At the Arkley Center for the Performing Arts

Eureka Symphony History Over twenty years ago, an enthusiastic group of local musicians assembled under the leadership of HSU’s music faculty to play Johanns Brahms’ Requiem, under the baton of Kenneth Hannaford. The Eureka Symphony Orchestra was born. HSU faculty members Valgene Phillips (1996-1998) and Kenneth Ayoob (1998-2002) contributed the resources, artistic leadership and stability that led to the next phase of orchestra development. Under the leadership of Music Director Carol Jacobson (2003-present), audiences have grown significantly and a community board of directors has helped develop more community resources.

Over the years, the Eureka Symphony has performed in many venues, becoming a community partner with the Arkley Center for the Performing Arts in 2007. After a one-year absence from ACPA in the 13-14 Season, the orchestra is pleased to return to this lovely venue for the 2014-2015 Season.

Commitment to community youth is an important part of the Mission, demonstrated by the Annual Youth Competition, in which local student musicians audition for the opportunity to gain a monetary award and to solo with the orchestra. The Symphony also continues its policy of free admission for youth 12 and under. Schools to Symphony and Musicians to Schools programs provide support to the region’s music teachers and schools by bringing students to attend the annual Youth Competition concert and by bringing ensembles of orchestra musicians to area schools. The growth of both programs shows that an interest in classical music can be developed by opportunities to hear such music live.

A symbiotic relationship with the HSU Music Department continues and outstanding guest artists and soloists are often products of this fine program. In 2014, the Symphony hired Jane Hill as its first executive director, recognition of the increase in scope and complexity of its operations over the past decades. The success of our Symphony is assured into the future with the outstanding guidance of its committed Board of Directors and the generous support of this community.

FALL PROGRAM For Information See Page 7Oct. 10-11, 2014

Letter from Home Aaron CoplandConcerto for Clarinet in A major W.A. Mozart Bill Kalinkos, clarinetPictures at an Exhibition Modest Mussorgsky

HOLIDAY PROGRAM For Information See Page 13 Dec. 5-6, 2014

Fantasia on Greensleeves Ralph Vaughan Williams The First Nowell Suite Ralph Vaughan Williams Choir directed by Robert KleiberTwas the Night Before Christmas Philip Lane Narrator Steve ColeChristmas at the Movies Bob Krogstad, Arr.Christmas Carol Sing-a-long

WINTER PROGRAM For Information See Page 15 March 6-7, 2015

Danzón No. 2 for Orchestra Arturo MárquezEnglish Dances Malcolm ArnoldConcerto No. 1 in D minor, Op.15 Johannes Brahms John Chernoff, piano

SPRING PROGRAM For Information See Page 18April 17-18, 2015

Aztec Fantasy, Op. 128 Michael KibbeThe Dot & the Line: A Romance in Lower Mathematics Robert Xavier Rodriguez Narrator Jacqueline DandeneauPLUS: Youth Competition Winners

SEASON FINALE For Information See Page 23May 29-30, 2015

Violin concerto in D major, Op. 68 * August Klughardt *American Premiere Terrie Baune, violinSymphony No. 4 in A Major Felix Mendelssohn

SEASON AT A GLANCE

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Thank You to Our Generous 2014-2015 DonorsContributions between May 2 and September 3, 2014

The Eureka Symphony relies on the support of music lovers in our community. Please consider us in your estate plans.

Look for the Donate button at our website, www.eurekasymphony.comor send contributions to P.O. Box 776, Bayside California 95524

For tickets, leave a message with the Ticketing Office at 707-845-3655, anda volunteer witll call you back. For Symphony messages, call 707-441-3818.

Diamond ($5,000 - $100,000)Doyle Dorsey

Platinum($2,000 - $4,999)Coldwell Banker Sellers RealtyKEET TVHCOE - Rising Star FoundationNorman Polston & Tina MacKenzieNorth Valley Bank

Gold($1,000 - $1,999)Margaret & Paul AugustineAmy Humphreys & Lisa BowesDell’ ArteCarl and Anita FullbrightWilliam GreenwoodGerald O & Susan Hansen Family- FundEva LaevastuMac & Ann McClaryCliff MoonBirgitta PortalupiGeorge & Mary SchmidbauerGayle TeterSteven Sottong & Joy ThomasJim WestPam Cavanagh & Jim West

Silver($500 - $999)Susan Berresford

Milton BoydNicholas Frank & Nina GrothKen HoardJoyce King & Ken MillerRedwood Capital BankFred & Joan Tempas

Sustainer($250 - $499)Eleanor & Kenneth Bates

John Wieczorek & Teresa Kosmac

Associate($100 - $249)Donald & Lujean AvantJean BrowningPamela Ford CavanaghJay & Kim DavisEdith & Ron FritzcheDebra HartridgeRobert & Martha HaynesLaura HusseyLeslie KeigSuzanne Simpson & Lew LitzkyJoyce MatherEris McCarthyCharles MoonBeverly & Robert MorrisKay Schmidbauer-JohnsonLeo Sears

