Upcoming Events:

ASU Chamber Orchestra presents

March I, 2018, 7:30 pm
Jkelhovcn ·~Fmp!t"''.I' No. 5
.-\SLI Ch am her Orchestra

Graduate Recital

.Jeffe ry Meyer, Co11ductor
S1eph.1nie Weiss. Mezzo.Soprano
March 28, 2018, 7:30 pm at Tempe Centerfor the A rts
April 2, 2018, 7:30 pm at Scottsdale Center for the Performing Arts
flerli01. Sympho11ie F(l11/(IS/ique
.-\SU Symphony Orchestra and Gospel.Choir •

.Jeffe ry Meyer, Co11ch1ctor
D<mie.l Ber~ard Roumain , Composer
Gordon Ha wk.ins. B(lntone
April IO, 2018 7:30 pm

Aquarium

Kamna Gupta
Conductor
School of Music
Herberger Institute for Design & the Arts
Arizona State University
2017-2018 Season

.-\SU \Vind Orchrslra and Wind Ensemble

G:iry \V. Hill and
J:i son C:i slor, Co11d11ctors

February 11, 2018
7:30pm

*.·HI e1-·ents in ASU Gammage
1111/ess othenv1se spec~(;ed
*.~111 concerts beg111 at 7: 30pm
~~

