=
- School of Music
Arizona State University

Chainber Orchestra
Joel Brown, Conductor
Martin Schuring, English horn
Gary Leopold, Trumpet

ASil

ARIZONA STATE UNIVERSITY

Tuesday, May 2, 2000
7:30 p.m.
Music Theatre

COLLEGE OF FINE ARTS

School of Music
Main Campus, P.O. Box 870405, Tempe, AZ 85287-0405
480-965-3371 • www.asu.edu/ cfa/music
I

EVENTS INFORMATION
CALL 480-965-TUNE (480-965-8863)

I

PROGRAM

Siegfried Idyll. ................................................................... Richard Wagner
(1813-1883)

Concerti no for English horn ............................................ Gaetano Donizetti
(1797-1848)

CHAMBER ORCHESTRA PERSONNEL

Violin I
Ruth Ann Platt**
Min Kyung Park
Yoon-Jung Kim
Amy Neuenschwander
Astasia Al-Shamaileh
Lawrence Huang
Jessica Solano

Martin Schuring, English horn

INTERMISSION

Quiet City ............................................................................ Aaron Copland
( 1900-1990)
Martin Schuring, English horn
Gary Leopold, trumpet

Symphony No. 35 in D Major, K. 385 ("Haffner") ................. W.A. Mozart
(1756-1791)

Allegro con spirito
Andante
Menuetto. Trio. Menuetto
Presto

Violin II
Drew Irvin*
Rachel Sompong
Shee Ling
Eugenie Wu
Maria Roggenhofer
Stephanie Groot
Viola
Jeffrey Norman*
Jennifer Walker
Katherine O'Brien
Emily Pullen
Michelle Peterson
Karen Hayes
David Rigby
Cello
Andrew Hamby*
Ozgiir Elgiin
Kerry Campbell
Merrick Jones
Bonnie Andrus
Richard Li

Bass
Ryan Kuck*
Kevin Kirkpatrick
Fluteo
Sarah Andrew
Lisa Dektor
Oboeo
Michele Murray
Ryan Zwahlen
English Horn
Michele Murray
Ryan Zwahlen
Clarineto
Benjamin Baron*
Anne Watson

Timpani
Jordan Gallaher
Orchestra Assistants
Joel Brown
Michael Hoerber
Orchestra Librarian
Ivan Insua
Orchestra Managers
Andrey Astaiza
Christopher Niileksela

** Concertmaster
* Principal
0
This section is
using a rotating
seating plan for
this concert

Bassoon
Timothy Wiggins*
Dmitrius Whelan-Gonzales
Horno
Alan Benson
Jennifer Kangas*
Trumpeto
Amanda Pepping
James Schmidt

JOEL ANTHONY BROWN

Please plan on joining us again for the
2000 - 2001 ASU Orchestra season!

Call the Orchestra Office to
receive program information.
(480) 965-3476

Joel Anthony Brown is a native of Wilmington, North Carolina. He
received his Bachelor's degree in Music Education in 1994 from East Carolina
University and his Master's degree in Orchestral Conducting in 1996 from the
University of Tennessee. While at the University of Tennessee, Joel studied
conducting with Kirk Trevor, Music Director of the Knoxville Symphony. Upon
his graduation, Joel served two years as an Apprentice Conductor with the
Nashville Symphony, mentoring under Leonard Bernstein protege, Kenneth
Schermerhorn, Music Director. While in Nashville, Joel was also a Music
Specialist at Percy Priest Elementary School, incorporating the Orff-Schulwerk
method daily with children of many music business professionals, songwriters,
producers and studio performers.
Mr. Brown has studied conducting with Karen Deal, Cornelius Eberhardt,
Harold Farberman, Robert Hause, Jorge Mester, Gunther Schuller, and Tsung
Yeh, and has also studied many summers in the Czech Republic and recently in
Graz, Austria at the American Institute of Musical Studies (AIMS). Joel has
conducted the Bohuslav Martinu Philharmonic, the Knoxville Symphony, the
Nashville Symphony and the Phoenix Symphony. He has also conducted the
youth orchestras of Huntsville, Knoxville, Los Angeles, New York and Phoenix.
Joel is the conducting assistant to Hermann Michael and the Phoenix
Symphony, where he works with world renowned soloists and conductors. His
duties there consist of conducting education concerts in various schools and at
Symphony Hall and serving as the cover conductor for many classical concerts.
He is also an adjunct faculty member at Phoenix College, where he conducts the
Phoenix College Community Orchestra. He is a teaching assistant for the Arizona
State University Orchestra Program and also assists Dr. William Reber, Artistic
Director of the ASU Lyric Opera Theatre. Joel is pursuing his Doctor of Musical
Arts degree (OMA) in Music Education with an emphasis in conducting from
ASU and is a student of Dr. Timothy Russell.