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Penny & Wayne SohrakoffPatsy SvarvariCynthia & Joel Van VleckJo Weisgerber & Roberta WeltyTom & Sharal WrigleyCarolyn Yanke

Friend($10 - $99)Russell ConradMarney FriedmanJudy & Nick GianniniRon HalversonJoseph & Haydee HopkinsDora KaliamosKathy & Dick LaForgeByrd LochtieJan NiclaiAdair PaulDavid & Lorraine PonteVirginia Rumble

Tributesin honor of Pam Cahill Judy & Nick Giannini Ron Halverson Dora Kaliamos David & Lorraine Ponte Patsy Svarvari Fred & Joan Tempas

in honor of Katherine Ford Pam Cavanagh & Jim West

in honor of Marianne Pinches John Wieczorek & Teresa Kosmac

in honor of Cynthia Quinsey Gayle Teter

in honor of Kay & Virgil West Jim West

in memory of Leon Berliner Ken Hoard

in memory of Helen Ann Reid Carolyn Yanke

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Violin ITerrie Baune, concertmaster Sponsor - Anita Fullbright Karen DavyMary De AndreisMary JerlandTerry KramerKaren LarkinCarson McHaneyGwendolyn PostCynthia QuinseyGraham RussellMardi Siekmann

Violin IIHolly MacDonell, Principal Sponsor - Cliff MoonMaggie CzajkaErika Guevara BlackwellJulie FulkersonVanessa KibbeKathleen LeeKen LoveKit MorrisJohn NelsonAlan RiceVee SorensonGenevieve TrimarcoBethany Wells

ViolaSherry McHurd Hanson, Principal Sponsor - George & Mary SchmidbauerSusan FowleJanet FutrellDon MorrisPenny SohrakoffLinn Van Meter

CelloDavid AldingerKathy BlumeTom BrownfieldKaty HartridgeSue Kent-StuardMie MatsumotoCassandra MoultonKira Weiss

BassBear Winkle, Principal Sponsor - Norman Polston & Tina MacKenzieWilliam AndrewsPeter De AndreisTom LopesPatty McHaney

FluteJill Petricca, Principal Sponsor - Mac & Ann McClaryLaura Snodgrass

OboeEllen Weiss, Principal Sponsor - Doyle DorseySusan Sisk

English HornMichael Kibbe

ClarinetGwen Gastineau-Ayoob, Principal Sponsor - William Greenwood

Clarinet cont.Heather Dial

Season Orchestra MembersCarol Jacobson, Music Director & Conductor

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CelloDavid AldingerKathy BlumeTom BrownfieldKaty HartridgeSue Kent-StuardMie MatsumotoCassandra MoultonKira Weiss

BassBear Winkle, Principal Sponsor - Norman Polston & Tina MacKenzieWilliam AndrewsPeter De AndreisTom LopesPatty McHaney

FluteJill Petricca, Principal Sponsor - Mac & Ann McClaryLaura Snodgrass

OboeEllen Weiss, Principal Sponsor - Doyle DorseySusan Sisk

English HornMichael Kibbe

ClarinetGwen Gastineau-Ayoob, Principal Sponsor - William Greenwood

Clarinet cont.Heather Dial

BassoonJustin Sousa, Principal Sponsor - Doyle Dorsey Aaron Lopez

TrumpetChris Cox, Principal Sponsor - Jim WestAri Davie

TubaFred Tempas, Principal Sponsor - Amy Humphreys & Lisa Bowes

French HornRonite Gluck, Principal Sponsor - Pamela Ford Cavanagh & Jim WestDon BicknellAnwyn HallidayMathew Morgan

TromboneToshi Noguchi, Principal Sponsor - Steven Sottong & Joy ThomasCraig HullDick LaForgePhil Sams

TimpaniKevin Amos

PercussionNeil BostAnthony GordonAdam Gunderson

Personnel ManagerSam Kaplan Good

LibrarianTom Phillips

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Carol Jacobson, Music Director& Conductor Carol Jacobson has been the Music Director and Conductor of the Eureka Symphony for the past decade. She brings her extraordinary talent and vast musical experience to the 2014-15 season of symphonic music. Carol teaches and conducts the Arcata/McKinleyville High School Orchestra and Madrigal Choir where she inspires young people to excel. She says, “Once you have experienced the magic of exceeding your expectations, your life is never the same again”. Her student orchestras have performed locally, and

in music festivals in New York and London, winning high honors for performance. In 2011, they performed in London placing first in the festival. Her Arcata High Madrigal Choir placed second in the Verona Italy Choral Competition in 2010 and this year will be competing in a festival in Vienna, Austria.

An accomplished cellist, Ms. Jacobson earned her bachelor’s degree at Humboldt State University, with further studies at the Salzburg Mozarteum, The Royal Danish Conservatory and the Netherlands Royal Conservatory in The Hague. She was a member of the Netherlands National Ballet Orchestra in Amsterdam, the Netherlands Radio Symphony, the Oslo Opera Orchestra, the Netherlands Strijkers Ensemble, and the North Coast Chamber Players. She was conductor of the Humboldt State University Orchestra, directed the Humboldt Music Academy for eight years, and performed in the Helmholtz Trio with Terrie Baune and the late Deborah Clasquin. She is principal cellist in the North State Symphony.

