Ondrej Lewit and Jorge Soto, violins
Paula Simmons, viola; Gordon Grubbs, cello
Wolfgang Amadeus Mozart (1756 – 1791)
Quartet No. 14 in G Major K.387
Allegro vivace assai
Menuetto
Andante cantabile
Molto allegro
Jessie Montgomery (b. 1981)
Strum
Intermission
Ludwig van Beethoven (1770 – 1827)
Quartet Op. 18, No. 4
Allegro ma non tanto
Scherzo. Andante scherzoso quasi Allegretto
Menuetto. Allegretto
Allegro
John Dowland (1563 – 1626)
Earl of Essex, His Galliard
A Fancy
Henry Purcell (1659 – 1695)
Little Suite
I. Prelude
II. Minuet
III. Allegretto
IV. Jig
V. Rondo
J. S. Bach (1685 – 1750)
Andante, BWV 1003
Prelude in D Minor, BWV 999
Sarabande, BWV 1002
Courante, BWV 1009
Domenico Scarlatti (1685 – 1757)
Sonata in E Major K. 380
Domenico Cimarosa (1749 – 1801)
Sonata in B Minor
Mateo Albeniz (1755 – 1831)
Sonata in D Major
Intermission
Fernando Sor (1778 – 1839)
Estudio, Op. 6 No. 11
Claude Debussy (1862 – 1918)
The Girl with the Flaxen Hair
Maurice Ravel (1875 – 1937)
Pavane for a Dead Princess
Astor Piazzolla (1921 – 1992)
Chiquilin de Bachin
Heitor Villa-Lobos (1887 – 1959)
Prelude No. 1
Prelude No. 2
Angel Barrios (1882 – 1964)
Nostalgia de Petenera
ROBERT WETZEL, born of Dutch and Indonesian lineage, began serious study of the classical guitar at age 15. In 1972, he began several years of private studies with maestro guitarist Angel Romero, followed by private guitar study with maestros Pepe Romero and Celedonio Romero. He still considers himself to be a pupil of the Romero family and often states, “The master-disciple relationship is a lifelong affair.”
Wetzel frequently performs as a soloist, and with orchestral and chamber music groups. He currently resides in San Diego County where he is on the music faculties of Point Loma Nazarene University, San Diego State University, and the University of California, San Diego Extended Studies.
Sunday, September 17, 2023, 3:00 p.m.
Gershwin Performing Arts Center | Murrieta Mesa High School
Arvo Pärt (b. 1935)
In spe (In the Hope)
Wolfgang Amadeus Mozart (1756-1790)
Horn Concerto No. 3 in E flat Major, K. 447
I. Allegro
II. Larghetto
III. Allegro
Darby Hinshaw, Horn
Intermission
Jean Sibelius (1865-1957)
Pelleas and Melisande Suite, Op. 46
I. Am Schlosshof (At the castle-gate)
II. Melisande
IIa. Am Meer (At the seashore)
III. Am Wunderborn im Park (A spring in the park)
IV. Die drie blinden Schwestern (The three blind sisters)
V. Pastorale
VI. Melisande am Rocken (Melisande at the spinning wheel)
VII. Zwischenaktmusik (Entre’acte)
VIII. Melisandre’s Tod (The death of Melisande)
Thanks to the Murrieta Valley Unified School District for their support of this concert.
Darby Hinshaw was born into a casually musical family in San Francisco. His mother is a former organist who holds a Master of Music degree from SDSU, and his father is a great enthusiast of traditional Irish music. During his childhood he experimented with the Irish tin-whistle, the piano and the great highland bagpipes, and he frequently attended organ recitals, highland games and Irish sessions with his parents. He began playing the horn at the age of 12 and attended the “School of the Arts” high school in San Francisco. He joined the San Francisco Symphony Youth Orchestra in 1996, where he played principal horn on several critically acclaimed European tours. While still in the youth orchestra, Mr. Hinshaw attended the San Francisco Conservatory of Music where he studied with SF Symphony hornists Bruce Roberts, Jonathan Ring and Robert Ward. He earned his Bachelor of Music degree in 2005 and pursued his professional options instead of attending graduate school.