MARTIN SCHURING
Martin Schuring has held orchestral positions with the Hong Kong
Philharmonic, The Florida Orchestra and the Phoenix Symphony Orchestra. Since
1980, Schuring has been a regular participant at the Grand Teton Music Festival,
playing English Hom and oboe in the Festival Orchestra as well as making
frequent appearances on the Festival's chamber music series.
In other summer activities, he has participated in the Bach Aria Festival,

served as professor of oboe at the 1996 Londrina Music Festival in Brazil, and
performed as principal oboe of the Orchestre Philharmonique Rhodanien and
professor of oboe at the Academie Europeenne de Musique in Tournon-surRhone, France. Schuring has recorded for Philips, Koch International, and
. Summit Records, both as soloist and as an orchestral player. Recently, he
recorded the world premiere of Oboe Concerto, Op. 57 by Eric Funk with the
Prague Radio Symphony on the MMC label. He has performed at every
Conference of the International Double Reed Society since 1997. Together with
bassoon colleague Jeffrey Lyman, Martin Schuring hosted the 1998 Conference
of the International Double Reed Society at Arizona State University where he is
Assistant Professor of Oboe. Mr. Schuring studied at the Curtis Institute of Music
with John de Lancie.

GARY LEOPOLD
Gary Leopold's professional experience has covered a wide range of musical
settings, including symphony orchestras, chamber groups, jazz ensembles, and a
traveling circus band. Most recently, he has performed with the Arizona Opera
Company, Arizona Ballet, Desert Foothills Music Festival Orchestra, Symphony
of the West Valley, and ASU's Lyric Opera Theater. Tonight's performance of
Quiet City marks Mr. Leopold's debut as a soloist.
Mr. Leopold holds a Bachelor's degree in performance from the University
of Kansas and a Master's degree in performance from Washington State
University. Currently, he is completing work towards the Doctor of Musical Arts
degree in performance at ASU under the guidance of Regent's Professor David
Hickman.

ASU ORCHESTRA PROGRAM
The Arizona State University Orchestra Program is dedicated to providing
the finest musical and educational opportunities for those qualified individuals
interested in studying and performing a wide variety of orchestral music. The
faculty and administration are committed to the training and development of
professional orchestral performers (instrumentalists and conductors), orchestral
music educators and therapists, musicologists, theorists, composers, arts
administrators, and future arts supporters. The students share in this commitment,
aspiring to the highest possible standards of musical excellence.
Currently the program includes three ensembles: the University Symphony

