ASU Chamber Orchestra Presents Upcoming Ensemble Events November I, 2016 ASU Wind Orchestra and Wind Ensemble Ecstasy of Memory: Hail to the Chief Respighi, Ravel and Mendelssohn Gary Hill and Jason Caslor, conductors September 27, 2016 ASU Wind Orchestra and Wind Ensemble Around the World Gary Hill and Jason Caslor, conductors Jeffery Meyer, conductor September 28, 2016 ASU Symphony Orchestra School of Music Herberger Institute for Design & the Arts Arizona State University 2016-2017 Season Seduction and the Hand of Fate: Adams and Tchaikovsky Jeffery Meyer, conductor September 9, 2016 7:30pm October 6, 2016 ASU Philharrnonia New Beginnings Katzin Concert Hall Jason Casler, Kamna Gupta, Mark Alpizar, conductors Evelyn Smith Music Theatre *All events in ASU Gammage unless otherwise specified *All concerts begin at 7:30pm ·Herberger Institute ~FOR DESIGN AND THE ARTS ~2015 Anzona Board of Regents. AH nghts reserved. 0315 ARIZONA STATE UNIVERSITY ASU Chamber Orchestra Jeffery Meyer, conductor Trittico Botticelliano, P.151 (1927) ..................... . ..... 0ttorino Respighi ( 1879-1936) I. La Primavera II. L'adorazione dei Magi III. La nascita di Venere Le Tom beau de Couperin ( 1917) ..................................... Maurice Ravel (1875-1937) I. Prelude II. Fugue III. Forlane IV. Rigaudon V. Menuet VI. Toccata - Intermission - Symphony No. 4 (1833) ................. ..................... Felix Mendelssohn (1809-1847) I. Allegro Vivace IL Andante con moto III. Con moto moderato IV. Presto and Finale: Saltarel!o three AS CAP A wards for Adventurous Programming, as well as the Vytautas Marijosius Memorial Award for Programming. In 2007 , he made his Glinka Hall conducting debut in the final concert of the 43rd St. Petersburg "'Musical Spring" International Festival, and in 2009, he conducted the opening concert of the 14th International Musical Olympus Festival at the Hermitage Theatre and was invited back to perfonn in the 2011 festival. He has also been featured numerous times as both a conductor and pianist as part of the "Sound Ways" International New Music Festival in St. Petersburg, Russia. In the summer of 2011, he returned to China as the guest conductor of the 2011 Beijing International Composition Workshop at the Central Conservatory in Beijing, China, and in 2012 conducted at the Thailand International Composition Festival. He has been distinguished in several international competitions (2008 Cadaques Orchestra Conducting Competition, 2003 Vakhtang Jordania International Conducting Competition, 2003 Beethoven Sonata International Piano Competition, Memphis, Tennessee) and was a prizewinner in the 2008 X. International Conducting Competition "Antonio Pedrotti" and the winner of the 2013 American Prize in Conducting. Passionate about working with young musicians. and music education, Meyer is the Director of Orchestras at Arizona State University, one of the top schools of music in the United States, and is an active adjudicator, guest clinician, and masterclass teacher. Prior to his appointment at ASU, he was the Director of Orchestras at Ithaca · College for over a decade. He has judged competitions throughout the United States, including Alaska, as well as at the Hong Kong Schools Music Festival. He has given masterclasses throughout the United States as well as Canada and Asia, and recently led conducting masterclasses at the Central Conservatory in Beijing, China, Tianjin Conservatory, the Jacobs School at Indiana University, and the Universitat ftir Musik und Darstellende Kunst in Vienna. He has served on the faculties of the Icicle Creek Music Center, Rocky Ridge Music Center, Dorian Keyboard Festival, Opusfest Chamber Music Festival (Philippines), Blue Lake Fine Arts Camp, Marrowstone Music Festival, and the LSM Academy and Festival. Recent and upcoming activities include appearances throughout Southeast Asia including a guest residency in orchestral training at Tianjin Conservatory and concerts with the Thailand Philharmonic Orchestra and the Philippine Philharmonic, and appearances with Stony Brook Symphony Orchestra and Ensemble X in New York, the Indiana University Jacobs School of Music Chamber Orchestra in Indiana, Alia Musica in Pittsburgh, the Orquesta Sinf6nica de Xalapa in Mexico, the MiNensemblet in Norway, and the Portland-Columbia Symphony in Oregon. Meyer holds degrees in piano as well as composition and completed his Doctorate of Musical Arts in Piano Performance with