Darby is the Assistant Principal Horn in the San Diego Symphony Orchestra. Prior to arriving in San Diego, he made a place for himself in the many regional symphony orchestras in Northern California, playing principal horn in the Marin Symphony, Santa Rosa Symphony and Stockton Symphony. Over a period of six years as a freelancer, he would appear with the horn sections of 16 different orchestras, traveling all over the Bay Area and parts of the San Joaquin Valley. He also performed frequently with the San Francisco Symphony and appears on their recent recordings of Mahler’s 2nd and 8th Symphonies on SFS Media, as well as the Mahler episode of the Keeping Score series on PBS.
Dana Zimbric is marking her 14th season as Artistic Director and Conductor of the California Chamber Orchestra.
In addition to her work with us, she is Music Director of the Classics Philharmonic Orchestra, which performs educational programs for San Diego area students, and recently made her conducting debut with the San Diego Symphony.
Dana’s past conducting experience includes positions with the San Diego Youth Symphony, Avante Chamber Orchestra, Orchestra Nova San Diego, and the University of Wisconsin Chamber and Symphony Orchestras.
An accomplished clarinetist, Dana holds a Bachelor of Music in Clarinet Performance and a Master of Music in Orchestral Conducting from the University of Wisconsin. She lives in San Diego with her husband and two young daughters.
Missy Lukin (Concertmaster)
Nicole Sauder
Andrew Kwon
Tiffany Modell
Sarah Schwartz (Principal)
Tommy Dougherty
Randy Brinton
Lynne-Marie Friedrichs
Michael Molnau (Principal)
Linda Piatt
Greg Perrin
Andrew Hayhurst (Principal)
Margaret Tait
Elizabeth Brown
Kevin Gobetz (Principal)
Michael Molnau
Pam Martchev (Principal)
Rodion Bolusov (Principal)
Frank Renk (Principal)
Sheryl Renk
Valentin Martchev (Principal)
David Savage
Darby Hinshaw (Principal)
Tricia Skye
Beverly Reese Dorcy (Principal)
California Chamber Orchestra musicians in this concert are members of The American Federation of Musicians, Local 325
Welcome to the California Chamber Orchestra’s 2023-2024 season. This season we embrace the joy of performing and sharing our art. In today’s concert, “Soundscapes,” we delve into the works of three composers who span different eras, countries, and compositional styles. Despite their diversity, each composition on this program masterfully crafts unique soundscapes that evoke powerful emotions.
Estonian composer Arvo Pärt (b. 1935) premiered “In Spe” in 2010. Based on an earlier choral piece from 1976, Pärt’s composition draws inspiration from Gregorian Chant. His minimalist style, characterized by the avant-garde technique called tintinnabuli, yields melodies of serene simplicity and profound concentration. “In Spe,” lasting 8 minutes, features the principal woodwinds and strings, creating an atmosphere of tranquility and introspection.
W.A. Mozart (1756-1791) crafted Horn Concerto No. 3 in 1787 for the virtuoso horn player Joseph Ignaz Leutgeb, a close friend of the Mozart family. This concerto, comprises three traditional movements (fast-slow-fast), showcaseing Mozart’s musical dialogue between orchestra and soloist. The slow middle movement, where Leutgeb’s lyrical talent would have been highlighted, provides a captivating interlude. The concerto employs two clarinets, two bassoons, and strings, beautifully complementing the horn’s rich tones and culminating in a thrilling, hunting-horn-inspired finale.
Finnish composer Jean Sibelius (1865-1957) unveils his mastery in the Pelleas and Melisande Suite, Op. 46. Commissioned in 1905 for a popular play by Belgian playwright Maurice Maeterlinck, Sibelius’ suite takes us through the play’s various scenes and characters. From the grandeur of the castle gate to Melisande’s haunting melody on the English horn, and the turbulent seashore depicted through musical waves, Sibelius paints a vivid auditory picture. The suite includes a whimsical waltz and pastoral respite, leading to a poignant conclusion with the death of Melisande, masterfully capturing the play’s romantic and emotional essence.