appropriate. Mozart had once before written a serenade for the Haffner family,
the wedding serenade now known as the Haffner, K. 250.
Mozart was much too busy to write the new piece, but he nonetheless felt that
he should undertake the project. On 27 July Mozart sent Leopold the opening
allegro. "It has been quite impossible to do more for you, because I have had to
write yet another serenade for wind instruments alone (otherwise I could have
used the piece for your project as well). On Wednesday the 31st I shall send the
two minuets, the andante, and the finale. If I can manage to do so, I shall also
send a march. If not, then just use the one from my earlier Haffner music, which
is quite unknown."
Not surprisingly, Mozart fell behind schedule. By 31 July he sent Leopold
only a letter, but not music. "One cannot do the impossible! I won't scribble
inferior stuff. So I cannot send you the whole symphony until the next mail day."
On 4 August the composer and Constanze were married. Somehow, at about
the same time he sent off most of the serenade, except for the march, which
followed on 7 August. The final piece consisted of an introductory march, an
allegro, two minuets, an andante, and a finale. The date of the Haffner
c~lebration is not known, and thus it is impossible to determine whether the
serenade was ready in time for the festivities. It does seem unlikely that Mozart
met his deadline.
Eventually he wanted the serenade returned for performance at one of his
concerts. In order to transform the serenade into a true symphony, Mozart
dropped the march and one of the minuets, and he added pairs of fh te and
clarinets to the outer movements. The origin of the Haffner Sympho11y as a
serenade certainly does not preclude compositional subtlety. Consider the
opening of the first movement, which the composer wanted performed "with great
fire." The theme is an elaboration of the simplest of ideas: a stepwise descent of
the scale from the tonic. The descent seems to get stuck on the fourth degree for
several measures, after which its continuation is disguised. Mozart found this
idea rich enough to base the entire movement on it. He inverts the theme and
plays it in imitation.
Perhaps the most interesting moment in the direct and graceful andante
movement occurs when the first violins continually repeat the same note for
several measures, while the second violins play the melody. The minuet,
according to musicologist Alfred Einstein, is characterized by "strength, festivity,
and masculinity in the main section, and the most delicate grace in the trio." The
relationship of the symphony to Mozart's entertainment music is most obvious in
the effervescent finale, which the composer wanted played "as fast as possible."
Jonathan D. Kramer

a breath and rest the lips. The solos are understandable operatic in nature, which
is not to say that this music is not instrumental, for it is. But after all, for an opera
composer a larynx is an instrument, and vice versa. You can take the man out of
the opera, but you can't take the opera out of the man.
Orrin Howard

Quiet City
Aaron Copland
Quiet City is an intimate work scored modestly for trumpet, English horn and
strings. It is based on some incidental music which Copland wrote in 1939 for
a play by Irving Shaw, "a realistic fantasy concerning the night thousands of many
different kinds of people in a great city". The play provided two significant
musical images: a jazz trumpet solo played by a young Jewish boy, and a limping
string figure representing (in the composer's words) "the slogging gait of a
dispossessed man". The concert piece which Copland arranged from this music
in 1940 is in effect a short continuous suite, ending as it begins with the stillness
of the night and the loneliness of the trumpeter.
Anthony Burton

Orchestra, the Chamber Orchestra, and the Sinfonietta. The University
Symphony Orchestra presents many concerts on campus each year in the
internationally acclaimed Gammage Center for the Performing Arts, which was
designed by Frank Lloyd Wright. Soloists with the orchestra include renowned
faculty performers as well as such visiting guest artists as violinists Glenn
Dicterow, Szymon Goldberg, Dylana Jenson, Ani Kavafian, and Edvard Melkus;
cellists Colin Carr, Stephen Kates, and Lazio Varga; pianists Ursula Oppens and
Jeffrey Siegel; guitarist Manuel Lopez-Ramos; soprano Faye Robinson, the Roger
Wagner Chorale; guest conductors Lukas Foss and Vincent Persichetti; and the
hilarious PDQ Bach and Victor Borge. Annually the orchestra combines with the
University Choral Union to present a "Holiday Concert" to sold-out houses featuring such works as Handel's Messiah, the Vaughan Williams Hodie,
Bernstein's Chichester Psalms, and other great choral works. Outstanding
student soloists, chosen through a rigorous competition on campus are presented
in a "Concert of Soloists" each February. This concert also features the world
premiere performance of the work which has won the annual ASU Student
Composition Contest. The Orchestra has a commitment to the performance of
contemporary music and has recently premiered pieces by Michael Conway
Baker, Randall Shinn and Chinary Ung, performed a concert with visiting
composer Joan Tower, and produced a CD recording of works by Eugene
Anderson called Perception which is available on d'Note Classics.
Please visit our website at http://www.asu.edu.cfa/musid for further
information on the Arizona State University School of Music and its Orchestra
Program.

