Last spring MSCO presented the final movement of Jeremy Cavaterra's
newly-composed Monterey Suite. This season we have the privilege of performing the complete suite.
Each of the suite's five movements has a relationship
to a location in or near Monterey, California. These movements are titled
"The Peninsula," "The Path of History," "The Aquarium," "Steinbeck Country", and
"Marine Safari and Whale Watch". We're sure that you will enjoy the world premier of
the complete presentation of this hauntingly beautiful work
Jeremy Cavaterra was born in New York City in 1971. His music has been performed by soloists,
chamber groups, and orchestras internationally. As a pianist he has appeared as both soloist
and collaborative artist with ensembles, instrumentalists, and singers, often performing his own
work. He studied piano with Tania Agins and Robert Turner, and composition with Giampaolo Bracali
at Manhattan School of Music.
In addition to this performance by the MSCO, his recently premiered
works include Sextet for Piano and Strings (2014), commissioned and performed by the
Los Angeles-based Salastina Music Society; and Trio for Harp, Flute, and Viola (2013),
commissioned and performed by The Myriad Trio / Art of Élan, an ensemble comprised of
principal players of the San Diego and Seattle Symphony Orchestras. Monterey Suite, a
tone-picture set inspired the scenery and history of the Monterey peninsula, was
commissioned by David Ramadanoff on behalf of the MSCO.
Pianist Daniel Glover has performed in 24 countries throughout Europe, Asia, Canada,
the Caribbean, as well as 42 states in the US. He recently returned from his second
South American tour, with concerts in Chile and Argentina.
The San Jose Mercury News praised him as “a whirlwind…an incisive, exciting, and
apparently tireless player.”
The San Francisco Classical Voice remarked, “Dazzling performances…Golly, can he
play! I kept expecting smoke to emerge from the interior of the piano…”
He received his Master’s degree from The Juilliard School. His teachers include
Eugene List, Abbey Simon, Jerome Lowenthal, Nancy Bachus and Thomas LaRatta. He
has served on the faculties of New York University, University of the Virgin Islands
(St. Thomas), University of San Francisco, and currently teaches at Notre Dame de
Namur University in Belmont, California.
His extensive repertoire encompasses 60 concerti. Mr. Glover has recorded eight
CDs for the DG 2 label, which have aired on radio stations in the US, Canada, Europe
and Israel. Visit www.danielgloverpianist.com
Andante Spianato and Grande Polonaise Brillante
in E-flat major,
Op. 22, was composed by Frédéric Chopin between 1830 and 1834.
The Grande Polonaise Brillante
in E-flat, set for piano and
orchestra, was written first, in 1830-31. In 1834, Chopin
wrote an Andante Spianato
in G for piano solo, which he added
to the start of the piece, and joined the two parts with a
fanfare-like sequence. The combined work was published in 1836
and was dedicated to Madame d'Este.
The Variations on a Nursery Song consists of an Introduction and Theme,
eleven Variations, and a Coda. The dramatic Introduction is followed by a
witty, artful set of variations ranging from the innocent first
variation to the romantic third variation, the scurrying sixth
variation, and the boisterous, overcooked waltz in the seventh variation.
Dohnányi treats the piano and orchestra as equals;
every instrument is given its chance to shine.
Currently the Assistant Conductor of the Vallejo Symphony, Pamela Martin has many years of experience
working with orchestras as well as ballet companies. In addition to her work with the Vallejo Symphony,
Martin is a regular guest conductor with the Master Sinfonia Chamber Orchestra.
For four years, she was a staff conductor for Cleveland/San Jose Ballet (now Ballet San Jose), where she conducted
productions of Swan Lake, Coppelia, and The Nutcracker. Last season she was a guest conductor for
Ballet West in Salt Lake City for their production of George Balanchine’s Diamonds.
Martin has frequently appeared as a guest conductor for Oakland Ballet, conducting their production of
The Nutcracker with the Oakland East Bay Symphony. She appeared in the same capacity with
Ron Guidi’s Nutcracker production with the newly revived Oakland Ballet, as well as the more
recent production by Graham Lustig. Last season she conducted Nutcracker for Santa Cruz Ballet Theatre.
She has also conducted the University of Texas Symphony Orchestra, Young People’s Symphony Orchestra of
Berkeley and Calvary Presbyterian Church Chancel Choir in San Francisco.
Besides her experience as a conductor, Martin is an accomplished pianist, having played for
San Francisco Ballet, Ballet Austin, Marin Ballet, and Marin Dance Theater. She holds a
Master of Music degree in Orchestra Conducting from the University of Texas at Austin,
and a Bachelor of Music in Piano Performance from the Peabody Conservatory.