— Dana Zimbric
Judy Call
Prudhomme Associates, CPAs
City of Temecula
Leslie and Joseph Waters
Mark Margolin
Nicola Helm & Stephen Ryder
Craig Carper, LaPointe Wealth Management
Murrieta Rotary
Susan & Ken Dickson
Walt Fidler
Kiyoe MacDonald
Terry Kvitky
Kathryn McCarty
Barry Weiss
Rudy Wokoek
John Welniak
Candace Flint
Karen Hartnett
Susan Humphrey
Sarah Ivar
Martha Minkler
Sana Quijada
Arcangelo Corelli (1653 – 1713)
Sonata in G Major, Op. 2, No. 12
Ciacona
Georg Frideric Handel (1685 – 1759)
Armida abbandonta
Dietro l’orme fugaci
Ah! crudele e pur ten vai
Per te mi struggo
O voi dell’incostante e procelloso
Venti, fermate
Ma che parlo, che dico?
In tanti affanni miei assistimi almen
Domenico Gallo (1730 – c. 1768)
Sonata in G Major
Moderato
Andantino
Presto
INTERMISSION
Barbara Strozzi (1619 – 1677)
Lagrime mie
Domenico Gabrielli (1651 or 1659 – 1690)
Ricercar No. 3 in D Major for solo cello
Alessandro Scarlatti (1660 – 1725)
Correa nel seno amato
Sinfonia – Balletto
Recitativo: Correa nel seno amato
Aria: Ombre opacho
Handel – Armida abbandonata
Scarlatti — Correa nel seno amato
RECITATIVO
Correa nel seno amato ver l’occidente frettoloso il sole, e con fiamme brillanti il suo carro stellato, già rivolgeva al mare il pigro Arturo, e la notte serena l’ombre fugando a fiaccole di stelle mostravasi a mortal tra le più belle.
Rosseggiante nel viso, sorgea tutta ridente dal letto pastoral la bianca Dea, e con raggio lucente nelle porpore sue mostrava Amore quante fiamme ascondea per un pastore. Ed era il tempo appunto che nel grembo dei fiori
Ringiovenisce l’anno per le gioie dei cori, quando il vago Daliso posando il fianco afflitto ai piè d’un sasso dal di cui mezzo inciso mormorando scorrea fontana algente, sfogava i suoi martiri in lagrime e sospiri, solo fra muti orrori mentre a tutti s’asconde pianti e sospiri, pianti e sospiri, confondea con l’onde. E l’umidette guancie di perle lagrimose che dal cor distillava il suo dolore tergea tutto pietà, tergea tutto pietà spietato Amore. Stanche alfin le sue membra Dal lungo raggirarsi in seno all’erbe, matire sol d’amore, fissando i lumi al cielo, Così con l’aure e’l vento Sfogava singhiozzando Il suo tormento.
The sun hastily ran towards the West to the beloved bosom, and lazily, Arturo* had already set to the ocean his starry chariot with bright flames, and the quiet night, chasing away the shadows with torches made of stars, showed itself to be amongst the most beautiful ever seen.
Aflame in her countenance, the pale Goddess rose all smiles from the pastoral bed, and with a shining beam, Love showed how many flames she hid for a shepherd in her purple robes.
And indeed it was the time in which the year becomes young again in the bosom of flowers, for the joy of all hearts, when the handsome Daliso, in sorrow, leaning on his side at the foot of a rock, whence, from its cleft midst a cold spring flowed murmuring, vented his suffering with tears and sighs. Alone, amidst silent ravines, while hiding from everyone, he mixed his tears and sighs with the waves. Cruel Love, filled with mercy, wiped from his wet cheeks the tears that his pain distilled from the heart. At last, his limbs tired from his long meandering among the grass, his torment coming from love alone, fixing his eyes to the heavens, sighing, he vented his torment to the sky and the wind.
ARIA
Ombre opache che il chiarore Della luce m’ascondete Se pur sete del dolore Fide amiche, fide amiche, Or che il desio, deh, piangete Al pianto mio.
Dull shadows, ye who hide the brightness of light from me, if you are faithful friends of suffering, now that I desire so, alas! cry along with my crying.
San Diego Baroque is a collaborative ensemble made up of some of the area’s finest early music specialists. Each artist is an accomplished soloist in their own right and has performed extensively in San Diego and worldwide, with groups such as the Academy of Ancient Music, Mainly Mozart, Bach Collegium San Diego, The Knights and the Hausmann Quartet. The ensemble was created because of the members’ enthusiasm and expertise in Baroque music, and the group has collaborated with local choirs, actors, and presented concerts and visited schools throughout San Diego County. They present Bach’s Lunch, a monthly midday concert series at St. James by-the-Sea in La Jolla, and welcome further collaborations and musical explorations in the future.