Symphony No. 35 in D Major, K. 385 ("Haffner")
Wolfgang Amadeus Mozart
PROGRAM NOTES
Mozart lived in Vienna for the last ten years of his life. By the time he had
moved there from his native Salzburg, he had already composed over forty
symphonies - all his works in that genre save the final half dozen. He composed
no symphonies specifically for Vienna, except possibly the last three (no one
knows for what occasion or reason he wrote them). The other symphonies from
his Vienna period are K. 385 (written for Salzburg), K. 425 (for Linz), and K. 504
(for Prague). Mozart's main instrumental output during the Vienna decade
comprised piano concertos.
Not only was Symphony No. 35 not composed for Vienna, it was not even
conceived as a symphony. In July 1782, while Mozart was involved in a timeconsuming operatic project and in preparing for his wedding to Constanze Weber,
he received a letter from his father. Leopold asked him to write a new serenade.
Mozart's childhood friend Sigmund Haffner was to be elevated to the nobility.
A new composition performed at the celebration in his honor would be

Siegfried Idyll
Richard Wagner
Cosima Wagner was 33 years old on Christmas Day, 1870. She awakened
to the sounds of music playing - new, wonderful, unfamiliar music performed by
a chamber ensemble. Cosima later wrote in her diary,
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 dies 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 was all the rest of the household. Richard had

arranged his orchestra on the staircase, and thus was our Triebschen
[their Swiss villa] consecrated forever. ... After lunch the orchestra
came into the house downstairs, and now the Idyll was heard once again,
to the profound emotion of us all.
The music of Siegfried Idyll was written to express Wagner's happiness in his
marriage to Cosima, in his new retreat on the shore of Lake Lucerne, and in his
young son Siegfried. The composer had found peace, however temporarily, after
struggling against public scandal.
Cosima had been the source of the scandal, which nearly ruined his career.
She was the second of three illegitimate children of composer Franz Liszt and the
Countess Marie d'Agoult. When Cosima first became interested in Wagner, she
was married to conductor Hans von Bulow, to whom she had borne two
daughters. Eventually von Biilow agreed to a divorce, and Wagner (whose first
wife had conveniently died) and Cosima were married on 25 August 1870. For
their first Christmas as a married couple, Wagner presented Cosima with Siegfried
Idyll.
The composition uses themes from the third act of the opera Siegfried and
also the cradle song "Sleep, Baby, Sleep." Wagner intended the work only for his
family and friends, but, because of financial difficulties, he was forced in 1878
to publish it, in a version for full orchestra. It is the only symphonic composition
of Wagner's maturity. He also published a detailed program:
The first ninety measures of Siegfried Idyll, in order to sing of the purity
and holiness of the child's soul, use Brunhilde's theme from the opera
Siegfried ("From Eternity to Eternity Am I"). The mother, near his little
bed, sings the boy to sleep with a lullaby. He falls asleep, during the
soft, intermittent horn notes. The mother notices that he is asleep, but
she continues to sing, though halting several times. A series of trills ..
. [indicates that] the boy is now deeply asleep. The mother gazes
thoughtfully upon her beloved child and dreams about his future. She
seems touched by a shiver as she thinks about the unknown man who
will grow from this boy - arpeggios in the strings. She envisions (when
the meter changes to 3/4) a handsome man in flowering youth. This is
Siegfried's theme of glory, from the opera ("Siegfried, Thou Glorious
Protector of the World"), as sounded by an interplay of flutes, clarinets,
and oboes. A descending clarinet run expresses the mother's delight;
then the strings pick up the theme .... It is combined with the holy
music: in the mother's soul her remembrance of the boy's childhood and
of her cares joins with this vision of maturity .... Now the mother