The Birds (Italian: Gli uccelli) is a suite for small orchestra
by the Italian composer Ottorino Respighi. Dating from 1927,
the work is based on music from the 18th-century and
represents an attempt to transcribe birdsong into musical notation.
The work is in five movements:
- "Prelude" (based on the music of Bernardo Pasquini)
- "La colomba" ("The dove"; based on the music of Jacques de Gallot)
- "La gallina" ("The hen"; based on the music of Jean-Philippe Rameau)
- "L'usignuolo" ("The nightingale"; based on the folksong "Engels Nachtegaeltje")
- "Il cucù" ("The cuckoo"; based on the music of Pasquini)
The suite was used for the ballet of the same name,
first performed on February 19, 1933.
Currently principal bassoon and a regular soloist with the San Francisco Symphony,
Stephen Paulson has served as co-principal bassoon of the Pittsburgh Symphony Orchestra
and principal bassoon of the Rochester Philharmonic Orchestra. Paulson studied bassoon
with K. David Van Hoesen and composition with Samuel Adler at the Eastman School of Music.
A conductor as well as a bassoonist, Paulson has been music director of Symphony Parnassus since 1998.
Andante e Rondo Ungarese was written in 1809 as a viola solo for Weber’s brother
Fridolin and then reassigned to bassoon in 1813. The title of Andante e Rondo Ungarese,
(translated as Andante and Hungarian Rondo), immediately prompts the question: How is the
piece ‘Hungarian?’ Rather than using specific Hungarian references, Weber made use of
an existing style common among street performers in Vienna, a style which
invoked a general sense of "otherness" and a fascination with the Orient and
exploration of foreign territories.
The Symphony No. 98 in B flat major is the sixth of the
so-called twelve London Symphonies (numbers 93-104) written by Joseph Haydn.
It was completed in 1792 as part of the set of symphonies composed on his
first trip to London. It was first performed at the Hanover Square
Rooms in London on 2 March 1792.
The symphony's scoring is unusual among Haydn's later symphonies -- it includes an
important part for harpsichord, which has a prominent solo near the end
of the finale. Although the harpsichord was often used as a solo instrument,
it was rarely given a prominence of this kind in purely orchestral works.
Most likely, Haydn himself played the harpsichord at the premiere.
Don Giovanni (complete title, translated, is "The Rake Punished, or Don Giovanni")
is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian
libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan,
a fictional libertine and seducer. It was premiered by the Prague Italian
opera on October 29, 1787.
A staple of the standard operatic repertoire, Don Giovanni is currently tenth on the
Operabase list of the most-performed operas worldwide. It has also proved a fruitful
subject for writers and philosophers
Egyptian born soprano Amina Edris immigrated to Christchurch, New Zealand with her
family at the age of 10. She completed her Bachelor of Music in voice performance at the
University of Canterbury and her Master’s degree in vocal studies with distinction at the
Wales International Academy of Voice. She is currently pursuing her Post Graduate degree in
Voice at the San Francisco Conservatory of Music
Ms. Edris will join the prestigious Merola opera program this upcoming summer and sings
Norina in Don Pasquale. She made her operatic debut as Serpina in Pergolesi’s La Serva Padrona
in 2010 at the University of Canterbury Platform Arts Festival. Her repertoire includes, Adina
in L’elisir D’amore, Norina in Don Pasquale, Madame Herz in Der Shauspieldirektor, Juliette in
Romeo et Juliette, Gilda in Rigoletto, Manon in Manon and Susanna in Le Nozze di Figaro. In
oratorio she has been heard as the soprano soloist in the Fauré Requiem with Christchurch
Symphony Orchestra, Mozart’s Exultate Jubilate and Bach’s Jauchzet Gott in allen Landen with
the Christchurch Cathedral Chamber Orchestra. She was also heard as a regular soloist at the
Christchurch Cathedral and with the Cantores chamber choir.
The recipient of the 2011 and 2012 Sir Howard Morrison Scholarship, the Dame Malvina Major
Foundation Arts Excellence Award, The Inspire foundation Scholarship and the Adastra
Scholarship Award, Ms. Edris was also awarded Second Place in the 2011 New Zealand Aria
Competition and is the winner of the North Shore Becroft Aria, the Christhurch Competitions
Aria and the Nelson Performing Arts Competition 2012. She was also a winner in the Joan
Sutherland and Richard Bonynge Bel Canto Award competition, the prestigious Sydney
Eisteddfod McDonald’s Operatic Aria competition 2013 and a finalist in the Western Regionals
of the Metropolitan Opera National Council Auditions 2014.
