Windsong Consort Woodwind Quintet
Cindy Anne Broz (Flute)
Mark Margolies (Clarinet)
Katherine Ortega (Bassoon)
Cindy Smit (Oboe)
Eduardo Contreras (Horn)
Today’s Program
Trois pieces breves – Jacques Ibert (1890 – 1962)
1. Allegro
2. Andante
3. Allegro scherzando
Pastorale – Amy Beach (1867 – 1944)
Three Shanties – Malcolm Arnold (1921-2006)
1. Allegro con brio
2. Allegretto semplice
3. Allegro vivace
Suite – Charles LeFebvre (1843-1917)
1. Canon
2. Allegretto scherzando
3. Finale
Umoja: The First Day of Kwanzaa – Valerie Coleman (b. 1970)
INTERMISSION
Cape May Breezes – Daniel Dorff (b.1956)
1. Breezing Into Town (Exit 0)
2. Autumn Monarch Migration (Fluttering Clouds of Orange)
3. Victorian Garden Party
4. Dusk at Sunset Beach
5. Night Breezes on the Boardwalk
Sous le dome epais from Lakme – Leo Delibes (1836-1891), arr. Valerie Coleman
Carmen Suite – Georges Bizet (1838-1875)
2. Habanera
4. Les Dragons d’Alcala
Jeeyoon Kim
Award-winning classical pianist Jeeyoon Kim has delighted audiences across the U.S. and around the world with her sparkling combination of sensitive artistry, broad emotional range, impeccable technique, and uniquely engaging and innovative concert experiences.
From the start of her career, beginning with her celebrated 2016 debut album, 10 More Minutes, Jeeyoon has thrilled classical music fans with her artful performances and connected with attendees who are decidedly younger than average by engaging in a conversation with her audience from onstage. Her second album and concert project, Over. Above. Beyond., further stretched the mold for classical piano performances by collaborating with New York-based artist Moonsub Shin to deliver a multi-media experience that was also captured in an award-winning music video.
Jeeyoon began studying the piano when she was just four years old, and her love of music and the piano propelled her through her undergraduate studies in piano performance in her native Korea. After moving to the U.S., she graduated with distinction with a Master’s Degree and a Doctorate Degree in Piano Performance with a full scholarship from Indiana University’s renowned Jacob School of Music.
In pursuit of an even deeper understanding of music and refining her ability to share it with others, she earned another Master’s Degree in music education, Piano Pedagogy, with a full scholarship from Butler University, where she also simultaneously served as a faculty member. A testament to Jeeyoon’s abilities as an educator: she was recognized with the ‘Top Music Teacher Award’ from Steinway and Sons for 3 years in a row from 2016 to 2018.
Today, between performances at venues like Carnegie Hall, the Chamber Music Society in San Francisco, and the Stradivari Society in Chicago, Jeeyoon remains focused on finding new ways to connect with audiences and bring a fresh perspective to the magic of classical piano music. She recently launched a fast-growing new podcast dedicated to helping people of all musical tastes and backgrounds discover the beauty of classical music. Journey through Classical Piano delivers 15-minute episodes that feature concert-like musical experiences and in-depth exploration of classical compositions, hosted by Jeeyoon.
Visit Jeeyoon’s website
Today’s Program
Nicolay Medtner (1880 – 1951): Forgotten Melodies, Op.38, No. 8
Domenico Scarlatti (1685 – 1757): Sonata in E major, K.380
. Sonata in D minor, K.1 (L. 366)
G. F. Handel (1685 – 1759): Chaconne in G major, HWV 435
Sergei Rachmaninoff (1873 – 1943): Vocalise
. Etude in E-flat minor, Op. 39, No. 5
Claude Debussy (1862 – 1915): Reflets dans l’eau (Reflections in the water)
Debussy: Doctor Gradus ad Parnassum (Steps to Parnassus)
Nikolai Kapustin (1937 – 2020): Concert Etude, Op. 40, No. 6, “Pastoral”
INTERMISSION
Frédéric Chopin (1810 – 1849): Andante spianato et grande polonaise brillante in E-flat major, Op. 22
Ardor Trio
Comprised of violinist Linda Piatt, cellist Amanda Devlin, and violist Robie Evans, Ardor Trio is a San Diego based string trio. They strive to invoke an emotional intensity in all of their performances..
Today’s Program
The Goldberg Variations, BWV 988 – Johann Sebastian Bach (1685 – 1750) (arr. Lorento Golofeev)
The Goldberg Variations consists of an Aria — or theme — followed by 30 variations, and then a restatement of the Aria. There will be an intermission after Variation 15.
Wikipedia offers a description of the movements.
Christa Stevens, soprano
Marco Antonio Lozano, tenor
Justin Gray, piano
Christa Stevens is a lyric soprano from Redlands, California and is active in both the operatic and choral communities throughout Southern California. She received her Bachelor of Art Degrees in Music and English Literature from The University of Redlands, where she was a featured soloist in the annual Feast of Lights for four consecutive years, and a Master of Music Degree in Voice Performance from California State University, Northridge.
Marco Antonio Lozano, tenor, has performed extensively in both the United States and abroad. Mr. Lozano obtained a Master of Music Degree in Voice Performance at the University of Southern California and a Bachelor of Music degree in composition from California State University Northridge.
Justin Gray is a San Diego-based musician with 40 years of professional playing experience. He teaches, publishes method books, and provides music direction and music publishing services.
