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Ithaca College Chamber Orchestra Jeffery Meyer, conductor Marco Albonetti, saxophone Dane Richeson, percussion Ford Hall Friday, October 3rd, 2014 8:15 pm Program Terra Madre I. Rajasthan II. Oharabushi III. Appalachia IV. Motet V. Rainforest VI. Round Dance Fred Sturm 1951-2014 Marco Albonetti, saxophone Dane Richeson, percussion Intermission Serenade for Strings in C, Op. 48 Pyotr Ilyich Tchaikovsky 1840-1893 I. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato II. Valse: Moderato — Tempo di valse III. Élégie: Larghetto elegiaco IV. Finale (Tema russo): Andante — Allegro con spirito Biographies One of Italy’s leading concert saxophonists, Marco Albonetti is engaged in performing and teaching around the world. He has appeared at numerous international venues such as the Wiener Saal of Salzburg, the Berlin Konzerthaus, the Gewandhaus of Leipzig, the Wits Great Hall of Johannesburg, the Palau de la Musica Catalana of Barcelona, the Teatro Espanol of Madrid, the Palau de la Musica of Valencia. His concert tours have taken place in Italy, France, Finland, Switzerland, Germany, Belgium, Spain, Cyprus, South Africa, Canada, China and the United States. He regularly performs as soloist with Italian and international orchestras and takes part in many important international music festivals. He has been awarded first prize at several international music competitions and has recorded for RAI, SABC, PIK1, CBS, LTV Lumier, Cypriot Radio and Wisconsin Public Radio. Marco holds diplomas from the Rossini Conservatory (Pesaro, Italy) and the Sommerakademie Mozarteum in Saltzburg, Austria, as well as a Master of Music degree (summa cum laude) from Bowling Green State University as student of Dr. John Sampen, and Doctor of Musical Arts (summa cum laude, Dean’s Award of Excellence) at Michigan State University, where he studied classical saxophone performance under James Forger and Joseph Lulloff and jazz saxophone performance with Andrew Speight and Brandford Marsalis. He is the Artistic Director of the Faenza International Saxophone Festival, Italy, holds a tenured position as Professor of Saxophone at the Conservatory of Music “N. Piccinni” in Bari, Italy and was named external examiner for Doctoral Studies at Sibelius Academy in Helsinki. Dane Richeson is Professor of Music at Lawrence University Conservatory of Music in Appleton, Wisconsin, where he has been Director of Percussion Studies since 1984. He is recognized as one of the most versatile performers in the percussive arts. Throughout the world he has been featured in such diverse roles as solo marimbist, contemporary chamber music percussionist, world percussion specialist and jazz drummer. Performances have been with such diverse artists as Bobby McFerrin, Gordon Stout, Nancy Zeltsman, Gunther Schuller, Geoffrey Keezer, Joe Lovano, NDR Big Band of Germany, Roscoe Mitchell, Medeski-Martin-Woods, Kenny Wheeler , Danilo Perez, and Lyle Mays. He has performed numerous times with the chamber ensembles CUBE (Chicago), The Bach Dancing and Dynamite Society (Madison, WI) and has been a featured marimba artist/teacher at several of the Zeltsman Marimba Festivals, the Ivana Bilic Marimba/Percussion Week in Croatia, and the Central Conservatory Chamber Music Festival in Beijing. Moreover, he has performed at festivals such as Ravinia, North Sea and Montreux Jazz Festivals, and Beijing Music Festival. Fred Sturm has served as guest conductor/composer/arranger for professional jazz ensembles and radio orchestras in Germany, Italy, Denmark, Sweden, Scotland and Norway; as director of university jazz ensembles and high school all-state jazz bands throughout the U.S.; as clinician at national educational conferences and festivals; and as composer-in-residence for school and university music programs. Migrations: One World, Many Musics, his concert suite inspired by indigenous music from 21 countries, was premiered by vocalist Bobby McFerrin and the NDR Big Band in Germany in 2007 and toured Europe the following summer. Sturm was the 2003 recipient of the ASCAP/IAJE Commission In Honor of Quincy Jones, a prize granted annually to one established jazz composer of international prominence. He has received grants from the National Endowment for the Arts, Meet the Composer, the National Academy of Recording Arts and Sciences, the Howard Hanson Institute for American Music, and the Lila Wallace/Reader’s Digest Fund. Sturm studied at Lawrence University’s Conservatory of Music, the University of North Texas (performing in the One O’Clock Lab Band), the Eastman School of Music (performing in the Eastman Jazz Ensemble), and was a founding member of the RCA, Warner Brothers, and Pablo Records jazz nonet Matrix. Sturm was the Director of Jazz and Improvisational Music at the Lawrence University Conservatory of Music in Appleton, Wisconsin. He previously served as Professor and Chair of Jazz Studies and Contemporary Media at the Eastman School of Music in New York from 1991 to 2002, where he directed the internationally acclaimed Eastman Jazz Ensemble, conducted the 70-piece Eastman Studio Orchestra, and coordinated the Eastman jazz composition and arranging program. Jeffery Meyer is the Director of Orchestras at Ithaca College School of Music, as well the Artistic Director of the St. Petersburg Chamber Philharmonic in Russia. In recent concert seasons, he has been seen conducting, performing as piano soloist and chamber musician, as well as conducting from the keyboard in the United States, Canada, Mexico, Russia, Italy, Spain, Germany, Austria, Norway