Mahler's first four symphonies are often referred to as the "Wunderhorn" symphonies because
many of their themes originate in earlier songs by Mahler on texts from Des Knaben Wunderhorn
(The Youth's Magic Horn). The fourth symphony is built around a single song, "Das himmlische Leben".
It is prefigured in various ways in the first three movements and sung in its entirety by a
solo soprano in the fourth movement.
Early plans in which the Symphony was projected as a six-movement work, but Mahler later
decided on a simpler structure for the score.
The Bartered Bride (Czech: Prodaná nevěsta, The Sold Fiancée) is a comic opera in three acts
by the Czech composer Bedřich Smetana, to a libretto by Karel Sabina. The opera is considered
to have made a major contribution towards the development of Czech music. It was composed during
the period 1863–66, and first performed at the Provisional Theatre, Prague, on 30 May 1866 in a
two-act format with spoken dialogue. Set in a country village and with realistic characters,
it tells the story of how, after a late surprise revelation, true love prevails over the
combined efforts of ambitious parents and a scheming marriage broker. The opera was not immediately
successful, and was revised and extended in the following four years. In its final version,
premiered in 1870, it gained rapid popularity and eventually became a worldwide success.
Craig Reiss grew up in Sacramento and became a member of the San Francisco Opera Orchestra in 1993.
He also holds the position of Associate Principal Second Violin with the San Francisco Ballet Orchestra.
Mr. Reiss has been a featured soloist with the San Francisco Ballet Orchestra, the Carmel Bach
Festival, the Central Massachusetts Symphony, the National Repertory Orchestra, and the Vallejo Symphony.
Mr. Reiss earned his Bachelor of Music degree while working with Rafael Druian at Boston
University, and in 1987 became an Associate of the Royal College of Music in London where he studied with Trevor Williams.
He has participated in the Tanglewood, Spoleto, and Colorado Music Festivals.
Craig is the founding member of the Eos Ensemble, a chamber group comprised of Opera and
Ballet musicians, whose goal is to present concerts of wide ranging musical styles and instrumental
combinations. The San Francisco Classical Voice wrote of them recently: "they performed with depth and power."
Craig enjoys skiing, running and cycling when he’s not enjoying time with his
wife Cheryl and kids Alana and Julian.
Richard Andaya is a graduate of the San Francisco Conservatory and Yale University,
and has studied with Irene Sharp, Aldo Parisot, Gabor Rejto and Zara Nelsova.
He has served as principal cello with the Sacramento Symphony, the Colorado Philharmonic
and National Repertory Orchestra and held positions with the Oakland, San Jose and
New Haven Symphonies. He performs regularly with the San Francisco Symphony and has
appeared as soloist with the San Francisco Conservatory Orchestra, the Colorado Philharmonic,
the National Repertory Orchestra, the California Youth Symphony, the Vallejo Symphony and
several times with the Sacramento Symphony.
He has been a Fellow at Tanglewood and has
received full scholarships from The Banff Centre, the Blossom Festival and the Music
Academy of the West. He has appeared in the master classes of Janos Starker, Paul Tortelier,
William Pleeth and Joel Krosnick.
Mr. Andaya is former Principal Cello with the Honolulu Symphony,
involved with the Sacramento Chamber Music Workshop, and has been on the California Summer
Music faculty since 1997. He lives in Sacramento with his beautiful wife, Lena (also a cellist)
and his two daughters, Natalie and Sarah.
The Double Concerto was Brahms' final work for orchestra. It was composed in the summer
of 1887, and first performed on 18 October of that year in the Gürzenich in Köln, Germany.
Brahms approached the project with anxiety over writing for instruments that were not his own.
He wrote it for the cellist Robert Hausmann, a frequent chamber music collaborator, and his old
but estranged friend, the violinist Joseph Joachim. The concerto was, in part, a gesture
of reconciliation towards Joachim.
The Symphony No. 9 in E minor, From the New World, Op. 95, B. 178
(Czech: Symfonie č. 9 e moll „Z nového světa“), popularly known as the New World Symphony,
was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory
of Music of America from 1892 to 1895. It is by far his most popular symphony, and one of the
most popular of all symphonies. In older literature and recordings, this symphony was often
numbered as Symphony No. 5. Neil Armstrong took a recording of the New World Symphony to the
Moon during the Apollo 11 mission, the first Moon landing, in 1969.