Follow n>

011

Katzin Concert Hall

/nstagramf asu..orchestra

i) Like what yoll hear? Leave us a review.I
focebook. com/a..,·1t.orchl
Suhscnbe to our mailing list with t/11:> link: h!.!J :.:. :.~'.f:.~:1:!.1.!.!.L9.!:2!.t.tf:Ir.!SI
or the QR code below:

~~~
r;~~
[!] .. ~

ASil 5;;~19~t~~~~r the Arts
0 20 17 Arizona Board of Regents. All nghts reser.-ed . 02 17

Arizona State University

ASU Chainber Orchestra
Symphony No. 25 in G minor, K. 183 (1773) .................................... W. A Mozart
(1756-1791)
L
II.
III.
IV.

Allegro con brio
Andante
Menuetto & Trio
Allegro

Siegfried Idyll, WWV 103 (1869) ......................... ; .......... . .......... Richard Wagner
(1813-1883)

ASU Instrumental and Voice Faculty
WOODWINDS
Elizabeth Buck
Martin Schuring
Robert Spring
Joshua Gardner
Albie Micklich
Christopher Creviston

Flute
Oboe
Clarinet
Clarinet
Bassoon
Saxophone

BRASS
.loh11 Ericson
David Hickman
Bradley Edwards
Deanna Swoboda

Horn
Trumpet
Trombone
Tuba

STRINGS
Da11wen .Jiang
Katherine McLin
Jonathan Swartz
Nancy Buck
Thomas Landschoot
Cntalin Rotaru
Lynne Aspnes

Violin
Violin
Violin
Viola
Cello
Bass
Harp

PERCUSSION
Simone Mancuso
Dom Moio
J.B. Smith
Shaun Tilburg

VOICE
David Britton
Amanda DeMaris
Carole Fitzpatrick
Gordon Hawkins
Anne Kopta
Stephanie Weiss
And rea Pitman-Will

ASU Chainber Orchestra
Violin I
Eva Dove, concertmaster
Amanda Romani
Jingting Liu
Inna Karsheva
Vladimir Gebe
Ramon Soberano
Violin II
Allison Unglaub, principal
Christiano Rodrigues
Grace Wills
Pan Du
Emilio Vazquez
Dana Zhou
Flute
Kelly Davis, principal
Oboe
Charlotte Ethington +
Chelsea Kanicsar *
Clarinet
Katrina Clements, principal
Elizabeth Dmesedow
Bassoon
Tyler Colvin+
Ritty Gambhir *

Viola
Kim Hankins, principal
Mila Gallardo
Michael DiBany
Chloe Calvino
Cello
Emily Hunt, principal
Elliot Yang
Cameryn Baum
Xuehui Yu
Bass
Darren Cueva, principal
Nathaniel de la Cmz
Horn
Juli Buxbaum, principal
Alex Moxley
Philip Sitterle
Jacqueline Fazekas
Trumpet
Brianne Borden, principal

Assistant Conductors
Mark Alpizar
Michelle Di Russo
Principal Distinctions
+Wagner
*Mozart

Program Notes
Wagner, Siegfried Idyll
Untypical of the usual grandiose scoring of Wagner, Siegfried idyll is an intimate
work for flute, oboe, two clarinets, bassoon, two horns, trumpet, and strings.
Wagner wrote this piece as a birthday present for his wife, Cosima, daughter of
celebrated pianist and composer, Franz Liszt. A small orchestra gathered and
prepared the work in secret to be performed on the staircase in their house at
Tribschen, Switzerland, on Christmas Day 1870. On this memorable event, Cosima
wrote in her Diaries (25 Dec 1870):
As I awoke, my ear caught a sound, which swelled fuller and fuller; no
longer could I imagine myself to be dreaming: music was sounding,
and such music! When it died away, Richard came into my room with
the children and offered me the score of the symphonic birthday poem.
I was in tears, but so were all the rest of the household. Richard had
arranged his orchestra on the staircase, and thus was our Tribschen
consecrated forever.

Two of the five children were Cosima's from her previous marriage to Hans von
Bi.ilow, a talented pianist and conductor, whom she left for the man that even Hans
admitted to be his superior in the world of music. The other three were Cosima and
Richard Wagner's children, all born before their marriage on August 25, 1870.
Siegfried ldyll represented also a celebration of the birth of their son Siegfried .
Although the title does not refer to the composer's opera of the same name,
Siegfried ( 1956-71 ), the third part of the cycle of Der Ring des Nibelungen, Wagner
borrowed the Idyll's principal themes from Siegfried and Die Walkure (1854-56),
where they have assigned meanings within the cycle's leitmotivs. Within the
context of Sigfried Idyll, however, these themes take on a more general character as
expressions of victorious love and affection, with an almost meditative and lullaby
like tone and quality, reminiscent of the Brahms manner.
Notes from the Classical Music Institute by Silvia Santinelli

About the Artists
KAMNA GUPTA
Kamna Gupta's diverse musical interests have led her to a variety or expcril'l1L'.CS,
including orchestral, operatic, and choral , in both baroque and co11tt:~mporaiy
repertoire. She has been active internationally, having conducted i11 Cicrmany
Russia, and the Czech Republic, including leading the Leipzig Barockorchcstcr in
the Thomaskirche in Leipzig. from 2013-2015, she was inv ited to work with the
New York Youth Symphony as an apprentice conductor. Recently, she was also a
Conducting Fellovv· at the Atlantic Music Festival , recording many contempo1·<ll"Y
works by living composers. She is active as a pianist, \.vi th experience in.jazz as
well as harpsichord.
A versatile musician, Kamna is involved in many creative possibilities for