envisions the youth becoming more manly and growing in strength: he
is driven to accomplish important deeds. He gains for himself a place
among men. But then comes a moment of contemplation. A nameless
desire captures the youth's heart as he wanders alone (forest sounds and
birdsongs and the theme of love and unity from Siegfried). Passion
awakens in him, and he feels for the first time soul-wearying pains. His
passion grows until finally love makes him happy. The highest sound
of joy signals the full happiness of his life in love. Birdsongs foretell
success (from Siegfried), and gladness is expressed along with feelings
about the innocent childhood of the soul ("From the Time of Youth, a
Song Ever Sings in Me") .... The mother awakens from her reverie and
turns again to the slumbering child. She gives thanks for her happiness
and prays for heaven to bless her son. Once again the lullaby is heard,
along with the theme of holiness. Suddenly the haunting forest horns
and birdsongs return. Does the boy dream of his future? No, he sleeps
quietly with a happy smile.... After a final loving kiss from the mother,
the future hero rests in the care of God.
Jonathan D. Kramer

Concertino for English horn
Gaetano Donizetti
Opera lovers have no problem relating to Donizetti, although even the most
ardent of the breed are probably familiar with only a handful of the Italian
composer's 65 works for the lyric theatre, chief among them Lucia di
Lammermoor, L'elisir d'amore and La fille du regiment. Concertgoers, however,
would have to ponder whether they've ever heard any of his symphonies, choral
works, piano pieces, or chamber music, including 19 string quartets. Prolific is
an understatement in describing the amazing creative fertility of this composer
whose accomplishments in 50 years of life are nothing less than staggering.
Considering the number of operas Donizetti wrote, it's not surprising that his
instrumental music is only a short step removed from the opera stage. The
Concertino for English horn is a case in point. The brief opening sounds like the
orchestral preparation for an aria, and indeed the English horn's main theme could
easily be the beginning of a soprano's showpiece. What ensues is a set of
variations for the solo instrument on that initial theme, variations that range from
the pleasantly lyrical to the technically virtuosic. Between some of the variations
the orchestra enters with brief interludes, happily allowing the busy soloist to take

a breath and rest the lips. The solos are understandable operatic in nature, which
is not to say that this music is not instrumental, for it is. But after all, for an opera
composer a larynx is an instrument, and vice versa. You can take the man out of
the opera, but you can't take the opera out of the man.
Orrin Howard

Quiet City
Aaron Copland
Quiet City is an intimate work scored modestly for trumpet, English horn and
strings. It is based on some incidental music which Copland wrote in 1939 for
a play by Irving Shaw, "a realistic fantasy concerning the night thousands of many
different kinds of people in a great city". The play provided two significant
musical images: a jazz trumpet solo played by a young Jewish boy, and a limping
string figure representing (in the composer's words) "the slogging gait of a
dispossessed man". The concert piece which Copland arranged from this music
in 1940 is in effect a short continuous suite, ending as it begins with the stillness
of the night and the loneliness of the trumpeter.
Anthony Burton

