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PROGRAM

TIMOTHY RUSSELL
In the Fall of 1993, Timothy Russell became Professor of Music and the Director of
Orchestras at Arizona State University. He has established himself as one of America's most

Morning, Noon, and Night in

Vienna..

.............Franz von Supp6
(1819-189s)

Michael Hoerber, conductor
L'Arl6sienne Suite No.

L
f[.
m.
fV.

2.........

....'.......Georges Bizet
(1838-1875)

Pastorale

Interrnezzo
Menuetto
Farandole

Timothy Russell, conductor

INTERMISSION

Night on Bald Mountain..

..........Modest Mussorgsky
(1839-1881)

Joel Brown, conductor

Mazeppa...

..........:.......
Michael Hoerber, conductor

.......-....FranzLiszt
(181 l-1886)

versatile conductors, foremost music educators, and outstanding record producers. His
recording, The Manhattan Transfer Meets Tubby the Tuba, received a Grammy nomination
as the "Best Musical Album for Children." Other recordings by Russell include Poulenc's
The Story of Babar and The Nutcracker by Tchaikovsky (the full-length ballet with a
complete story narration by Janet and Martin Bookspan). In addition to these popular
favorites, Russell has conducted the world premiere recordings of Peter Schickele's new work
Thurber's Dogs, written in honor of the l00th anniversary of the birth of humorist James
Thurber, and Stephen Paulus' riveting inter-related arts masterpiece, Voices from the Gallery.
Also available are Russell's newest releases, Circle of Faith and Inner Voices, with Native
American cedar flutist, R. Carlos Nakai. Russell's additional recordings include
Remembering Marian Anderson, a collection of traditional spirituals and contemporary
gospel favorites with soprano, Faye Robinson, and the Milton Ruffin Gospel Choral, Hope's
Journey, A Brassy Night at the Opera with the ASU Chamber Orchestra, and Perception:
The Music of Eugene Anderson with Sam Pilahan and the ASU Symphony Orchestra. These
recordings have been enthusiastically received by listeners and critics alike, as has his vital
and imaginative orchestral leadership.
Equally at home conducting the great symphonic literature, music for chamber
orchestra, large choral works, pops concerts, and children's programs, Russell is a frequent
guest conductor with The Phoenix Symphony. Other recent guest conducting appearances
have included the Charlotte Symphony, Hawaii Symphony, Spokane Symphony, Baltimore
Chamber Orchestra, South Dakota Symphony, Pittsburgh New Music Ensemble, Lehigh
Valley Chamber Orchestra, Summit Brass, Interlochen Arts Academy Orchestra, World
Youth Symphony, and symphony orchestras in Arkansas, Indiana, Iowa, Missouri, Montana,
and Texas.

The 1999-2000 season will be most exciting, his twenty-first as Music Director of the
ProMusica Chamber Orchestra of Columbus, Ohio. Russell's achievements with ProMusica
have been remarkable and diverse. The orchestra continues to make significant strides in
musical excellence, having earned an outstanding reputation for artistic performances and
exciting, adventuresome programming. On eight occasions the American Society of
Composers, Authors and Publishers (ASCAP) has honored Russell and ProMusica for
outstanding service to contemporary music.
For nine seasons, Russell served as Music Director and Conductor of The Naples
Philharmonic in Florida. Under his leadership, the orchestra experienced dramatic growth
in the size of their audience and became recognized as one of the finest performing
ensembles in the southeastern United States, with a full-time resident core ensemble of forty
musicians. In addition to the numerous symphonic, pops, and educational performances,
Russell conducted a collaborative ballet series with the Miami City Ballet and its Artistic
Director, Edward Villella. In November of 1990, Russell conducted the premiere
performances of a new production of The Nutcracker, as choreographed by George
Balanchine.

Timothy Russell and ProMusica have been active in the commissioning of new works.
Russell's commitment to contemporary music, having conducted the world premiere
performances of over seventy new compositions, is coupled with energetic and exacting
renditions of a repertoire that covers over 300 years of musical composition.
A Danforth Foundation Fellow, Dr. Russell is an active music educator. He regularly
leads pre-concert talks and symposia and is involved in research and publication. He
continues to be a featured speaker at music conferences and workshops as well as guest
conductor of numerous All-State orchestras. Dr. Russell has held academic appointments at
The Ohio State University and the University of Rochester, including in its Eastman School
of Music as an Associate Professor of Conducting and Ensembles.
Timothy and his wife, Jill reside in Phoenix, Arizona, with their children, Kathryn and
Geoffrey. They enjoy sports, travel, and cooking.