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Carol Jacobson is the recipient of a Wells Fargo Heritage Award for excellence in teaching. In 2009, she was honored as Northcoast Music Educator of the Year. That same year she was honored by the League of Women Voters for civic contributions in establishing the Eureka Symphony as a major cultural influence in the region. In spring 2011, the Humboldt County Office of Education selected her for an Excellence in Teaching Award. The North Coast Journal referred to Ms. Jacobson as a “force of nature.”

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FALL PROGRAM Oct. 10-11, 2014

Letter from Home Aaron Copland Concerto for Clarinet in A major K. 622 W.A. Mozart Bill Kalinkos, ClarinetINTERMISSIONPictures at an Exhibition Modest Mussorgsky Orchestrated by Maurice Ravel

Concert Sponsor:

Letter from Home - Aaron Copland (1900-1990) Undeniably among the most beloved of 20th century American composers, Aaron Copland created a musical language that uniquely evokes the American spirit and landscape. He was born in Brooklyn in 1900 of Jewish immigrants from Lithuania and first studied composition in Manhattan, moving to Paris in 1920 to study with the renowned Nadia Boulanger. Copland described these studies with Boulanger at the New School of Music for Americans at Fountainebleau as the most important musical experiences of his life. Paris was the capital of the artistic world in the 1920’s, and Copland’s time there coincided with that of Stravinsky, Ravel, Prokofiev, the Ballet Russes, Picasso, Hemingway, and Gertrude Stein.

Copland’s works from the 1920’s such as the Piano Concerto (1927) and the Dance Symphony (1925) show the influence of Stravinsky, and are polyrhythmic with jazz elements. When he felt that he had done all he could in this idiom, Copland turned to a more dissonant, percussive style in which pattern and rhythm were the focus, rather than melody. Compositions from this modernist era include the Piano Variations (1930) and the Short Symphony (1933). Copland himself later described this music as both difficult to perform and difficult for the audience to comprehend because of its abstract quality.

Musical Notes Sponsor: Redwood Capital Bank

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Concerned with alienating audiences, Copland adopted a new musical voice, consciously writing in a style more accessible to the musical public that had grown up with the development of the radio and the phonograph. It was during this time that Copland wrote his best known works including the ballets Billy the Kid (1938), Rodeo (1940), and Appalachian Spring (1944), as well as A Lincoln Portrait (1942) and Fanfare for the Common Man (1942).

Also from this era of Copland’s writing is the beautiful Letter from Home, the result of a commission from Paul Whiteman and the American Broadcasting Company for performance on the Philco Radio Hour. The piece was originally scored for radio orchestra, which included saxophone and guitar. Following its radio premier in 1944, Copland slightly shortened the piece and expanded the instrumentation to that of a symphony orchestra. The piece is one of simple melodic appeal, exemplifying the poignant, tender side of what has become known as Copland’s Americana style. Copland wrote that the title of this wartime work was “not meant to be taken too literally -- I meant only to convey the emotion that might naturally be awakened in the recipient by reading a letter from home.” program notes by Linn Van Meter

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Pictures at an Exhibition - Modest Mussorgsky (1839-1881) Mussorgsky originally composed this set of pieces for piano in June 1874. Years later in 1922, Maurice Ravel orchestrated the charming collection, and the set has become an audience favorite. The pictures themselves are inspired by drawings by Victor Hartmann, whose works were shown in a St. Petersburg exhibition in the spring of 1874, shortly after Hartmann’s unexpected death. Mussorgsky was so saddened by Hartmann’s unexpected passing that he conceived of a suite of piano pieces that depicted the composer “roving through the exhibition, now leisurely, now briskly, in order to come closer to a picture that had attracted his attention, and at times sadly, thinking of his departed friend.” The piece is organized into an introductory Promenade, followed by 10 tableaus:

Promenade

1. Gnomus. Hartmann’s drawing, which has since been lost, was for a Christmas tree ornament—“a kind of nutcracker, a gnome into whose mouth you put a nut to crack,” according to Stassov’s commentary in the catalog.

Promenade

2. The Old Castle. Two drawings of medieval castles are listed in the catalog, both sketched while Hartmann was in France, just before he met Mussorgsky.

Promenade

3. Tuileries: Hartmann lived in Paris long enough to get to know the famous park with its squabbling children and their nurses.

4. Bydlo. Stassov describes a Polish wagon (“bydlo” is Polish for cattle) drawn by oxen.

Promenade

5. Ballet of the Chicks in their Shells. Hartmann designed costumes for a ballet, Trilbi, in 1871. The music depicts a scene where “a group of little boys and girls, pupils of the Theatre School, dressed as canaries,

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scampered on the stage. Some of the little birds were wearing over their dresses big eggshells resembling breastplates.”

6. Samuel Goldenberg and Schmuyle. Mussorgsky owned these two drawings entitled “A Rich Jew in a Fur Hat” and “A Poor Jew,” to which he gave proper names.

