2 SCU•Presents Performing Arts Center is about Arts Connecting Community with live events at Santa Clara University. From academic performances, to film showings, and visual arts exhibitions, our Arts for Social Justice program, and Visiting Artist Series, SCU•Presents invites you to experience the diverse and unique offerings of our 2023-2024 Season! Gather with our vibrant community this season to connect with the arts! Our mission is to Engage, Educate, and Entertain you. Sit back, relax, and enjoy a unique experience that only live performances can provide. SCU•PRESENTS PERFORMING ARTS CENTER Butch Coyne Director, SCU•Presents Performing Arts Center Land Acknowledgement | We pause to acknowledge that Santa Clara University sits on the land of the Ohlone and Muwekma Ohlone people. We pay respect to their Elders and to people of the past and present and extend that respect to their descendants and all Indigenous people. Late Seating | Late patrons cannot be seated until intermission or a designated break in the performance. Patrons returning late from intermission will be seated at the discretion of the House Manager. Emergencies | In the event of a medical emergency, please locate the nearest usher and inform them of the situation to summon medical help. In the event of an evacuation, please gather in front of the theatre so we may ensure that all patrons have been cleared from the building, as well as provide any additional information. Additional Needs | In compliance with the ADA/504 please direct your accommodation requests to the SCU•Presents Box Office at (408) 554-4015 or call TTY-California Relay at 1 (800) 735-2929 at least 72 hours prior to the event. FOR YOUR INFORMATION
3 THE DEPARTMENT OF MUSIC ORCHESTRA & WIND ENSEMBLE Dr. Anthony Rivera, Conductor Folk Song Suite (1923) Ralph Vaughan Williams (1872 - 1958) I. March - Seventeen Come Sunday, Pretty Caroline Dives and Lazarus II. Intermezzo - My Bonny Boy and Green Bushes III. March - Folk Songs from Somerset Blow Away the Morning Dew High Germany The Trees They Do Grow High John Barleycorn Requiem (2013) David Maslanka (1943 - 2017) Vesuvius (1999) Frank Ticheli (b. 1958) Intermission Concerto Grosso (1739) George Friedrich Handel (1685 - 1759) HWV 319 Op. 6, No. 1 in G major I. A tempo giusto II. Allegro e forte III. Adagio IV. Allegro V. Allegro Entr’acte (2014) Caroline Shaw (b. 1982) { a minuet & trio } Symphony No. 9 in E minor From The New World (1893) Antonin Dvorák (1841 - 1904) II. Largo IV. Allegro con fuoco PROGRAM
4 SANTA CLARA UNIVERSITY MUSICIANS FLUTE /PICCOLO Holly Chen Sabrina Chu Manya Goutam Isabella Grimes Lydia Myla OBOE Robert Scott Allison Gessner CLARINET Sergio Camacho Yutong Jin Alex Luna Michael Nguyen Edward Park Grace Pope Chris Shobe Bill Zhang Odin Zhang BASS CLARINET Colin Leung Amanda Nguyen BASSOON Sean Martin Sam Troxell SOPRANO/ALTO SAXOPHONE Max Bell Jason Chen Hoang-Ha LuuPham TENOR SAX Evan Chung BARITONE SAXOPHONE Alexis Alvarez Figueroa FRENCH HORN Hayden Carroll Jason Corn Jimmy Nian Wenceslao Sotelo TRUMPET Rowan Lawler Kenneth Pan Charles Prieto Camryn Santory Jared Shimada TROMBONE Jackson Baker Katie Watts BASS TROMBONE Mike Hartglass, faculty EUPHONIUM Daisy Halaszyn TUBA Liam Roy Andrew Shimshock PERCUSSION Fiona Hsiao Felix Kuang Sofia Lima Rio Sakya Alex Skinner Troy Wei
5 SANTA CLARA UNIVERSITY MUSICIANS VIOLIN Edmund Allen Gabby Arceo Alisa Cheng Basma Edrees, faculty Evan Fine Erica Julian Lex Liang Jacob Lin Anika McCarten Jayden Moore Joaquin Orozco Rebecca Picht, faculty Charlotte Shum VIOLA Abby Grimm Joseph Khamisy Alexandra Leem, faculty Jessica Pu Peter Sandberg Chloe Wong Sylvia Zerba CELLO Gia Borbonus Jason Deng Justin Kim John Paul Kraus William Payne Katie Youn, faculty BASS Derrick Dewree Marilyn Yuan UPCOMING MUSIC DEPARTMENT CONCERTS: Jazz Band & Combos Festival November 15 - 16, 7:00 p.m. Music Recital Hall Festival of Lights December 1 - 2, 7:30 p.m. Mission Santa Clara Ráyo Furuta’s “Para Linda” January 11, 7:30 p.m. Music Recital Hall RESERVE YOUR SEAT TO THE CONCERT AT SCUPRESENTS.ORG MARK YOUR CALENDARS!