Today’s Program
Ange, adorable
Roméo et Juliette
C. Gounod (1818 – 1893)
Je dis que rien ne m‘épouvante
La fleur que tu m‘avais jetée
Carmen
G. Bizet (1838 – 1875)
Nebbie
Nevicata
Notte
Pioggia
O. Respighi (1879 – 1936)
Meine Lippen, sie küssen so heiß
Giuditta
Vilja Lied
Die lustige Witwe
F. Lehár (1870 – 1948)
Cäcilie
R. Strauss (1864 – 1949)
Una furtiva lagrima
L‘elisir d‘amore
Tornami a dir che m‘ami
Don Pasquale
G. Donizetti (1797 – 1848)
Come scoglio
Fra gli amplessi in pochi istanti
Così fan tutte
W. A. Mozart (1756 – 1791)
INTERMISSION
Old Devil Moon
Finian’s Rainbow
Lonely House
What Good Would the Moon Be?
Street Scene
L. Bernstein (1918 – 1990)
Love Never Dies
Love Never Dies
A. Lloyd Webber (b. 1948)
O mio babbino caro
Gianni Schicci
Nessun Dorma
Turandot
O soave fanciulla
La Bohème
Aviara Trio
Comprised of violinist Robert Schumitzky, cellist Erin Breene, and pianist Ines Irawati, this exciting ensemble has made an indelible impression on the musical landscape of Southern California for the past decade.
Visit the Aviara Trio’s website
Today’s Program
Piano Trio in D Major No. 1, Op. 70 “Ghost” – Ludwig van Beethoven (1770 – 1827)
Allegro vivace e con brio
Largo assai ed espressivo
Presto
INTERMISSION
Piano Trio No. 2 in C Major, Op. 87 – Johannes Brahms (1833 – 1897)
I. Allegro Moderato
II. Andante con moto
III. Scherzo: Presto – Poco meno presto – Presto
IV. Finale: Allegro giocoso
Piano Trio No. 1 in B Flat Major, Op. 99 – Franz Schubert (1797 – 1808)
II. Andante un poco mosso
Hausmann Quartet
The Hausmann Quartet has established itself as an integral part of the cultural life of Southern California since its arrival in San Diego in 2010. As faculty Artists-in-Residence at San Diego State University they teach and organize the chamber music program, engage in interdisciplinary collaborations with other departments and visit local schools for concerts and clinics on behalf of the School of Music and Dance.
Founded in the summer of 2004 at Lyricafest, they have recently been hailed as “Excellent” by U-T San Diego which cited “Their outstanding virtue is a rare one: the ability to disappear into and behind whatever they are playing, leaving only the music in view.” They maintain an active performance schedule throughout North America and Asia. The members of the Hausmann Quartet are violinists Isaac Allen and Bram Goldstein, violist Angela Choong and cellist Alex Greenbaum.
Visit the Hausmann Quartet’s website
Today’s Program
Valencia — Caroline Shaw (b. 1982)
Música de feria — Silvestre Revueltas (1899 – 1940)
My Desert, My Rose — Aleksandra Vrebalov (b. 1970)
String Quartet, Op. 54, No. 3 — Joseph Haydn (1732 – 1809)
Allegro
Largo
Menuetto: Allegretto
Finale: Presto
Strum — Jessie Montgomery (b. 1981)
This afternoon’s concert is dedicated to the memories of three CCO family members we lost in the past year:
Christine Beatty, Stage Manager
Luanne Ferrer, Founder and Board Member
Al Vollbrecht, Founder and Board Member
Partners in Performance Recital
Violinist Midori will perform a recital for the California Chamber Orchestra during the 2017-18 concert season.
October 27, 2016 — The California Chamber Orchestra is proud to announce that we have been selected as the recipient of a Partners in Performance (PiP) recital for the 2017-18 season. PiP was founded by the world renowned violinist Midori in 2003 to stimulate local interest in chamber music in smaller communities that lack the financial resources of major urban centers.
As a recipient of a PiP recital, the California Chamber Orchestra will host a performance by an internationally known artist at a local venue as part of our 2017-2018 concert season. Past PiP recitals have featured Midori or pianist Jonathan Biss. In addition PiP will also sponsor a local performance by a musician from its Young Artist program during the 2018-2019 concert season.
We sometimes hear patrons say they are uncomfortable about the “rules” of when to applaud (or not) at a concert. The perception that there are rules for attending a concert makes people think classical music is stuffy and pretentious. We don’t want you to see our concerts that way.
The fact is, the “rules” have evolved over time, and they’re really not rules at all. For example Mozart and Brahms expected their audiences to applaud and express their emotions during concerts, and they were concerned when the audience stayed silent. Here’s an excerpt from a letter Mozart wrote to his father after a concert in 1778:
Right in the middle of the First Allegro came a Passage I knew would please, and the entire audience was sent into raptures — there was a big applaudißement; — and as I knew, when I wrote the passage, what good effect it would make, I brought it once more at the end of the movement — and sure enough there they were: the shouts of Da capo. The Andante was well received as well, but the final Allegro pleased especially — because I had heard that here the final Allegros begin like the first Allegros, namely with all instruments playing and mostly unisono; therefore, I began the movement with just 2 violins playing softly for 8 bars — then suddenly comes a forte — but the audience had, because of the quiet beginning, shushed each other, as I expected they would, and then came the forte — well, hearing it and clapping was one and the same. I was so delighted, I went right after the Sinfonie to the Palais Royale — bought myself an ice cream, prayed a rosary as I had pledged — and went home.
So, by all means, if the spirit moves you during one of our performances, let us know you’re enjoying the music! Like Mozart, we’ll be delighted.
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