Orchestra, the Chamber Orchestra, and the Sinfonietta. The University
Symphony Orchestra presents many concerts on campus each year in the
internationally acclaimed Gammage Center for the Performing Arts, which was
designed by Frank Lloyd Wright. Soloists with the orchestra include renowned
faculty performers as well as such visiting guest artists as violinists Glenn
Dicterow, Szymon Goldberg, Dylana Jenson, Ani Kavafian, and Edvard Melkus;
cellists Colin Carr, Stephen Kates, and Lazio Varga; pianists Ursula Oppens and
Jeffrey Siegel; guitarist Manuel Lopez-Ramos; soprano Faye Robinson, the Roger
Wagner Chorale; guest conductors Lukas Foss and Vincent Persichetti; and the
hilarious PDQ Bach and Victor Borge. Annually the orchestra combines with the
University Choral Union to present a "Holiday Concert" to sold-out houses featuring such works as Handel's Messiah, the Vaughan Williams Hodie,
Bernstein's Chichester Psalms, and other great choral works. Outstanding
student soloists, chosen through a rigorous competition on campus are presented
in a "Concert of Soloists" each February. This concert also features the world
premiere performance of the work which has won the annual ASU Student
Composition Contest. The Orchestra has a commitment to the performance of
contemporary music and has recently premiered pieces by Michael Conway
Baker, Randall Shinn and Chinary Ung, performed a concert with visiting
composer Joan Tower, and produced a CD recording of works by Eugene
Anderson called Perception which is available on d'Note Classics.
Please visit our website at http://www.asu.edu.cfa/musid for further
information on the Arizona State University School of Music and its Orchestra
Program.

Symphony No. 35 in D Major, K. 385 ("Haffner")
Wolfgang Amadeus Mozart
PROGRAM NOTES
Mozart lived in Vienna for the last ten years of his life. By the time he had
moved there from his native Salzburg, he had already composed over forty
symphonies - all his works in that genre save the final half dozen. He composed
no symphonies specifically for Vienna, except possibly the last three (no one
knows for what occasion or reason he wrote them). The other symphonies from
his Vienna period are K. 385 (written for Salzburg), K. 425 (for Linz), and K. 504
(for Prague). Mozart's main instrumental output during the Vienna decade
comprised piano concertos.
Not only was Symphony No. 35 not composed for Vienna, it was not even
conceived as a symphony. In July 1782, while Mozart was involved in a timeconsuming operatic project and in preparing for his wedding to Constanze Weber,
he received a letter from his father. Leopold asked him to write a new serenade.
Mozart's childhood friend Sigmund Haffner was to be elevated to the nobility.
A new composition performed at the celebration in his honor would be

Siegfried Idyll
Richard Wagner
Cosima Wagner was 33 years old on Christmas Day, 1870. She awakened
to the sounds of music playing - new, wonderful, unfamiliar music performed by
a chamber ensemble. Cosima later wrote in her diary,
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 dies 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 was all the rest of the household. Richard had

served as professor of oboe at the 1996 Londrina Music Festival in Brazil, and
performed as principal oboe of the Orchestre Philharmonique Rhodanien and
professor of oboe at the Academie Europeenne de Musique in Tournon-surRhone, France. Schuring has recorded for Philips, Koch International, and
. Summit Records, both as soloist and as an orchestral player. Recently, he
recorded the world premiere of Oboe Concerto, Op. 57 by Eric Funk with the
Prague Radio Symphony on the MMC label. He has performed at every
Conference of the International Double Reed Society since 1997. Together with
bassoon colleague Jeffrey Lyman, Martin Schuring hosted the 1998 Conference
of the International Double Reed Society at Arizona State University where he is
Assistant Professor of Oboe. Mr. Schuring studied at the Curtis Institute of Music
with John de Lancie.

GARY LEOPOLD
Gary Leopold's professional experience has covered a wide range of musical
settings, including symphony orchestras, chamber groups, jazz ensembles, and a
traveling circus band. Most recently, he has performed with the Arizona Opera
Company, Arizona Ballet, Desert Foothills Music Festival Orchestra, Symphony
of the West Valley, and ASU's Lyric Opera Theater. Tonight's performance of
Quiet City marks Mr. Leopold's debut as a soloist.
Mr. Leopold holds a Bachelor's degree in performance from the University
of Kansas and a Master's degree in performance from Washington State
University. Currently, he is completing work towards the Doctor of Musical Arts
degree in performance at ASU under the guidance of Regent's Professor David
Hickman.