Visit sdbaroque.com for more information. Their core membership consists of violinists Pierre Joubert and Isaac Allen, violist Andrew Waid, cellist Alex Greenbaum and harpsichordist/organist Alison Luedecke.
Praised by the Boston Musical Intelligencer for her “clear soprano” and “tasteful dramatic interpretation”, MaryRuth Miller has appeared throughout North America as a concert soloist and choral artist. Recent and upcoming performance highlights include solo features with Boston’s Handel and Haydn Society, Bach Akademie Charlotte, Upper Valley Baroque, Pegasus Early Music, San Diego Baroque, the Charlotte Master Chorale, the Baldwin Wallace Bach Festival, and the Oregon Bach Festival.
An equally passionate choral singer, MaryRuth sings regularly with the Handel and Haydn Society Chorus, New York City’s Clarion Choir, and the Oregon Bach Festival Chorus, and made her debut with the Santa Fe Desert Chorale in 2022. She is an alumnus of the VOCES8 US Scholars Program and continues to collaborate with VOCES8 Foundation projects across the United States. In 2022, she could be seen singing backup for Ellie Goulding on the internationally televised Earthshot Prize award ceremony.
Originally from West Columbia, South Carolina, MaryRuth holds a Bachelor of Music Education degree from Winthrop University and a Master of Historical Performance degree from Boston University. She lives in San Diego, California.
Wolfgang Amadeus Mozart
Violin Sonata No.33 in E-flat Major, KV. 481
Rondo from Serenade for Orchestra in D Major, K 250 (“Haffner”) (arr. Fritz Kreisler)
Manuel Ponce
Estrellita (arr. Jascha Heifetz)
Ennio Morricone
Love Theme from Cinema Paradiso
Ernest Chausson
Poème
Eric Dickerson
Sylvius Leopold Weiss (1687 – 1750)
Sonata in F (SW1)
INTERMISSION
Sylvius Leopold Weiss
Sonata in D Minor (SW11)
Volunteer as an usher at the Old Town Temecula Community Theater
Trio #3, Op 61 for Flute, Clarinet, and Bassoon by Francois Devienne (1759-1803)
Allegro espressivo
Presto non troppo
Sonata for Clarinet and Bassoon by Francis Poulenc (1899-1963)
Allegro
Romance
Final
The Fog is Lifting for Flute and Harp by Carl Nielsen (1865-1931)
Pastorales de Noel for Flute Bassoon and Harp by Andre Jolivet (1905-1974)
L’Etoile
Les Mages
La Vierge et L’Enfant
Entree et Danse des Bergers
Intermission
Variations on a Theme by Mozart for Harp by Mikhail Glinka (1804-1857)
Premiere Valse Op. 83 for Harp by August Durand (1830-1909)
Duos for Flute and Clarinet by Robert Muczynski (1929-2010)
Andante sostenuto
Allegro risoluto
Moderato
Allegro ma non troppo
Andante molto
Allegro
London Trio #1 for Flute, Clarinet, and Bassoon by Franz Joseph Haydn (1732-1809)
Allegro moderato
Andante
Finale-Vivace
Volunteer as an usher at the Old Town Temecula Community Theater
Ludwig van Beethoven (1770 – 1827)
Duo in B Flat for Clarinet and Bassoon, WoO 27 (c. 1800)
Hector Villa-Lobos (1887 – 1959)
Bachianas Brasileiras No. 6, W392 (c. 1938)
Eugene Bozza (1905 – 1991)
Sonatine (c.1938)
Intermission
Jonathan Ortega (b. 1986)
Duet for Old Friends (c. 2022)
George Frederick Handel (1685 – 1759)
Sonata in F Major, HWV 369 (arr. for flute and bassoon) (c.1722)
Francois Couperin (1668-1733)
Le rossignol en amour (from Pieces de Clavecin III) (c.1722)
Jean Francaix (1912-1997)
Sept Impromptus (c.1977)
1. Allegretto con spirito
2. Grave
4. Grazioso
7. Vivo
Volunteer as an usher at the Old Town Temecula Community Theater