7. The Market Place at Limoges. In the margin of his score, Mussorgsky brings the market scene to life: “Great news! M. de Puissangeout has just recovered his cow . . . Mme de Remboursac has just acquired a beautiful new set of teeth, while M. de Pantaleon’s nose, which is in his way, is as much as ever the color of a peony.”

8. Catacombs: Sepulcrum romanum. Hartmann, a friend, and a guide with a lamp explore underground Paris; to their right in Hartmann’s watercolor is a pile of skulls.

9. The Hut on Hen’s Legs (Baba-Yaga). Hartmann sketched a clock of bronze and enamel in the shape of the hut of the witch Baba-Yaga.

10. The Great Gate of Kiev. Hartmann modeled his gate on the traditional headdress of Russian women, with the belfry shaped like the helmet of Slavonic warriors.

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Clarinet Concerto in A Major K.622- Wolfgang Amadeus Mozart (1756-1791) The last important work completed before his death, Mozart’s Clarinet Concerto is one of the most beloved works in Mozart’s catalogue. Written for Mozart’s friend and famed virtuoso, Anton Stadler, the piece was originally conceived for an unusual cousin to the current clarinet: the basset clarinet. The basset clarinet extended the lower ranges of the instrument in a pleasing way, which is a feature Mozart clearly intended to exploit in the concerto’s lyrical second movement.

The concerto is one of Mozart’s most intimate and personal creations. It has a conversational, chamber music quality, in that the phrasing is lyrical as Mozart’s operatic arias, as opposed to the virtuosic fireworks of many of Mozart’s other concerti. It is easy to imagine Mozart knew his time was running out, as the poetic phrasing of the three-movement work leaves the listener inspired by the beauty of life.

Guest Artist Bill Kalinkos Originally from Queens, New York City,

clarinetist Bill Kalinkos enjoys a diverse musical career as a member of Alarm Will Sound, Ensemble Signal, San Francisco Contemporary Music Players, and National Gallery of Art New Music Ensemble. In addition, Bill has played with groups such as Eco Ensemble and East Coast Contemporary Ensemble. Recognized by the Washington Post as a “notable contemporary music specialist,” he has been fortunate enough

to work with and premiere pieces by many acclaimed composers. As an orchestral player, Bill is a member of IRIS Orchestra, and has performed with The Philadelphia Orchestra, The Cleveland Orchestra, New World Symphony, Spoleto Festival USA, the Wordless Music Orchestra, and City Music Cleveland. A resident of the San Francisco Bay area since 2011, Bill is on the faculty of the University of California at Santa

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Cruz and Berkeley, and is principal clarinetist of the Oakland East Bay Symphony. As a recording artist, he can be heard on the Cantaloupe, Nonesuch, Euroarts, Naxos, Mode, Orange Mountain, and Albany Records labels.

Narrator Steve ColeBoard member Steve Cole has taken on practically every duty possible for a board volunteer, from President, to Treasurer to Recording Secretary. His personal hobbies and interests include building street rods in the 60’s, backpacking, river sports, snowboarding, choral singing, limited automobile tinkering, off-grid technology and living, general puttering, world travel, being a private pilot and airplane

owner, playing trumpet in his high school band, riding freight trains, and enjoying an occasional trip to watch sprint car racing. He was a philosophy minor in college. Naturally, it seemed time to tap him as a performer, so we asked him to put his expressive and resonant voice to good use as the narrator for ‘Twas the Night Before Christmas. We’re sure he will give it a properly classic interpretation.

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Twas the Night Before Christmas- Phillip Lane (b. 1950) Another Brit, Philip Lane is known for his compositions for the BBC. In 2007, he composed a setting of Twas the Night Before Christmas,

Concert Sponsor:

HOLIDAY PROGRAM Dec. 5-6, 2014

Fantasia on Greensleeves Ralph Vaughan Williams The First Nowell Suite Ralph Vaughan Williams Choir directed by Robert Keiber INTERMISSION Twas the Night Before Christmas Philip Lane Narrator Steve ColeChristmas at the Movies Bob Krogstad, Arr.Christmas Carol Sing-a-long

Fantasia on Greensleeves and The First Nowell Suite - Ralph Vaughan Williams (1872-1958) One of the most prolific and beloved of English composers, Ralph Vaughan Williams’ music is known for its celebration of English folk tunes. The Fantasia on Greensleeves is based on the traditional 16th century folk ballad “Greensleeves.” In 1858, the tune was repurposed by William Chatterton Dix as the commonly known Christmastime hymn “What Child is This?” The First Nowell Suite was written toward the end of Vaughan Williams’ life, in August 1958. The piece is taken from a nativity play of the same name, and features some of Vaughan Williams’ most beloved English Christmas carols: “God Rest Ye, Merry Gentlemen” , “This is the Truth Sent From Above”, “Angelus ad Virginem”, “Oh Joseph, Being an Old Man Truly”, “In Bethlehem City”, “Sussex Carol”, “Tidings True”, “How Brightly Shone the Morning Star”, and finally “The First Nowell.”