Gilbert Kalish at the State University of New York at Stony Brook. walking bass line underneath the flowing chorale melody, which alludes to techniques often employed by one of Mendelssohn's biggest musical influences and fellow Leipziger-J.S. Bach. A contrasting section features a more lyrical and Romantic character. The minuet and trio follows. Mendelssohn ignores Beethoven's scherzo-and-trio model and chooses the lighter and more dignified minuet dance. The horns and bassoon articulate the trio with a crisp fanfare. The form recalls Beethoven's Seventh Symphony third movement: the minuet and the trio are both repeated an extra time, allowing the composers to "fake" out the audience right before the end of the movement. The symphony's overall trajectory of A major to minor-a very unique harmonic design-is misleading regarding the work's overall joyful demeanor. Though the last movement is in minor, there is scarcely a "happier" sounding minor. Indeed, Mendelssohn described his symphony in a letter to his sister as "the happiest piece I have ever written, especially the last movement." The movement is a Saltarello dance; literally, the term translates to "jump", an audible effect in the music and visible in the violinist's bows. The movement unfolds with energy and direction, until the dance literally seems to wear itself out-not unlike what may happen to one dancing such a dance (and surely drawn from Mendelssohn's own experiences and observations in Italy!). Notes by Kamna Gupta Arizona State University About the Artist Born in Chicago, Jeffery Meyer began his musical studies as a pianist, and shortly thereafter continued on to study composition and conducting. Since 2002 he has been the Artistic Director of the St. Petersburg Chamber Philharmonic in St. Petersburg, Russia, one of St. Petersburg's most innovative and progressive ensembles. He has appeared with orchestras in the United States and abroad, including ensembles such as the Milwaukee Symphony Orchestra, Syracuse Symphony Orchestra, Cayuga Chamber Orchestra, Philippine Philharmonic Orchestra, Thailand Philharmonic Orchestra, Sichuan Symphony, Orquesta Sinf6nica de Xalapa, and the Orchestra Sinfonico "Haydn" di Bolzano e Trento. In recent concert seasons, he has been seen conducting, performing as piano soloist and chamber musician, as well as conducting from the keyboard in the United States, Canada, Mexico, Russia, Italy, Spain, Germany, Austria, Norway and throughout Eastern and Southeastern Asia. Called "one of the most interesting and creatively productive conductors working in St. Petersburg" by Sergei Slonimsky, he is an active participant in the music of our time, has collaborated with dozens of composers, and commissioned and premiered numerous new works. The New York Times described his performances with the St. Petersburg Chamber Philharmonic in its United States debut at Symphony Space's 2010 "Wall-to-Wall, Behind the Wall" Festival in New York City as "impressive", "powerful", "splendid", and "blazing." His programming has been recognized with ASU Chamber Orchestra Violin I Luke Hill, Concertmaster Vladimir Gebe Christiano Rodriques Aihua Zhang Sicong Chen Erin .Heidrick Y-101.iD ll Tee Tong Tang, Principal Kathleen Strahm Mcghan Ruel Jingting Liu Emily Rumney Felix Herbst Viola YcnFang Chen, Principal Joseph Bingham Gloria Yoon Sarah Evins Cello Elliot Yang, Pri11cipal Yeil Park Wesley Skinner Alex Duke English Horn Wilson Harmon Clarinet Jeremy Ruth•# Scula Lee" Bassoon Toan Tran# Gabbie Hsu" Evelyn Jones• Brittany O'Quin Horn Juli Smith•"# Parker Kauffman Trumpet Brianne Borden"# Robert Giambruno• Harp Emma Quinn"* Jessica Zappanti Piano Dongfang Zhang Celesta Bass Chunyang Wang, Principal Benjamin Hedquist Olga Kim Piccolo Eyona Matthews Percussion Cy Miessler Flute Stephanie Hoeckley•"# Chaz Salazar Eyona Matthews . Oboe Rachel Messing•" Charlotte Heiner# Thnpani Iingya Zhou Principal Distinctions •Ravel "Respighi #Mendel:s.wh>1 To re.speer the peifonners, please silence all electronic devices. Program Notes Each of the virtuosic pieces on this program touch upon the concept of memory in music; Respighi's rumination on Botticelli's trilogy of masterpieces, Ravel's homage to friends taken from him by the violence of World War I and nod to the French Baroque keyboard suites, and finally Mendelssohn's joyous remembrance.of a tour to Italy. Taken together they evoke poignant scenes and ecstatic atmospheres, and create feelings