performance. She frequently collaborates with dancers and actors, and has directed
traditional repertoire in non-traditional spaces such as gardens Jn 2017, she
produced a popular series of humanitarian concerts in Phoenix and New York tu
raise money for non-profits working with refugees. Previously, she has worked with
the New York Philharmonic and the Castleton Festival to expand their outreach
activities. Her artistic passions stem both from her n1usical experience and From a
desire to develop social awareness through an. She holds a B./\. from Princeton
University and is currently pursuing her M.M. in Orclwstral Conducting at !\m.ona
State University with Jeffery Meyer.

l
Mozart, Symphony No. 25

It is probably still a popular misconception that many of [Mozwt's}
great works date from early youth - but while it is true that there are
flashes of inspiration in many of the early works, the first which has a
firm footing in the modern repertoire is the ... G-minor Symphony, K.
183, written when he was seventeen. Nevertheless, the shade of'the
prodigy ofSalzburg' has come to haunt two centuries of musically
talented children and the lids of chocolate boxes.

-- Jolm Stone, in The Mozart Companion, edited by H. C. Robbins Landon
(Borders Press . 1990)
This "firm footing" was achieved, in part, through the Romantic era's concept of K.
183 as angry and atypical, as bursting the bow1ds of the putative Classical dictates
of suppression of the darker emotions and dedication to "style" above feeling . But
why so angry, young Wolfgang? Some biographers, with little if any substantiation,
sug.gest a blighted love affair preceding the composition of K. 183 in Salzburg in
the fall of 1773 . Not at all conjectural, however, is the fact that between 1770 and
1773 Joseph Haydn produced a trio of tempestuous minor-key symphonies.
Colorful nicknames have become attached to two of them, "Mourning" to No. 44 in
E minor, "Farewell" to No. 45 in F-sharp minor; the third, sans sobriquet and
therefore less well-known, but perhaps most pertinent to the present subject, is No.
39 in G minor.
Mozart was a keen student of Haydn's symphonies, and the latter's G-minor must
have served as a model for the first of the younger composer's two symphonies in
that dark key (the second is, of course, the super-familiar No. 40, K. 550, dating
from 1788), not least for its scoring for four horns instead of the usual two of the
Classical orchestra. The horn quartet - a pair each in B-flat and G - is employed in
K. 183 to add weight to the overall sonority, and more importantly to supply the
chromatic textures virtually impossible to achieve with the valveless instrument of
the time.
The Symphony opens with a splendidly theatrical falling diminished seventh - the
prelude to a drama that unfolds rather like the storm scenes of operas of the time.
This is tense, terse music, marked by fierce syncopations, pregnant silences, and a
powerful bass line, the last employed for melodic purposes rather than as mere
accompaniment. The ensuing Andante is again operatic, but this time in the form of
an aria, notable for the sweetly sad appoggiaturas of the opening measures and the

imaginatively scored dialogues for violins (muted) and bassoons that follow. The
minuet is far removed from the ballroom: a stern, stomping affair, announced by the
bare octaves of the full orchestra, with relief coming in the form of a gently rustic
trio, scored for wind band. In the finale, the composer returns to the driven,
hectoring mood of the opening movement - intensified here by even greater
compression and precipitate dynamic shifts.
Notes from the LA Philharmonic by Hebert Glass

Program Notes
Wagner, Siegfried Idyll
Untypical of the usual grandiose scoring of Wagner, Siegfried idyll is an intimate
work for flute, oboe, two clarinets, bassoon, two horns, trumpet, and strings.
Wagner wrote this piece as a birthday present for his wife, Cosima, daughter of
celebrated pianist and composer, Franz Liszt. A small orchestra gathered and
prepared the work in secret to be performed on the staircase in their house at
Tribschen, Switzerland, on Christmas Day 1870. On this memorable event, Cosima
wrote in her Diaries (25 Dec 1870):
As I awoke, my ear caught a sound, which swelled fuller and fuller; no
longer could I imagine myself to be dreaming: music was sounding,
and such music! When it died away, Richard came into my room with
the children and offered me the score of the symphonic birthday poem.
I was in tears, but so were all the rest of the household. Richard had
arranged his orchestra on the staircase, and thus was our Tribschen
consecrated forever.

Two of the five children were Cosima's from her previous marriage to Hans von
Bi.ilow, a talented pianist and conductor, whom she left for the man that even Hans
admitted to be his superior in the world of music. The other three were Cosima and