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Christmas at the Movies - Bob Krogstad, Arr. Many of our finest film composers have generated music for Chirstmas-themed flms, among them, Alan Silvestri, Danny Elfman, James Horner and the distinguished John Williams. “Christmas at the Movies,” an impressive concert medley arranged by Bob Krogstad for full orchestra recalls some of the most memorable songs and themes from such favorites as Home Alone, How the Grinch Stole Christmas,, Miracle on 34th Street, The Polar Express, and The Nightmare Before Christmas. You may be motivated to add video rentals of these old and new classics to your holiday home entertainment plans.

Robert Keiber: Robert is the co-owner of Keiber Glass with his wife Nancy. They create beautiful stained glass art pieces. A former member of the Eureka Symphony board of directors, Robert is also the music director and conductor of the McKinleyville Community Choir.

which was subsequently recorded with narrator Stephen Fry. Naxos describes the piece “as warming as a steaming glass of mulled wine and as cozy as a fresh Yule log on the fire.”

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WINTER PROGRAM March 6-7, 2015Danzón No. 2 for Orchestra Arturo MarquezEnglish Dances Malcolm ArnoldINTERMISSION Concerto No. 1 in D minor, Op.15 Johannes Brahms John Chernoff, piano

Concert Sponsor:

Danzón No. 2 for Orchestra- Arturo Márquez (b.1950) Arturo Márquez was born in 1950 in Álamos, Mexico at the foothills of the Sierra Madre of Sonora. In his teens, his family migrated to Los Angeles where he began his musical education. His studies took him to Mexico City, Paris and back to Valencia, CA where, as a Fulbright scholar, he received an MFA from California Institute of the Arts.

Márquez was commissioned to write Danzón No. 2 by the Universidad Nacional Autónoma de Mexico in 1994. The first inspiration for the Danzón came to Márquez while traveling to Malinalco in 1993 with painter Andrés Fonseca and dancer Irene Martinez, “both of whom are experts in salon dances with a special passion for the danzón.” The danzón is a partner dance of Cuban origin that spread to Mexico. Like so many of the Cuban dances, it is a fusion of European and African styles. Fonesca and Martinez took Márquez to the dance halls in Veracruz and to the popular Salón Colonia in Mexico City, the sites of the danzón’s “Golden Age” of the 1940s.

Márquez says of the piece, “This music is a tribute to all that gives birth to the danzón. I approach the dance rhythms in the closest possible way … to express my respect and emotivity toward genuine popular music.” In the rhythms of the piece you will hear echoes of the habanera, contra-dance and even, as some have suggested, hints of the Argentinian tango.

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Concerto No. 1 in D Minor- Johannes Brahms (1833-1897) Brahms completed his first piano concerto in the spring of 1858, after four years of revision and tinkering. Ever the perfectionist, Brahms revised this concerto several times even after its first performance. The piece began its life first as a symphony sketch, then became a sonata for two pianos, and then finally the piano concerto in D minor. The piece begins with a powerful, arresting gesture followed by lyrical sections interrupted by stormy episodes. The second movement is quietly impassioned. “Blessed, who comes in the name of the Lord,” Brahms wrote above the first theme in his sketch of the Adagio second movement. Though Brahms himself was not a churchgoer, the movement invites introspection and awe of the divine. The final movement struts forward confidently, and completes the concerto with enthusiasm.

English Dances - Malcom Arnold (1921-2006)British composer Malcom Arnold was a professional trumpet player in his early years, and served many years as principal trumpet player in the London Philharmonic Orchestra. Around the age of 30, he turned primarily to composition, composing nine symphonies twenty concertos, five ballets, chamber music and music for several films. A highly sought after film composer, he was awarded an Oscar for the 1958 film, The Bridge on the River Kwai. A melodic composer, his English, Scottish, and Cornish Dances are hallmarks of his orchestral repertoire.

The Danzón No. 2, now one of the most well-known Danzóns (along with Copland’s Danzón Cubano) was popularized by the Simón Bolívar Youth Orchestra under Gustavo Dudamel during its 2007 tour of Europe and the U.S. This tour took the world by storm and generated renewed interest in Latin American culture and music. During the orchestra’s performance of Danzón No. 2 at the BBC Proms, all 6,000 audience members in the Royal Albert Hall were “on their feet, going wild.” This lively, rhythmic piece has now been embraced as one of the unofficial national anthems of Mexico. It will be hard to stay in your seat for this one! program notes by Kira Weiss

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Guest Artist John Chernoff Pianist John Chernoff has performed across the United States, including appearances at the Kennedy Center in Washington D.C., the Legion of Honor in San Francisco, and Symphony Space in New York City. He has worked with renowned artists such as Chen Yi, Amit Peled, Ian Swensen, and Mark Sokol and currently serves as Staff Accompanist at Humboldt State University. John holds degrees from San Francisco Conservatory

of Music and the Peabody Institute of Johns Hopkins University, and has served as a performer, accompanist and coach at the Heifetz International Music Institute and Sequoia Chamber Music Workshop. Mr. Chernoff has also been a soloist with the Eureka Symphony (where he also gives pre-concert talks) and is a member of the Vipisia Piano Trio, a group composed of the eclectic combination of violin, piano, and saxophone.