ofnostaigia alongside the vibrancy of the present. These works were chosen to highlight the extraordinary abilities of the young musicians in the ASU orchestral program. Jeffery Meyer, ASU Director Of Orchestras The two orchestral aspects of Respighi include his best-known compositions: on the one hand the epic (one might say bombastically colorful) tone poems of the "Roman Trilogy," comprising Fountains of Rome, Pines ofRome, and Roman Festivals, all for gigantic orchestra The other side comprises his charming arrangements for smaller orchestral ensembles of melodies by composers of the 17th and early- I 8th centuries, the three Suites of Ancient Airs and Dances and The Birds, as well as the Botticelli Triptych (Trittico Botticelli) of original material, except as noted below. The Trittico is an evocation of three celebrated paintings by Sandro Botticelli (born Alessandro di Mariano di Vanni Filipepi in Florence, c. 1445, died 1510) that today hang in Florence's Uffizzi Gallery. Sharp-eared listeners will note in the middle movement, The Adoration, variations on the medieval hymn Veni, veni Emanuel, the famous antiphon introduced here by flute and bassoon two octaves apart. Herbert Gl ass Los Angeles Philharmonic Ravel intended Le Tombeau de Couperin as homage to French eighteenth-century music in general, but to make the title more vivid he invoked the name of Frarn;ois Couperin-who, with Rameau, was one of the great masters of the French Baroque. The Prelude is filled with non-stop sixteenth notes, a taxing tour de force for the oboe. In fact, most of Le Tombeau is a feast of opportunities for the solo oboist. In the piano suite this movement is dedicated "to the memory of Lieutenant Jacques Charlot," a musician friend. A forlane is a lively dance that may have originated in Friuli in the extreme northeast of Italy but which made itself at home at the French court. Musically it takes many forms. Ravel ' s Forlane resembles the one by Couperin that he transcribed. This is a wistful piece in a lilting 6/8 meter, and the harmonies are fascinatingly oblique. The dance is dedicated to Lieutenant Gabriel Deluc, who does not otherwise appear in the Ravel biography. · The Menuet is inscribed to Jean Dreyfus, at whose parents' house Ravel had completed Le Tombeau de Couperin. The trio is a musette in minor, the reprise combines the minuet and musette, and there is an expansive coda. The music is of the utmost gentleness, though it does once rise to what is in fact the only fortissimo in the first three movements. The first mention of the musical Trittico seems to have been in an interview with the composer's wife, Elsa, a soprano - the composer often accompanied her at the piar10 iri his own and other Italian composers' music - after an American tour in 1927 sponsored by the indomitable Elizabeth Sprague Coolidge, patron also of such greats as Bart6k, Copland, Poulenc, Ravel, Schoenberg, and Hindemith, in the process drawing from those composers and others too numerous to mention here a substantial portion of the 20th-century chamber-music repertoire. The Rigaudon, which follows the Forlane in the piano suite, serves as finale here. Ravel dedicated it to his childhood friends Pierre and Pascal Gaudin. A rigaudon is a vigorous French folk dance in duple meter, also "civilized" and brought to court. This one, firmly grounded in C major, brings Le Tombeau de Couperin to a cheery close. Michael Steinberg San Francisco Symphony The tour concluded with a Respighi program in the splendid chamber musical hall ·also the product of Mrs. Coolidge's generosity- of the Library of Congress in Washington, D.C. On this occasion, Elsa related, Respighi promised to dedicate his next piece to Mrs. Coolidge, and it was on a visit to the Uffizi several weeks later that he found his inspiration in the three Botticelli paintings that constitute the musical Trittico: La Primavera (Spring), L 'Adorazione dei Magi (The Adoration of the Magi), and La nascita di Venere (The Birth of Venus). The score was premiered at a concert in Vienna sponsored by Mrs. Coolidge at the end of the year, with the Respighis in attendance. In 1830, Mendelssohn wrote his Symphony No. 4 "Italian" while inspired on a trip to Italy. He was delighted by the country and felt this was the jolliest piece he had ever written--indeed, it is his most popular symphony. The first movement is a buoyant A-major sonata, with a joyful first and second theme underpinned by