Stanford Collaborative Orchestra Spring 2015 Concert Program

7/23/2019 Stanford Collaborative Orchestra Spring 2015 Concert Program

1/8

STANFORD

COLLABORATIVE

ORCHESTRASunday, May 31, 2015, 5PM. TOYON HALL


2/8

ProgramAppalachian Spring Aaron Copland

Symphony No. 1, Op. 25, Classical Sergey Prokofiev

I. AllegroII. LarghettoIII. Gavotta: Non troppo allegroIV. Finale: Molto vivace

(1900-1990)

(1891-1953)

All authorized performance materials for Appalachian Spring aresupplied by Boosey & Hawkes.

Violin

Greg LopesSusan NittaVictoria WangLinda Yu

Violaessera Chin

Katie ReindersHannah Tompson

CelloMichael Chungyler DeVigalJeffrey Kwong

Double bassJared Cavazos

rumpet

Chase Basich

PercussionMatthew Millican

PianoCatherine Xu

Flute

Jacqueline SpeiserAllison Yuen

ClarinetRobert CollarDiego Hernandez

OboeSteve KimLindsay Willmore

BassoonStephen KooTeresa Sievert

HornJake GoldScott Reid

Musicians


3/8


4/8

Steve Kimhas just solved the age-old question o how to get twooboes to play in tuneby never showing up to rehearsal!

Stephen Koocame to Stanord rom a privileged, tech-entitled

upbringing in Palo Alto to ulfill his destiny as just another Asian-American I proessional in the Silicon Valley.

Jeffrey Kwong is a cellist excited to be playing with these wonderulpeople. Let the un times begin!

Greg Lopesholds part time positions as a snobby violinist and as a

rightul violist. He preers the ormer o the two because he secretlyloves the attention and enjoys being able to sound good.

Matt Millican likes minimalist music and enjoys being a disappoint-ment to his parents. It might look like hes playing percussion, buthes actually standing right behind you. He will not be providingautographs afer this perormance.

Susan Nittais super excited to leave Caliornia in a ew months butis grateul or the opportunity to play with and get to know thesewonderul people.

Scott Reiddoesnt know what to put here. Any suggestions?

Katie Reinders is glad that everyone can now enjoy the reedom o aconductorless orchestra. She would, however, like to remind you that

violists were ahead o the curve, as they stopped paying attention toconductors ages ago.

Teresa Sievertlow key but maybe high key loves aylor Swif. Ohshe also loves the bassoon.

Jacqueline Speiser is good at pretending to be good at things. Iyou hear her play flute out o tune thats just what she wanted you tothink.


5/8

Hannah Leigh Tompson:a violist. ickled pink to be playingwith these lovely people. Enjoys sarcasm, ood, cycling, and books.

Victoria Wangis currently unavailable because she is sawing away

at her violin. Please try again later.

Lindsay Willmoreis a philosopher posing as a scientist posing asa computer scientist. She will be leaving Stanord with her BS thisJune. She also plans on taking her oboe with her.

Catherine Xu enjoys interpretive dancing, crying to Tai insurance

commercials, and rapping poorly to Iggy and Nicki Minaj. She isclearly very artistic.

Linda Yuonce went on a roadtrip up to Oregon, slept through 16o 24 hours on the road, and missed the entire Caliornia coast.Will she even make it here today?

Allison Yuenis here at Stanord or the deep conversations, the reeood, and the wonderul musicians. In her spare time, she is work-ing towards a BS in Computer Science.


6/8

Program NotesAppalachian Spring (13-instrument suite) by Aaron Copland

Aaron Copland composed Appalachian Spring between 1943-44 as a ballet or the legendary dancer Martha Graham. Te balletwas received very well, but never quite caught fire as effectively asits orchestral adaptation did a year later. Nowadays, it is primar-ily perormed in its ull orchestral orm or in its original 13-pieceinstrumentation as we present it today.

Coplands own synopsis o the plot is as ollows: A pioneercelebration in spring around a newly built armhouse in the Penn-

sylvania hills in the early part o the last [nineteenth] century. Tebride-to-be and the young armer-husband enact the emotions,joyul and apprehensive, which their new domestic partnershipinvites. An old neighbor suggests, now and then, the rocky confi-dence o experience. A revivalist and his ollowers remind the newhouseholders o the strange and terrible aspects o human ate. Atthe end the couple are lef quiet and strong in their new house.