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SPRING PROGRAMApril 17-18, 2015

Aztec Fantasy, Op. 128 Michael KibbeThe Dot & the Line: A Romance in Lower Mathematics Robert Xavier Rodriguez Narrator Jacqueline DandeneauPLUS: Youth Competition WinnersThere will be one 20-minute Intermission

Aztec Fantasy, OP. 128 - Michael Kibbe (b. 1945) Mr. Kibbe was born and raised in the San Diego area, where he received his earliest musical education, which included lessons on the snare drum, accordion, saxophone and tap dancing. His first composition (a trivial mistake for band!) was composed in junior high school, and his first completed “real” work, a Fuge (ala Bach) was performed by his high school concert band in 1963. The same concert found him as alto sax soloist on Ibert’s Concertino Da Camera, with piano.

Three years of music course work at San Diego State College (now California State University San Diego) as well as composition study with David Ward-Steinman, saw the creation of several small pieces for woodwinds, and includes the Wind Quintet #1, Opus 1.

A move to Los Angeles followed military service, with further music study at California State University Northridge, with composers Aurelio de la Vega and Frank Campo. After earning his MA in composition and logging in two years of part-time teaching at CSUN, he secured a full-time post at Cameron University, Lawton, Oklahoma, where he taught double-reeds, theory and composition, and appeared in numerous chamber music recitals and as oboe soloist with the local Philharmonic. By this time (1976) he had completed thirty-some compositions.

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The Dot & The Line: A Romance in Lower Mathematics - Robert Xavier Rodriquez (b. 1946) Inspired by the 1963 short story and 1965 Academy Award-winning animated short film, The Dot & the Line: A Romance in Lower Mathematics, tells the story of a line who is hopelessly in love with a dot. The dot regards the line as stiff and boring, and instead turns its attention to a wild and rascally squiggle. The line becomes determined to win the affection of the dot, and transforms itself into an angle. The line begins to create new and complex shapes, impressing the dot. The dot realizes that the line has more to offer than the wild and chaotic squiggle, and ultimately chooses the line to love.

A renowned composer of classical music and works for children,Rodríguez adapted this charming story for narrator and orchestra in 2005.

Aztec Fantasy, OP. 128 - Michael Kibbe cont. Kibbe has been a freelance performer (live concerts, recordings, films) on most of the woodwind instruments, and was oboist and arranger for the North Wind Quintet for 17 years. It was this group for which he composed the majority of his twelve wind quintets, as well as numerous duos, trios, and over a hundred arrangements.

As of this writing, Kibbe’s total creative output is over 212 concert works, including large band and orchestra pieces, concertos, and a large variety of chamber music for strings, winds, piano and percussion. He has also written music for voice. His works have been commissioned by the City of Los Angeles, the Pacific Serenades concert series, Quatrocelli, to name a few. His compositions have been performed throughout the United States, Mexico, Europe, Israel and China.

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Jacqueline Dandeneau Is a founding member and Executive Director of Playhouse Arts which runs the Arcata Playhouse, as well as creates and produces new works. Much admired as an actress and singer, she resides in Humboldt County with her husband David Ferney and daughters Amelia and Cora.

She graduated from the University of Alberta with a professional degree in Acting

and has performed at various theatres across Canada including the Stratford Festival, the Citadel, the Globe and Kaleidoscope Theatres, and Theatre Network. She was the founding member and Co-Artistic Director of Full Figure Theatre Company and performed with them in Hong Kong, Australia, New Zealand, England, Scotland, Canada and the USA.

Jacqueline is a member of Canadian Actor’s Equity, Union of British Columbia Performers, the Associated Canadian Radio and Television Artists, and holds an accredited bookkeeping certificate.

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SEASON FINALEMay 29-30, 2015 8 pm

Violin concerto in D major, Op. 68 * August Klughardt*American Premiere Terrie Baune, violinINTERMISSION Symphony No. 4 in A Major Felix Mendelssohn

Felix Mendelssohn was a wonderfully talented musician, possessing a natural genius often compared to that of Mozart. Like Mozart, he was not only one of the great composers in Western musical history, but was also a highly accomplished performer.

Mendelssohn was born in 1809, into a cultured, literate Jewish family which provided him with a broad education in languages, science, history and modern literature, as well as music. He grew up in Berlin, writing music for his own orchestra and then conducting it, and produced a substantial body of work by the time he was twenty years old. His early years culminated with his preparation and public performance of Bach’s St. Matthew Passion in 1829, with a large chorus and orchestra. These performances of a work not heard since Bach’s day helped to initiate a Bach revival.

Like all wealthy young European men of his day, Mendelssohn made the Grand Tour, starting out on a three-year trip in 1829. In Paris he met Liszt, Chopin and Berlioz, and heard the beginnings of romantic music.