Marching Band and the Symphonic Band Brass and Percussion Sections. He has also written
and arranged music for the Paradise Valley High School Marching Band, the Auburn
University War Eagle Marching Band, and the Ft. Lewis College Marching Band.
Mr. Hoerber is originally from Phoenix but grew up in the West Palm Beach area of
Florida's east coast. While in Florida, he studied clarinet with Mr. Jerome Levine of the
prestigious Juilliard School of Music and has just completed five years of study with Dr.
Robert Spring, Professor of Clarinet at Arizona State University.
Mr. Hoerber is continuing his studies at Arizona State University as a graduate
teaching assistant for Dr. Timothy Russell, Director of Orchestras. He will be working
towards a Master's degree in Music Education with an emphasis in orchestral conducting'

JOEL ANTHONY BROWN

Tonight's program includes "musical stories" from four of the most active and
influential composers of the nineteenth-century. Although Franz von Supp6 can be credited
with almost 200 compositions for the theatre, he is best known today for his operetta
overtures. His music is appreciated for his ability to vary phrase lengths and melodic and
rhythmic figures in a light and fluent manner. Morning, Noon, and Night in Vienna premiered
in Vienna on February 26, 1844. The opening melody for pizzicato strings, solo cello and
solo clarinet is one of von Supp6's most beautiful and memorable themes'
In 1872, Georges Bizet was commissioned to compose twenty-seven pieces of
incidental music for the spoken drama, A Woman of Arles, by Alphonse Daudet. Daudet's
drama, set during the Christmas holiday in Provence, was the story of the downfall of peasant
boy's hopeless love for an unnamed woman of Arles. The play was an immense failure. A
month after its premiere, Bizet successfully re-scored a number of the twenty-seven
selections in two orchestral suites, the L'Arl4sienne Suites. These included a Prelude based
on the Provencal carol, March of the Three Kings, a Mindetto, a Trio, and a Carillon
depicting church bells on Christmas Eve. After Bizet's death in 1875, Ernest Gueiraud, a
close associate of Bizet, added three more selections to the suite: a Pastoral, an Intermezzo,
and the concluding Farandole dance. Bizet's music represents the simple life of the Provencal
folk. Both the March of Three Kings and the Farandole were inspired by Provencal folklore,
and the use of the saxophone depicts the rich emotionalism of southern folksong.
Modest Mussorgsky continually revised Night on Bald Mountain from 1860 to his
death in 1881. It was first intended for incidental music to Mengden's play, The Witches,
which was never completed. In 1867, Mussorgsky completed a tone poem, or "musical
picture," onNight on Bald Mountain. It included an assembly of chattering witches, a cortdge
of Satan, an unholy glorification of Satan, the witches' sabbat, and the break of dawn,
whereupon the spirits dispersed. Mussorgsky revised his tone poem in 187 I for the
opera-ballet Mlada. He also included recycled themes from his Night on Bald Mountain in

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 protdg6,
Kenneth Schermerhorn, Music Director. While in Nashville, Joel was also an OrffSchulwerk Music Specialist at Percy Priest Elementary School, working with children of
many music business professionals, songwriters, producers and studio performers.
Mr. Brown has studied conducting with Karen Deal, Harold Farberman, Robert
Hause, Jorge Mester, Gunther Schuller, and Tsung Yeh, and has also studied many summers
in the Czech Republic. Joel has conducted the Bohuslav Martinir Filharmonie in Europe, the

Knoxville Symphony, the Nashville Symphony and recently the Phoenix Symphony's
"sinfonietta". He has also conducted the youth orchestras of Knoxville, Los Angeles and
New York.
Joel is the conductor of the Phoenix College Community Orchestra and is also a
cover conductor this season for Hermann Michael and the Phoenix Symphony. He is a
graduate teaching assistant for the ASU Orchestra Program and is also assisting Dr. William
Reber, Director of the ASU Lyric Opera Theatre. Joel is pursuing his D.M.A. in
Instrumental Music with an emphasis in conducting from ASU and is a student of Dr.

Timothy Russell.

MICHAEL DAVID HOERBER
Michael David Hoerber is a surnma cum laude graduate from Arizona

State

University, where he received his Bachelor's degree in Instrumental Music Education. Upon
graduation he was honored with the Most Outstanding Undergraduate in Music Education
Award given by the Director of ASU's School of Music, Dr. Toni-Marie Montgomery.
Since age 16, Mr. Hoerber has been conducting, composing and arranging music for

band, choir and orchestra. He has written music for Arizona State University's Sun Devil