6 PROGRAM NOTES The first movement of Folk Song Suite is set as an English march made up of three folk songs, I’m Seventeen Come Sunday, Pretty Caroline, and Dives and Lazarus. The first two folk songs deal with similar subject matter of military men falling in love with, and marrying, beautiful women. The styles of the two songs offset each other, the first is bouncy and jovial, the second legato and cantabile. The third folk song included in movement one is Dives and Lazarus. Lazarus repeatedly begs Dives, a rich man, for food but is denied. To portray the antagonism of the event, Vaughan Williams has set a firm duple meter melody in the low brass against a rigorous triple meter accompaniment in upper winds. Both folk songs used in the Intermezzo deal with love betrayed, and Vaughan Williams’s keen sense of orchestration is on full display throughout this movement. My Bonny Boy begins the movement in a lonely F dorian with sparse accompaniment. The mood shifts slightly to the folk song Green Bushes set as a somewhat playful scherzando. The pace of this folk song belies the fact that the tonal center has remained F dorian, and thus never really feels happy or jovial. The third movement, Folk Songs From Somerset, uses four different folk songs dealing loosely with unattainable love. Blow Away the Morning Dew, describes a country boy attempting to seduce a girl who quickly outwits him. The second folk song, High Germany, is about a young English woman’s lover and her three brothers being called off to war in Germany. Thirdly, Vaughan Williams modified a version of “The Trees They Do Grow High” which deals with a young woman who has been wed by her father to a much younger boy. The final folk song is John Barleycorn which is an allegory representing the harvesting of barley, and the imbibing of its final form (beer and whisky). - Program Note by Shawna Meggan Holtz A requiem is a mass for the dead. This relatively brief instrumental piece with the title Requiem (2013) is not a mass but serves a parallel function, the need to lay to rest old things in order to turn the mind and heart toward the new. I have an abiding interest in why humans go to war. I have recently read much about World War II, and was confronted once again with the awful fact of 50 million needless deaths. Dmitri Shostakovich thought of every one of his compositions as a tombstone, and wished that he could have
7 PROGRAM NOTES written a separate memorial piece for every person who died in war. I do believe that we are in a major transitional time, and that this transition happens first in each of us. My Requiem is both for the unnamed dead of all wars, and for each person making their own inner step, saying goodbye in order to say hello. Requiem was commissioned by a consortium of bands led by the Brooklyn Wind Symphony, Jeffrey Ball, artistic director, and was premiered in New York City on June 15, 2013. - Program Note by composer Mt. Vesuvius, the volcano that destroyed Pompeii in A.D. 79, is an icon of power and energy in this work. Originally I had in mind a wild and passionate dance such as might have been performed at an ancient Roman bacchanalia. During the compositional process, I began to envision something more explosive and fiery. With its driving rhythms, exotic modes, and quotations from the Dies Irae from the medieval Requiem Mass, it became evident that the bacchanalia I was writing could represent a dance from the final days of the doomed city of Pompeii. - Program Note by composer In the fall of 1739, immediately after finishing his Ode for St. Cecilia’s Day, Handel began composing twelve concerti grossi, completing the entire set within the astonishing space of one month. The dates of completion written at the ends of the concertos range from September 29 to October 30, an average of one concerto every 2-1/2 to 3 days. His publisher John Walsh had invited him to compose a set of concertos along the lines of those of Corelli and Geminiani, which were popular in England. A new collection by Handel could be expected to sell very well. But Handel no doubt also had another purpose in mind for his new concertos. As he was beginning to turn toward writing English oratorios, it would be a great attraction to an audience to be able to hear new instrumental compositions during the intermissions -- concerti grossi, as well as organ concertos in which he himself could be the soloist. Indeed, we know that some of the concertos in his Opus 6 collection were eventually advertised as part of oratorio performances (“two new