ASU ORCHESTRA PROGRAM
The Arizona State University Orchestra Program is dedicated to providing
the finest musical and educational opportunities for those qualified individuals
interested in studying and performing a wide variety of orchestral music. The
faculty and administration are committed to the training and development of
professional orchestral performers (instrumentalists and conductors), orchestral
music educators and therapists, musicologists, theorists, composers, arts
administrators, and future arts supporters. The students share in this commitment,
aspiring to the highest possible standards of musical excellence.
Currently the program includes three ensembles: the University Symphony

appropriate. Mozart had once before written a serenade for the Haffner family,
the wedding serenade now known as the Haffner, K. 250.
Mozart was much too busy to write the new piece, but he nonetheless felt that
he should undertake the project. On 27 July Mozart sent Leopold the opening
allegro. "It has been quite impossible to do more for you, because I have had to
write yet another serenade for wind instruments alone (otherwise I could have
used the piece for your project as well). On Wednesday the 31st I shall send the
two minuets, the andante, and the finale. If I can manage to do so, I shall also
send a march. If not, then just use the one from my earlier Haffner music, which
is quite unknown."
Not surprisingly, Mozart fell behind schedule. By 31 July he sent Leopold
only a letter, but not music. "One cannot do the impossible! I won't scribble
inferior stuff. So I cannot send you the whole symphony until the next mail day."
On 4 August the composer and Constanze were married. Somehow, at about
the same time he sent off most of the serenade, except for the march, which
followed on 7 August. The final piece consisted of an introductory march, an
allegro, two minuets, an andante, and a finale. The date of the Haffner
c~lebration is not known, and thus it is impossible to determine whether the
serenade was ready in time for the festivities. It does seem unlikely that Mozart
met his deadline.
Eventually he wanted the serenade returned for performance at one of his
concerts. In order to transform the serenade into a true symphony, Mozart
dropped the march and one of the minuets, and he added pairs of fh te and
clarinets to the outer movements. The origin of the Haffner Sympho11y as a
serenade certainly does not preclude compositional subtlety. Consider the
opening of the first movement, which the composer wanted performed "with great
fire." The theme is an elaboration of the simplest of ideas: a stepwise descent of
the scale from the tonic. The descent seems to get stuck on the fourth degree for
several measures, after which its continuation is disguised. Mozart found this
idea rich enough to base the entire movement on it. He inverts the theme and
plays it in imitation.
Perhaps the most interesting moment in the direct and graceful andante
movement occurs when the first violins continually repeat the same note for
several measures, while the second violins play the melody. The minuet,
according to musicologist Alfred Einstein, is characterized by "strength, festivity,
and masculinity in the main section, and the most delicate grace in the trio." The
relationship of the symphony to Mozart's entertainment music is most obvious in
the effervescent finale, which the composer wanted played "as fast as possible."
Jonathan D. Kramer

JOEL ANTHONY BROWN

Please plan on joining us again for the
2000 - 2001 ASU Orchestra season!

Call the Orchestra Office to
receive program information.
(480) 965-3476

Joel Anthony Brown is a native of Wilmington, North Carolina. He
received his Bachelor's degree in Music Education in 1994 from East Carolina
University and his Master's degree in Orchestral Conducting in 1996 from the
University of Tennessee. While at the University of Tennessee, Joel studied
conducting with Kirk Trevor, Music Director of the Knoxville Symphony. Upon
his graduation, Joel served two years as an Apprentice Conductor with the
Nashville Symphony, mentoring under Leonard Bernstein protege, Kenneth
Schermerhorn, Music Director. While in Nashville, Joel was also a Music
Specialist at Percy Priest Elementary School, incorporating the Orff-Schulwerk
method daily with children of many music business professionals, songwriters,
producers and studio performers.
Mr. Brown has studied conducting with Karen Deal, Cornelius Eberhardt,
Harold Farberman, Robert Hause, Jorge Mester, Gunther Schuller, and Tsung
Yeh, and has also studied many summers in the Czech Republic and recently in
Graz, Austria at the American Institute of Musical Studies (AIMS). Joel has
conducted the Bohuslav Martinu Philharmonic, the Knoxville Symphony, the
Nashville Symphony and the Phoenix Symphony. He has also conducted the
youth orchestras of Huntsville, Knoxville, Los Angeles, New York and Phoenix.
Joel is the conducting assistant to Hermann Michael and the Phoenix
Symphony, where he works with world renowned soloists and conductors. His
duties there consist of conducting education concerts in various schools and at
Symphony Hall and serving as the cover conductor for many classical concerts.
He is also an adjunct faculty member at Phoenix College, where he conducts the
Phoenix College Community Orchestra. He is a teaching assistant for the Arizona
State University Orchestra Program and also assists Dr. William Reber, Artistic
Director of the ASU Lyric Opera Theatre. Joel is pursuing his Doctor of Musical
Arts degree (OMA) in Music Education with an emphasis in conducting from
ASU and is a student of Dr. Timothy Russell.