Mendelssohn had a very successful and busy career. He conducted the Gewandhaus concerts in Leipzig, making the city the musical capital of Germany. He guest conducted all over Europe, and was particularly popular in London, where he was friendly with Queen Victoria and Prince Albert. In addition to conducting and playing concerts,

Symphony No. 4 in A Major - Felix Mendelssohn (1809-1947)

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Mendelssohn found time to establish the Leipzig Conservatory in 1842, where he and Schumann taught composition and piano and the great Ferdinand David taught violin. In May of 1847, his beloved sister Fanny, a fine musician in her own right, died suddenly. When Mendelssohn learned of this, he had a stroke from which he never recovered. He died on November 4, 1847, at the age of 38. The Symphony No. 4 in A major, Op. 90, known as the Italian Symphony, was inspired by Mendelssohn’s time in Italy during his Grand Tour. He completed the first version of the symphony in 1833, fulfilling a commission from the London Philharmonic Society. It was not published during his lifetime because he wanted to revise it, as he did with many of his compositions. The first movement, in sonata allegro form, opens with a vibrant, joyous theme, perhaps the best known of this symphony. The second movement in D minor is thought to have been inspired by a religious procession Mendelssohn witnessed during his time in Italy. This is followed by a traditional third movement in triple meter, with lovely horn melodies in the second half. The work closes with a boisterous presto in A minor, incorporating elements of the two Italian dances: the tarantella and the saltarello. program notes by Linn Van Meter

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Violin Concerto in D Major, OP. 68 - August Friedrich Martin Klughardt Klughardt was born in Kothen, Germany, in 1847. He showed much musical talent at an early age, and was both composing and performing as a pianist by his mid-teens. In 1863 his family moved to Dessau, where he would later spend the last twenty years of his life as Director of Music for the Dessau court.

Klughardt worked as a conductor and music director in many German cities including Posen, Neustrelitz and Lubeck. From 1869 to 1873 he worked at the court theater in Weimar, where he became friends with

Franz Liszt. In 1873 he met Richard Wagner; Klughardt attended the first Bayreuth festival, and in 1892-3 he conducted Wagner’s “Ring” cycle in Dessau. Klughardt also enjoyed a cordial professional relationship with Brahms’ favorite violinist Joseph Joachim, whose quartet premiered both of Klughardt’s string quartets and to whom Klughardt dedicated his Piano Quintet. Stylistically, Klughardt’s music draws on both the Liszt/Wagner school and the Brahms/Schumann tradition; much of his harmonic language is clearly influenced by Liszt, but his forms and structural elements generally follow the traditions of Beethoven and his fellow classicists.

The Violin Concerto was written and published in 1895. It was very well received and performed throughout Europe by several violinists. Friedrich Seitz, the concertmaster

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of the Dessau orchestra, performed the premiere; Leipzig Gewandhaus Orchestra concertmaster Karl Prill performed the concerto in Berlin, Frankfurt and Prague, and the French violinist Joseph Debroux is said to have performed it “from Paris to St. Petersburg”. However, the concerto has not remained in the standard repertoire for violinists, and these performances will be its US premiere.

The concerto is in three movements, with an accompanied cadenza forming a bridge between the first and second movements. This Lisztian dramatic recitative section highlights a motive that Klughardt uses in each movement of the work, a rhythmic cell that is sometimes referred to as the “Fate-motive” - this rhythm appears near the end of Wagner’s Gotterdammerung, the last opera in the Ring cycle. The first movement is written in classical sonata form, and introduces the Wagnerian motive quietly at the end of the exposition. The beautiful second movement is reminiscent of the slow movement of the Bruch violin concerto, as is the linking of the first and second movements, and the third movement has a joyous German country dance feel. The whole piece is very integrated between soloist and orchestra; rather than the common impression of an orchestra backing up a soloist, this concerto presents a delightful and inventive conversation between violin and orchestra. program notes by Terrie Baune

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Guest Artist Terrie Baune Terrie Baune is concertmaster of the Eureka Symphony, concertmaster of the North State Symphony, and co-concertmaster of the Oakland East Bay Symphony. She is a member of Earplay, a professional new music ensemble based in San Francisco, and the associate director of the Humboldt ChamberMusic Workshop.

Terrie’s professional credits include four years as a member of the National Symphony Orchestra of Washington DC, two years as a member of the Auckland Philharmonia Orchestra of New Zealand, and concertmaster positions with the Fresno Philharmonic, the Rohnert Park Symphony and the Santa Cruz County Symphony. For over twenty years, Terrie was the concertmaster of The Women’s Philharmonic, with whom she participated in over a hundred premieres, edited modern performance editions of works by Fanny Mendelssohn and Lili Boulanger, regularly performed as soloist, and made several recordings, including as soloist in the Maddalena Lombardini Violin Concerto #5.

As an active chamber musician, Terrie has been a member of the Empyrean Ensemble in residence at UC Davis, the Gabrielli Trio which toured the North Island of New Zealand and recorded for Radio New Zealand as a National Ensemble, and the Helmholtz Trio of California’s north coast. In addition to her work with the Humboldt Chamber Music Workshop, she coaches at the Sequoia Chamber Music Workshop and at the Bay Area’s CMNC workshops.