PROGRAM NOTES

his unfinished opera, Fair at Sorotchintsky. After Mussorgsky's death, Nikolay
Rimsky-Korsakov re-orchestrated Night on Bald Mountaln in the version we know today.
The story of Mazeppa, a seventeenth-century Cossack knight of the Polish court, was
a popular subject for nineteenth-century poets and playwrights. Franz Liszt's musical
depiction of Mazeppa was inspired by a poem by Victor Hugo. The story unfolds as Mazeppa
is bound to his horse and whipped into the desert by his enemies after the discovery of his

affair with a Polish Countess. After an exhausting and terrible gallop, the horse collapses and
dies and Mazeppa is left in the desert to face his inevitable fate alone. He is saved by his
own people, the wandering Cossacks, becomes their leader, and defeats all his foes. Liszt first
published the music from Mazeppa as a Transcendental Study for piano in 1837. In 1 840, the
Transcendental Study was revised into a large-scale piano composition dedicated to Hugo
and published under the title Mazeppa. Liszt finished his orchestral version of the Mazeppa
story in 1850. The tone poem is based on the "Mazeppa theme" which can be heard at the
outset in the trombones and bass strings. The violent horse's gallop comes to a dramatic end
as the timpani depict the fall of the steed. The tone poems ends in a rousing march as
Mazeppa defeats his enemies and becomes the hero of his people.
Program notes by Heidi A. Droegemueller

ASU ORCHESTRA PROGRAM

SINFONIETTA PERSONNEL
Violin

I

Julie Tollefsen**
Jennifer Koehler
John Fulton
Rebecca Williams
Maria Roggenhofer

Lee Pike
Rebecca Valentino

Trombone
Kevin Coles*
Chad McCoy
Bass Trombone

Piccolo
Monica Sauer
Linda Watkins

Bob Cockrell

Tuba
Curtis Peacock

Holly Sokol

Oboe

Tennille Taylor

Jenny Wheelerx

Harp

Janae Golding

Rachel Young

Violin

II

Brittany Scoville*
Sara Wright
Rebekah Taylor

to the training and development of professional orchestral performers
(instrumentalists and conductors), orchestral music educators and therapists, muiicologists,
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 Orchestra,
the Chamber Orchestra, and the Sinfonietta. The University Symphony Orcheitra 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 Lazlo varga; pianists ursula oppens and Jeffrey Siegel;
guitarist Manuel Lopez-Ramos; soprano Faye Robinson, the Roger wagner chorile; guest
conductors Lukas Foss and Vincent Persichetti; and the hilarious PDe 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 Meisiah, 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./music/ for further information on the
Arizona State University School of Music and its Orchestra program.

Janette Petersen

and performing a wide variety of orchestral music. The faculty and administration are

Monica Sauer
Linda Watkins

Ron Meidlinger

The Arizona State University Orchestra Program is dedicated to providing the finest
musical and educational opportunities for those qualified individuals interested in studying

committed

FIute
Tina Kuenzel*

Laura Muterspaugh
Hamed Abbaszadegan
Elizabeth Prendergast

Kendra Wittreich

Timpani
English Horn

Casey Farina

Lara Saville

Clarineto

Percussion
Casey Farina*

Tim Haas

Ian Templin
Robert Oeser

James Quintero

David Bouchard

Bass Clarinet
Bethany Brestel

Orchestra Assistants
Joel Brown

Bethany Brestel

Viola
Bryan Wright*
Rebecca Sutterlin

Michael Hoerber

Erin Skehan
Amber O'Brien
Seth

Willey

Saxoohone
David Jenkins

Elizabeth Holub
Raquel Ramos

Bassoon
Donald Hassler*
Ryan Maples

Cello
Heather Johnson*

Horn

Toni Jones

Rebecca Bellx
Sadhana Patel

Sasha Konstantinov

Ben Schwartz
Jenny Kitchen
Elizabeth Anderson

Melanie Woodward
Matt Brown

TrumBetn
Bass

Amy Adams*
LeeYeazey
Dean Rodemack
Mart Shelley

Orchestra Librarian
Ivan Insua

Marie Kawa

Chad Buhr
Amanda Pepping
Allyn Swanson

Orchestra Managers
Bradley Lovelace
Zoran Ja5mak

**
*
o

Concertmaster

Principal
For this concert,
this section is
using a rotating
seating plan

UPCOMING EVENTS
ASU Chamber Orchestra

Wills' narrator
conductor
Russell,
Timothy
WednesdaY, October 20' 1999

J. Robert

7:30 p.m.

Musii Theatre
UniversitY SYmPhonY
"In the Presence ofGreatness"
Lattie Coor, narrator
Faye Robinson' soprano
Chuck Marohnic, jazz Piano
George Walker, visiting composer
WednesdaY, October 27, 1999
7:30 p.m.
Gammage Auditorium

ASU Chamber Orchestra
"A Concerto Evening"
Desert Bells International
George SakakeenY, bassoon soloist
Caio Pagano, Piano soloist

David Hickman, trumpet
Tuesday, November 30, 1999
7:30 p.m.
Gammage Auditorium

UniversitY SYmPhonY

;e ro*ity nitiioy Concert"

ASU Concert Choir
University Choir
2:30 p.m.
Gammage Auditorium
s6

ASU Sinfonietta

WednesdaY, November l'7, 1999

7:30 P.m.
Gammage Auditorium

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College of Fine Arts
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School o{ Music
Rox 870405, TemPe, AZ85287-0405