MARTIN SCHURING
Martin Schuring has held orchestral positions with the Hong Kong
Philharmonic, The Florida Orchestra and the Phoenix Symphony Orchestra. Since
1980, Schuring has been a regular participant at the Grand Teton Music Festival,
playing English Hom and oboe in the Festival Orchestra as well as making
frequent appearances on the Festival's chamber music series.
In other summer activities, he has participated in the Bach Aria Festival,

PROGRAM

Siegfried Idyll. ................................................................... Richard Wagner
(1813-1883)

Concerti no for English horn ............................................ Gaetano Donizetti
(1797-1848)

CHAMBER ORCHESTRA PERSONNEL

Violin I
Ruth Ann Platt**
Min Kyung Park
Yoon-Jung Kim
Amy Neuenschwander
Astasia Al-Shamaileh
Lawrence Huang
Jessica Solano

Martin Schuring, English horn

INTERMISSION

Quiet City ............................................................................ Aaron Copland
( 1900-1990)
Martin Schuring, English horn
Gary Leopold, trumpet

Symphony No. 35 in D Major, K. 385 ("Haffner") ................. W.A. Mozart
(1756-1791)

Allegro con spirito
Andante
Menuetto. Trio. Menuetto
Presto

Violin II
Drew Irvin*
Rachel Sompong
Shee Ling
Eugenie Wu
Maria Roggenhofer
Stephanie Groot
Viola
Jeffrey Norman*
Jennifer Walker
Katherine O'Brien
Emily Pullen
Michelle Peterson
Karen Hayes
David Rigby
Cello
Andrew Hamby*
Ozgiir Elgiin
Kerry Campbell
Merrick Jones
Bonnie Andrus
Richard Li

Bass
Ryan Kuck*
Kevin Kirkpatrick
Fluteo
Sarah Andrew
Lisa Dektor
Oboeo
Michele Murray
Ryan Zwahlen
English Horn
Michele Murray
Ryan Zwahlen
Clarineto
Benjamin Baron*
Anne Watson

Timpani
Jordan Gallaher
Orchestra Assistants
Joel Brown
Michael Hoerber
Orchestra Librarian
Ivan Insua
Orchestra Managers
Andrey Astaiza
Christopher Niileksela

** Concertmaster
* Principal
0
This section is
using a rotating
seating plan for
this concert

Bassoon
Timothy Wiggins*
Dmitrius Whelan-Gonzales
Horno
Alan Benson
Jennifer Kangas*
Trumpeto
Amanda Pepping
James Schmidt

=
- School of Music
Arizona State University

Chainber Orchestra
Joel Brown, Conductor
Martin Schuring, English horn
Gary Leopold, Trumpet

ASil

ARIZONA STATE UNIVERSITY

Tuesday, May 2, 2000
7:30 p.m.
Music Theatre

COLLEGE OF FINE ARTS

School of Music
Main Campus, P.O. Box 870405, Tempe, AZ 85287-0405
480-965-3371 • www.asu.edu/ cfa/music
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EVENTS INFORMATION
CALL 480-965-TUNE (480-965-8863)

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