energetic eighths, followed by a minor-key march that is only introduced in a fugato within the development. The primary theme and the march seem to be caught against one another until the recapitulation, during which both themes are reconciled and bring the movement to a close. The second movement is a solemn slow movement that features the violas, the oftneglected altos of the string section. The basses and cellos provide a continuously walking bass line underneath the flowing chorale melody, which alludes to techniques often employed by one of Mendelssohn's biggest musical influences and fellow Leipziger-J.S. Bach. A contrasting section features a more lyrical and Romantic character. The minuet and trio follows. Mendelssohn ignores Beethoven's scherzo-and-trio model and chooses the lighter and more dignified minuet dance. The horns and bassoon articulate the trio with a crisp fanfare. The form recalls Beethoven's Seventh Symphony third movement: the minuet and the trio are both repeated an extra time, allowing the composers to "fake" out the audience right before the end of the movement. The symphony's overall trajectory of A major to minor-a very unique harmonic design-is misleading regarding the work's overall joyful demeanor. Though the last movement is in minor, there is scarcely a "happier" sounding minor. Indeed, Mendelssohn described his symphony in a letter to his sister as "the happiest piece I have ever written, especially the last movement." The movement is a Saltarello dance; literally, the term translates to "jump", an audible effect in the music and visible in the violinist's bows. The movement unfolds with energy and direction, until the dance literally seems to wear itself out-not unlike what may happen to one dancing such a dance (and surely drawn from Mendelssohn's own experiences and observations in Italy!). Notes by Kamna Gupta Arizona State University About the Artist Born in Chicago, Jeffery Meyer began his musical studies as a pianist, and shortly thereafter continued on to study composition and conducting. Since 2002 he has been the Artistic Director of the St. Petersburg Chamber Philharmonic in St. Petersburg, Russia, one of St. Petersburg's most innovative and progressive ensembles. He has appeared with orchestras in the United States and abroad, including ensembles such as the Milwaukee Symphony Orchestra, Syracuse Symphony Orchestra, Cayuga Chamber Orchestra, Philippine Philharmonic Orchestra, Thailand Philharmonic Orchestra, Sichuan Symphony, Orquesta Sinf6nica de Xalapa, and the Orchestra Sinfonico "Haydn" di Bolzano e Trento. In recent concert seasons, he has been seen conducting, performing as piano soloist and chamber musician, as well as conducting from the keyboard in the United States, Canada, Mexico, Russia, Italy, Spain, Germany, Austria, Norway and throughout Eastern and Southeastern Asia. Called "one of the most interesting and creatively productive conductors working in St. Petersburg" by Sergei Slonimsky, he is an active participant in the music of our time, has collaborated with dozens of composers, and commissioned and premiered numerous new works. The New York Times described his performances with the St. Petersburg Chamber Philharmonic in its United States debut at Symphony Space's 2010 "Wall-to-Wall, Behind the Wall" Festival in New York City as "impressive", "powerful", "splendid", and "blazing." His programming has been recognized with ASU Chamber Orchestra Violin I Luke Hill, Concertmaster Vladimir Gebe Christiano Rodriques Aihua Zhang Sicong Chen Erin .Heidrick Y-101.iD ll Tee Tong Tang, Principal Kathleen Strahm Mcghan Ruel Jingting Liu Emily Rumney Felix Herbst Viola YcnFang Chen, Principal Joseph Bingham Gloria Yoon Sarah Evins Cello Elliot Yang, Pri11cipal Yeil Park Wesley Skinner Alex Duke English Horn Wilson Harmon Clarinet Jeremy Ruth•# Scula Lee" Bassoon Toan Tran# Gabbie Hsu" Evelyn Jones• Brittany O'Quin Horn Juli Smith•"# Parker Kauffman Trumpet Brianne Borden"# Robert Giambruno• Harp Emma Quinn"* Jessica Zappanti Piano Dongfang Zhang Celesta Bass Chunyang Wang, Principal Benjamin Hedquist Olga Kim Piccolo Eyona Matthews Percussion Cy Miessler Flute Stephanie Hoeckley•"# Chaz Salazar Eyona Matthews . Oboe Rachel Messing•" Charlotte Heiner# Thnpani Iingya Zhou Principal Distinctions •Ravel "Respighi #Mendel:s.wh>1 To re.speer the peifonners, please silence all electronic devices. ASU Chamber Orchestra Jeffery Meyer, conductor Trittico Botticelliano, P.151 (1927) ..................... . ..... 