An ironic twist is that the story has nothing to do with theAppalachian Mountains or springtime, and Copland was ofenamused when people told him afer seeing the ballet that they couldsee the mountains and eel the springtime in his music. Te title,in act, came rom the poem ,Te Dance, by Hart Crane, andspring actually reers to a source o water in the poem. MarthaGraham chose this name simply because she liked the sound o it.

Copland and Grahams collaboration was based around theirmutual love or simple, natural expression, as maniested in themusical climax around the Shaker hymn Simple Gifs:

is the gif to be simple, tis the gif to be reeis the gif to come down where we ought to be,

And when we find ourselves in the place just right,

will be in the valley o love and delight.When true simplicity is gained,

o bow and to bend we shant be ashamed,o turn, turn will be our delight,

ill by turning, turning we come round right.Michael Chung


7/8

Symphony No. 1, Classical by Sergey Prokofiev

Although Sergey Prokofiev, as a student at the St. PetersburgConservatory, was notorious in the Conservatory or his experimen-tal tastes, he also intensely studied the two Classical giants Haydn

and Mozart. In the summer o 1917, Prokofiev decided to write hisown symphony in this 18th-century style while incorporating hisown modern voice.

From a structural standpoint, the symphony, which Prokofievhimsel called his Classical Symphony, invokes a narrative arc typicalo Classical compositions. Within this structure, however, Prokofievmanipulates harmonies and rhythms, and at times pokes un at the

traditional notion o melody itsel, in witty and inventive ways thatcame to define his own style. Although Mozart and Haydn had theirown senses o humor and wit, many o Prokofievs idiosyncrasieswould have been completely alien to both composers.

While Prokofiev wrote in his autobiography that this workand its direct use o Classical orms ormed only a passing phasetowards the beginning o his much-lauded career, the Classical Sym-

phony exemplifies in miniature the balance between tradition andinnovation that musicians variously attempt to preserve and disrupt.

Te film Prokofiev by wo seems to advance a stronger claim.Tis cinematic experiment by Adrian Marthaler and Barbara Wil-lis Sweete, which portrays the Montreal Symphony Orchestra per-orming this work in anciul and ridiculous ways, suggests that theClassical Symphony mocks not only itsel, but also the stodgy ritual-ism commonly associated with rehearsing and perorming classicalmusic.

Tis is not to say that a perormance o this work merely servesto outright echo that particular film (in the film, the orchestra playsthe triumphant final chords o the piece in time with gunshots asthe conductor shoots the skeptical critics dead). However, it is saeto say that any such perormance naturally provokes reflection onthe balance between tradition and innovation. What is our role inthis balance? Sometimes its best to ollow in Prokofievs ootsteps: toacknowledge the past, chuckle at it, and begin anew.

Diego Hernandez


8/8

Special TanksSponsorsTis concert is co-sponsored by the Stanord Department o Music,

and generously supported by the Stanord Arts Institutes Spark!Grant.

SupportersWe would like to specially recognize and thank our aculty adviser,Christopher Costanza (Lecturer and Artist-in-Residence, cellist othe St. Lawrence String Quartet), and Stephen M. Sano (Proessor

and Chair o the Department o Music) or their support through-out our inaugural season. Tis project would not have been possiblewithout their guidance.

We would also like to thank the ollowing individuals as well thank you for helping us with everything from booking rooms, toprinting parts, taking photos, coordinating logistics, and offeringadvice. Tank you.

Mario ChampagneScott KepleyRebecca BenaderetPatrick KimStanord Improvisors

Allison SemradMax an

Bonnie WongLum Jian YangCharlie KooStephanie ZepedaAlina Luk

Robin WanderSerena Wong

Teodore PengEmily SaidelAnkita RakheNanci HoweSean Scott

Kimball HallJuan M.

Stanford Collaborative Orchestra Spring 2015 Concert Program

Documents

Transcript of Stanford Collaborative Orchestra Spring 2015 Concert Program