Richard Wagner's children, all born before their marriage on August 25, 1870.
Siegfried ldyll represented also a celebration of the birth of their son Siegfried .
Although the title does not refer to the composer's opera of the same name,
Siegfried ( 1956-71 ), the third part of the cycle of Der Ring des Nibelungen, Wagner
borrowed the Idyll's principal themes from Siegfried and Die Walkure (1854-56),
where they have assigned meanings within the cycle's leitmotivs. Within the
context of Sigfried Idyll, however, these themes take on a more general character as
expressions of victorious love and affection, with an almost meditative and lullaby
like tone and quality, reminiscent of the Brahms manner.
Notes from the Classical Music Institute by Silvia Santinelli

About the Artists
KAMNA GUPTA
Kamna Gupta's diverse musical interests have led her to a variety or expcril'l1L'.CS,
including orchestral, operatic, and choral , in both baroque and co11tt:~mporaiy
repertoire. She has been active internationally, having conducted i11 Cicrmany
Russia, and the Czech Republic, including leading the Leipzig Barockorchcstcr in
the Thomaskirche in Leipzig. from 2013-2015, she was inv ited to work with the
New York Youth Symphony as an apprentice conductor. Recently, she was also a
Conducting Fellovv· at the Atlantic Music Festival , recording many contempo1·<ll"Y
works by living composers. She is active as a pianist, \.vi th experience in.jazz as
well as harpsichord.
A versatile musician, Kamna is involved in many creative possibilities for
performance. She frequently collaborates with dancers and actors, and has directed
traditional repertoire in non-traditional spaces such as gardens Jn 2017, she
produced a popular series of humanitarian concerts in Phoenix and New York tu
raise money for non-profits working with refugees. Previously, she has worked with
the New York Philharmonic and the Castleton Festival to expand their outreach
activities. Her artistic passions stem both from her n1usical experience and From a
desire to develop social awareness through an. She holds a B./\. from Princeton
University and is currently pursuing her M.M. in Orclwstral Conducting at !\m.ona
State University with Jeffery Meyer.

ASU Instrumental and Voice Faculty
WOODWINDS
Elizabeth Buck
Martin Schuring
Robert Spring
Joshua Gardner
Albie Micklich
Christopher Creviston

Flute
Oboe
Clarinet
Clarinet
Bassoon
Saxophone

BRASS
.loh11 Ericson
David Hickman
Bradley Edwards
Deanna Swoboda

Horn
Trumpet
Trombone
Tuba

STRINGS
Da11wen .Jiang
Katherine McLin
Jonathan Swartz
Nancy Buck
Thomas Landschoot
Cntalin Rotaru
Lynne Aspnes

Violin
Violin
Violin
Viola
Cello
Bass
Harp

PERCUSSION
Simone Mancuso
Dom Moio
J.B. Smith
Shaun Tilburg

VOICE
David Britton
Amanda DeMaris
Carole Fitzpatrick
Gordon Hawkins
Anne Kopta
Stephanie Weiss
And rea Pitman-Will

ASU Chainber Orchestra
Violin I
Eva Dove, concertmaster
Amanda Romani
Jingting Liu
Inna Karsheva
Vladimir Gebe
Ramon Soberano
Violin II
Allison Unglaub, principal
Christiano Rodrigues
Grace Wills
Pan Du
Emilio Vazquez
Dana Zhou
Flute
Kelly Davis, principal
Oboe
Charlotte Ethington +
Chelsea Kanicsar *
Clarinet
Katrina Clements, principal
Elizabeth Dmesedow
Bassoon
Tyler Colvin+
Ritty Gambhir *

Viola
Kim Hankins, principal
Mila Gallardo
Michael DiBany
Chloe Calvino
Cello
Emily Hunt, principal
Elliot Yang
Cameryn Baum
Xuehui Yu
Bass
Darren Cueva, principal
Nathaniel de la Cmz
Horn
Juli Buxbaum, principal
Alex Moxley
Philip Sitterle
Jacqueline Fazekas
Trumpet
Brianne Borden, principal

Assistant Conductors
Mark Alpizar
Michelle Di Russo
Principal Distinctions
+Wagner
*Mozart

Upcoming Events:

ASU Chamber Orchestra presents

March I, 2018, 7:30 pm
Jkelhovcn ·~Fmp!t"''.I' No. 5
.-\SLI Ch am her Orchestra

Graduate Recital

.Jeffe ry Meyer, Co11ductor
S1eph.1nie Weiss. Mezzo.Soprano
March 28, 2018, 7:30 pm at Tempe Centerfor the A rts
April 2, 2018, 7:30 pm at Scottsdale Center for the Performing Arts
flerli01. Sympho11ie F(l11/(IS/ique
.-\SU Symphony Orchestra and Gospel.Choir •

.Jeffe ry Meyer, Co11ch1ctor
D<mie.l Ber~ard Roumain , Composer
Gordon Ha wk.ins. B(lntone
April IO, 2018 7:30 pm

Aquarium

Kamna Gupta
Conductor
School of Music
Herberger Institute for Design & the Arts
Arizona State University
2017-2018 Season

.-\SU \Vind Orchrslra and Wind Ensemble

G:iry \V. Hill and
J:i son C:i slor, Co11d11ctors

February 11, 2018
7:30pm

*.·HI e1-·ents in ASU Gammage
1111/ess othenv1se spec~(;ed
*.~111 concerts beg111 at 7: 30pm
~~

Follow n>

011

Katzin Concert Hall

/nstagramf asu..orchestra

i) Like what yoll hear? Leave us a review.I
focebook. com/a..,·1t.orchl
Suhscnbe to our mailing list with t/11:> link: h!.!J :.:. :.~'.f:.~:1:!.1.!.!.L9.!:2!.t.tf:Ir.!SI
or the QR code below:

~~~
r;~~
[!] .. ~

ASil 5;;~19~t~~~~r the Arts
0 20 17 Arizona Board of Regents. All nghts reser.-ed . 02 17

Arizona State University