0ttorino Respighi ( 1879-1936) I. La Primavera II. L'adorazione dei Magi III. La nascita di Venere Le Tom beau de Couperin ( 1917) ..................................... Maurice Ravel (1875-1937) I. Prelude II. Fugue III. Forlane IV. Rigaudon V. Menuet VI. Toccata - Intermission - Symphony No. 4 (1833) ................. ..................... Felix Mendelssohn (1809-1847) I. Allegro Vivace IL Andante con moto III. Con moto moderato IV. Presto and Finale: Saltarel!o three AS CAP A wards for Adventurous Programming, as well as the Vytautas Marijosius Memorial Award for Programming. In 2007 , he made his Glinka Hall conducting debut in the final concert of the 43rd St. Petersburg "'Musical Spring" International Festival, and in 2009, he conducted the opening concert of the 14th International Musical Olympus Festival at the Hermitage Theatre and was invited back to perfonn in the 2011 festival. He has also been featured numerous times as both a conductor and pianist as part of the "Sound Ways" International New Music Festival in St. Petersburg, Russia. In the summer of 2011, he returned to China as the guest conductor of the 2011 Beijing International Composition Workshop at the Central Conservatory in Beijing, China, and in 2012 conducted at the Thailand International Composition Festival. He has been distinguished in several international competitions (2008 Cadaques Orchestra Conducting Competition, 2003 Vakhtang Jordania International Conducting Competition, 2003 Beethoven Sonata International Piano Competition, Memphis, Tennessee) and was a prizewinner in the 2008 X. International Conducting Competition "Antonio Pedrotti" and the winner of the 2013 American Prize in Conducting. Passionate about working with young musicians. and music education, Meyer is the Director of Orchestras at Arizona State University, one of the top schools of music in the United States, and is an active adjudicator, guest clinician, and masterclass teacher. Prior to his appointment at ASU, he was the Director of Orchestras at Ithaca · College for over a decade. He has judged competitions throughout the United States, including Alaska, as well as at the Hong Kong Schools Music Festival. He has given masterclasses throughout the United States as well as Canada and Asia, and recently led conducting masterclasses at the Central Conservatory in Beijing, China, Tianjin Conservatory, the Jacobs School at Indiana University, and the Universitat ftir Musik und Darstellende Kunst in Vienna. He has served on the faculties of the Icicle Creek Music Center, Rocky Ridge Music Center, Dorian Keyboard Festival, Opusfest Chamber Music Festival (Philippines), Blue Lake Fine Arts Camp, Marrowstone Music Festival, and the LSM Academy and Festival. Recent and upcoming activities include appearances throughout Southeast Asia including a guest residency in orchestral training at Tianjin Conservatory and concerts with the Thailand Philharmonic Orchestra and the Philippine Philharmonic, and appearances with Stony Brook Symphony Orchestra and Ensemble X in New York, the Indiana University Jacobs School of Music Chamber Orchestra in Indiana, Alia Musica in Pittsburgh, the Orquesta Sinf6nica de Xalapa in Mexico, the MiNensemblet in Norway, and the Portland-Columbia Symphony in Oregon. Meyer holds degrees in piano as well as composition and completed his Doctorate of Musical Arts in Piano Performance with Gilbert Kalish at the State University of New York at Stony Brook. ASU Chamber Orchestra Presents Upcoming Ensemble Events November I, 2016 ASU Wind Orchestra and Wind Ensemble Ecstasy of Memory: Hail to the Chief Respighi, Ravel and Mendelssohn Gary Hill and Jason Caslor, conductors September 27, 2016 ASU Wind Orchestra and Wind Ensemble Around the World Gary Hill and Jason Caslor, conductors Jeffery Meyer, conductor September 28, 2016 ASU Symphony Orchestra School of Music Herberger Institute for Design & the Arts Arizona State University 2016-2017 Season Seduction and the Hand of Fate: Adams and Tchaikovsky Jeffery Meyer, conductor September 9, 2016 7:30pm October 6, 2016 ASU Philharrnonia New Beginnings Katzin Concert Hall Jason Casler, Kamna Gupta, Mark Alpizar, conductors Evelyn Smith Music Theatre *All events in ASU Gammage unless otherwise specified *All concerts begin at 7:30pm ·Herberger Institute ~FOR DESIGN AND THE ARTS ~2015 Anzona Board of Regents. AH nghts reserved. 0315 ARIZONA STATE UNIVERSITY