissonance in a minor mode, but the darkness soon dissipates into the pastoral trio, with open fifths imitating bagpipes The minuet is followed by the contemplative Adagietto for muted strings The Carillon, as its title suggests, imitates the tolling of bells The joyful pealing is interrupted by a melancholy middle section, prescient of the play's tragic end However, the bell tones return to bring the suite to a vigorous conclusion

© 2007 by Molly Buzick, DMA

Special thanks to:

Molly Buzick, Program Notes Esther Frankel, Post Concert Reception

Jim Mooy, Program Pamela Lasker, Tickets

Future Concerts

Special Thanks

Santa Barbara City College Board of Trustees

Dr Kathryn O Alexander, Dr Joe W Dobbs, Mrs Sally D Green, Mr Morris Jurkowitz, Mr Doug

Montgomery, Ms Joan Livingston, Mr Desmond O’Neill, & Mr Luis Villegas

Santa Barbara City College Administration

Mr John Romo, Superintendent/President Dr Jack Friedlander, Executive Vice-President for Educational Programs Mr Joe Sullivan, Vice-President, Business Services Dr Alice Scharper, Dean of Educational

Programs

The Department of Music

Dr John Clark: Department Chairman,Theory, Musicianship, Songwriting, &

Music Appreciation, Eric Heidner: Concert Band, Fundamentals, Jazz Studies, Music Appreciation Dr Margaret Hontos: Theory, Music History, World Music, Music Appreciation Nathan Kreitzer: Chorus, Vocal Technique, Applied Voice James Mooy: Orchestra, Jazz Studies, Electronic Music, Fundamentals, Music Appreciation Josephine Brummel: Piano & Accompanying, Keyboard skills Dominic Camardella: Sound Recording, Electronic Music David Campos: Piano Studies, Jazz Improv Agatha Carubia: Applied Voice Phyllis Dunn: String Techniques Dr Linda Holland: Musicianship, Fundamentals, Flute Studies Ike Jenkins: Jazz Studies Dr David Malvinni: Music Appreciation, History of Rock William Redman: Guitar, Jazz Studies Dr Charles Wood: Jazz Improv, Jazz History James Watson: Laboratory Teaching Assistant

Assistants

Ted Cheesman, House Manager Lavonne Sanchez, House Staff.Robert Mendoza: SBCC Duplicating DepartmentPam Lasker & the Garvin Theatre Box OfficeRobert and S.B.C.C Duplicating Dept

SBCC Endowment for the Arts

This endowment is intended to provide permanent support for SBCC’s Music programs, and to foster broad-based student access to the arts This new fund will not only sustain continuing excellence in SBCC’s Music programs, but will support innovative, cross-disciplinary programs to engage more students in the arts Many SBCC students have never been exposed to the wonders and joys of the arts Your gift of any amount can help to sustain and expand opportunities for these students Please contact the Foundation for Santa Barbara City College at 965-0581, ext 2618, to learn more about how you can help