and throughout Eastern and Southeastern Asia. Called “one of the most interesting and creatively productive conductors working in St. Petersburg” by Sergei Slonimsky, his work with the St. Petersburg Chamber Philharmonic has been noted for its breadth and innovation. In 2010, he led the St. Petersburg Chamber Philharmonic in its United States debut with three performances at Symphony Space’s “Wall-to-Wall” Festival in New York City which the New York Times called “impressive”, “powerful”, “splendid”, and “blazing.” His programming with the Ithaca College Orchestras has been recognized with three ASCAP Awards for Adventurous Programming, as well as the Vytautas Marijosius Memorial Award for Programming. He has been distinguished in several international competitions and was a prizewinner in the 2008 International Conducting Competition “Antonio Pedrotti” and the winner of the 2013 American Prize in Conducting. Recent and upcoming activities include a guest residency at Tianjin Conservatory, concerts with the Thailand Philharmonic Orchestra and the Philippine Philharmonic Orchestra, masterclasses at the Central Conservatory in Beijing and the Universität für Musik und Darstellende Kunst in Vienna, and appearances with Stony Brook Symphony Orchestra in New York, Alia Musica in Pittsburgh, the Orquesta Sinfónica de Xalapa in Mexico, the MiNensemblet in Norway, and the Portland-Columbia Symphony in Oregon. Meyer holds degrees in piano as well as composition and completed his Doctorate of Musical Arts in Piano Performance with Gilbert Kalish at the State University of New York at Stony Brook. Program Notes Terra Madre (Mother Earth) is a musical plea for world unity that celebrates both the diversity and shared influences of indigenous music from six different countries. Ethnic music, folk songs, and ancient works dating back as far as the 13th century are joined together in this contemporary chamber music setting. Rajasthan is an example of Gypsy “Romani” folk music from Rajasthan, India’s largest state. Oharabushi is a traditional Japanese meditative folk song that is drawn from the five pitches of the pentatonic scale that connect them to many other indigenous musics around the world. Appalachia (Cluck, Old Hen) is an early 19th century traditional American bluegrass fiddling and banjo tune from the eastern United States’ Appalachian Mountain range. Motet is a 13th-century French work (composer unknown) titled Ne m’oubliez mie, part of a collection of 336 works currently known as the Montpellier Codex. Rainforest incorporates a beautiful, ritualized dance melody create by the Mbuti Pygmy tribe of the Ituri Rainforest in equatorial Africa. Round Dance is song from western Bulgaria with a meter of 11 beats per measure typically counted 1-2, 1-2, 1-2-3, 1-2, 1-2, and dancers move in “quick” and “slow” step patterns of QQSQQ. “I love this Serenade terribly, and fervently hope that it might soon see the light of day.” So wrote Tchaikovsky to his publisher in 1880 upon completion of the Serenade, Op. 48, a work that was in his words “composed from an innate impulse; that is something which arises from having freedom to think, and is not devoid of true worth.” According to its uncomplicated elegance and economy of means, much of the work’s main melodic material is made up of simple scale steps. The first movement, for instance, essentially begins with an inspired, marcato (or firmly articulated) C major scale, harmonized and elaborated. The movement’s main allegro subject contrasts a flowing, lyrical melody with a playful staccato second subject. A crescendo carries it to its triumphant conclusion, before a restatement of its Andante beginning. The second movement, a Valse , though lyrical and at times playful, could perhaps be seen as a shade darker than the first movement, a predecessor to the somewhat veiled third. The intimate Elegy, after its almost dream-like opening, gives way to a simple, expressive violin melody, accompanied by arpeggiated pizzicato chords in the rest of the orchestra. After a dramatic climax, Tchaikovsky settles into one of the darkest and most mysterious areas of the Serenade, before the movement sublimates in recollection of its opening bars. The last movement begins attaca; that is, without a break, creating a sense of continuity. At the outset of this Finale, we hear one of two Russian folk songs (previously arranged by Tchaikovsky) in the piece: “On the Green Meadow.” The second folk song, “Under the Green Apple Tree,” is the main melodic material of the movement’s central allegro subject, and Tchaikovsky carries this melody through a relatively standard treatment: a contrasting second, lyrical theme; a fugue-like development section; a rousing coda. However, there is a great surprise: the stirring beginning of the first movement reappears, and via an accelerando (acceleration), we learn that it and the last movement’s Russian song are one and the same. The work is unified and the heart is uplifted as the piece concludes on a strong, resonant pillar of sound. Ithaca College Chamber Orchestra Violin I Sonsoles Llodra, concertmaster Jenna Jordan Lauretta Werner Timna Mayer Colleen Mahoney Justine Elliot Marcus Hogan Emily Wilcox Violin II Brian Schmidt, principal Christopher Sforza Kangzhuo Li Elizabeth Benz Darya Barna Corey Dusel Reuben Foley Tiffany Lu Paul Grobey Viola Renee Tostengard, principal Kelly Ralston Daniel Martinez Lindsey Clark Jonathan Fleischman Cello David Fenwick, principal Madeline Docimo Zachary Brown Emily Doveala Julia Rupp Bass Andrew Whitford, principal Kevin Thompson Lindsey Orcutt