Terrie graduated from Oberlin Conservatory of Music in 1978, having won the Oberlin Concerto Competition, Grand Prize in the Joseph Fischoff Chamber Music Competition, the Marin Symphony Association Award, and a full fellowship to the Aspen Music Festival, during her student years. She studied violin with Richard Young and chamber music with Denes Koromzay of the Hungarian Quartet, and participated in master classes with Dorothy Delay, Itzhak Perlman and Aaron Rosand. She has taught violin, viola and string pedagogy at Sonoma State University and CSU Stanislaus.

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Support The Classics! Eureka Chamber Music SeriesConcert Hall – Calvary Lutheran Church, Eureka, CA 95503www.eurekachambermusic.org 707.445.965022nd annual season, Fridays at 7:30 p.m.17 October 2014 - Daria Rabotkina, pianist07 November 2014 – Borealis String Quartet21 November 2014 – Sebastian Baverstam, Cellist30 January 2015 – San Francisco Opera Singers20 February 2015 – Cypress String Quartet20 March 2015 – Raphael Trio24 April 2015 – Amphion String Quartet

Humboldt State University Music DepartmentAll events at Fulkerson Recital Hall, 8 pm unless otherwise noted HSU Ticket Office (707) 826-3928Oct 24th - Composers ConcertNov 1st - Humboldt SymphonyNov 9th - Faculty Artist Series: Cindy Moyer, Lecture-Recital on the Bach Chaconne, ViolinDec 12th & 14th, Humboldt Symphony, University Singers & ChoraleJan, 24th, Guest Artist: Sang Woo Kang, pianoMarch 7th & 8th Humboldt SymphonyApril 3rd, Composers ConcertApril 25th Faculty Artist Series: Laura Snodgrass, fluteApril 26th, 2 pm Faculty Artist Series: Cindy Moyer, Violin & Daniela Mineva, pianoMay 8th & 10th Humboldt Symphony

North Coast Dance - The Nutcracker Ballet December 12, 13, 14, 16 & 17.The Arkley Center for the Performing ArtsTickets at:North Coast Dance, 426 F, EurekaEureka Fabrics, 412 2nd St., EurekaParasol Arts, 211 G St., EurekaPhone: (707) 442-7779 Web is www.northcoastdance.org

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Board of Directorsfront: Jane Hill (executive director); Eva Laevastu (treasurer); Steve Cole (recording secretary); Pam Cahill (past president); Jean Browning (president); Kathy Blume (corresponding secretary); Tina MacKenzie (vice president)

back: Don Bicknell; Anna Kane; Carol Scher; Tom Lisle; Joan Tempas; Margaret Augustine

Not shown: Carol Jacobson (Music Director); Kenneth Ayoob; Sherry Hanson; Dick LaForge; Dawn Peshka

Executive CommitteeJean Browning, PresidentTina MacKenzie, Vice PresidentSteve Cole, Recording SecretaryKathy Blume, Corresponding SecretaryEva Laevastu, TreasurerPamela Cahill, Past President

DirectorsMargaret Augustine Kenneth P. AyoobDon Bicknell

Eureka Symphony Board of Directors 2014-2015Sherry Hanson Carol Jacobson Anna Kane Dick LaForge Tom Lisle Dawn Peshka Carol Scher Joan Tempas

Executive Director Jane Hill

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Jane Hill, Executive Director Since her retirement in 2007 as executive director of the Sacramento Philharmonic, Jane Hill has operated artSMART, a consulting business for non-profit organizations. She has also served as Interim Executive Director for several companies: the Stockton Symphony, Opera Omaha and the Sacramento Philharmonic.

Her past arts leadership includes co-founding Dell’Arte in the early 1970’s. For nearly a decade, she was executive director of Opera Omaha in Nebraska. Hill was engaged by Sacramento Mayor Kevin Johnson to join the leadership team of his “For Arts’ Sake” initiative in 2009. In 2010 she was hired by the Nebraska Arts Council to be a 6-week consultant-in-residence, travelling across the state to do non-profit board training.

In 2000, she received the Omaha YWCA Woman of Vision Award for contributions to the Arts & Humanities. In 2001, she received Omaha’s annual Arts on the Green Award for service to the arts. In 2004, she was named Arts Executive of the Year by the Arts and Business Council of the Sacramento Chamber of Commerce.

Hill was hired by the Eureka Symphony as its first executive director in March, 2014. She holds a bachelor of fine arts degree from Carnegie-Mellon University and a master’s degree from Humboldt State University in California.

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Eureka Symphony Chamber MusicSunday, March 22, 2015, 3 p.m. $30 ea. at the Eureka Woman’s Club join Maestra Carol Jacobson, concertmaster Terrie Baune and pianist John Chernoff for a special concert of trios to celebrate the arrival of spring. Come hear Jacobson, Baune and Chernoff play and discuss some of their favorite works for the piano trio. This concert, co-spon-sored by the Eureka Woman’s Club, is a benefit for the Eureka Sym-phony and all proceeds will go toward supporting our programs. Mark your calendar and stay tuned for further details!1531 J St., Eureka. Limited general seating; order on-line at www.eurekasymphony.org or call (707) 845-3655.