8 PROGRAM NOTES Concerto’s for several Instruments, never perform’d before”), and, for those occasions, Handel even added oboe parts to some of them to augment the orchestra (nos. 1, 2, 5, and 6). Much in these concertos reflects the Corellian model that Walsh had hoped for: a trio of two solo violins plus a solo cello that contrasted with the larger string ensemble, as well as some of the same dance movements and types of counterpoint that we hear in Corelli. But Handel’s forms are often on a grander scale and more varied than his model. Just before the final notes were written in the last concerto, an advertisement appeared calling for subscribers to the publication of “Twelve Grand Concerto’s . . . Compos’d by Mr. Handel.” A distinguished list of subscribers, including some members of the royal family, lent their support to the project, and Walsh published the set in April of 1740. It was not until the second printing the following year, however, that the collection was designated as Handel’s Opus 6. While Handel often worked earlier music of his own and that of other composers into his compositions, his borrowings in these concertos are especially interesting, because they give such a fascinating picture of the music that currently engaged him. Two collections of harpsichord music by other composers figure prominently: Gottlieb Muffat’s Componimenti musicali, published not long before Handel began work on these concertos, and Scarlatti’s famous set of sonatas known as Essercizi, published in England only the year before. Suggestions and outright quotations from both collections turn up repeatedly in Handel’s Opus 6 (although Scarlatti’s influence is felt mainly in the earlier concertos of this set). There is also a good deal of Handel’s own earlier music that is reused or reworked in these concertos, but two then current works in particular are echoed: his Ode for St. Cecilia’s Day, completed only days before he began work on the first of his Opus 6 concertos (the Ode itself quoting from Muffat’s Componimenti), and his next to last opera Imeneo, which was not yet completed at the time. Concerto No. 1 in G Major (completed September 29, 1739) The first concerto of Opus 6 is one of the brightest and outgoing of the set. The stately music of the first movement, drawn in part from an earlier version of Handel’s overture to Imeneo, leads through an unresolved
9 PROGRAM NOTES cadence directly into the following Allegro. This pair of movements is followed by the similarly paired third and fourth movements, to which Handel adds an extra Allegro movement at the end. That final dance-like Allegro draws a good deal of its inspiration from Scarlatti’s Sonata in G Major, K. 2, with some of Muffat’s music playing a role, as well. Handel ingeniously reorders various motives of the Scarlatti sonata, preserving its binary form but producing in the process an essentially new work. - Program Note by Martin Pearlman Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition. - Program Note by composer The famous Largo second movement relates to Hiawatha, although there is some debate about exactly which part of the story; a lamenting section in the middle seems to allude to the funeral of Minnehaha. The well-known English horn solo that opens the movement is not an actual spiritual, although through Dvořák’s invention it has in some ways become one—a student of his, William Arms Fisher, provided words for it in the 1920s as “Goin’ Home.” The finale (Allegro con fuoco) provides a grand conclusion in its propulsive energy and review of themes from the previous movements.
10 DEPARTMENT OF MUSIC FACULTY & STAFF DEPARTMENT OF MUSIC DONORS DEPARTMENT CHAIR Scot Hanna-Weir MUSIC THEORY Jason Gallardo Teresa McCollough Anthony Rivera Bruno Ruviaro MUSICIANSHIP William Stevens COMPOSITION Bruno Ruviaro Jeff Hanson ELECTRONIC MUSIC Jeff Hason Bruno Ruviaro Kaori Suzuki MUSIC HISTORY/ ETHNOMUSICOLOGY Ray Furuta Scot Hanna-Weir Anthony Rivera Carl Schultz Nancy Wait-Kromm Christina Zanfagna PERFORMING ENSEMBLES CHAMBER SINGERS: Scot Hanna-Weir CONCERT CHOIR: Jason Gallardo JAZZ ENSEMBLE AND JAZZ COMBOS: Carl Schultz NEW MUSIC ENSEMBLE: Teresa McCollough ORCHESTRA: Anthony Rivera SCLORK (LAPTOP ORCHESTRA) Bruno Ruviaro WIND ENSEMBLE: Anthony Rivera WORLD MUSIC ENSEMBLE: Ráyo Furuta CONDUCTING Scot Hanna-Weir Anthony Rivera WOODWINDS Ray Furuta, Flute Adrienne Malley, Oboe Ginger Kroft, Clarinet Shawn Jones, Bassoon Anthony Rivera, Saxophone BRASS Richard Roper, Trumpet Amr Selim, French Horn Spencer Sussman, Euphonium, Trombone, Tuba PERCUSSION Jimmy Biala Frank Wyant PIANO Seba Ali Teresa McCollough Elizabeth Neff VOCAL STUDIES Leroy Kromm, BassBaritone Scot Hanna-Weir, Baritone Debra Lambert, MezzoSoprano Aimée Puentes, Soprano Michele Rivard, MezzoSoprano Nancy Wait-Kromm, Soprano STRINGS Basma Edrees, Violin Rebecca Jackson-Picht, Violin Aleksey Klyushnik, Contrabass Alexandra Leem, Viola ShenShen Zhang, Chinese Pipa Karen Thielen, Harp Katie Youn, Cello JAZZ STUDIES Kristin Strom, Saxophone Carl Schultz, Improvisation Richard Roper, Trumpet Jon Dryden, Piano William Stevens, Piano Jim Witzel, Guitar Daniel Robbins, Jazz Bass COLLABORATIVE PIANISTS Dan Cromeenes Tamami Honma Elizabeth Neff Sunha Yoon DEPARTMENT MANAGER Katie Williams DIRECTOR OF MUSICAL PERFORMANCE Debra Lambert BENEFACTOR Katherine Cramer DONOR Valerie Bright FRIEND Kristin Anderson Brent Izutsu Janet Murphy Stephen Lotz
11 SCU•PRESENTS PERFORMING ARTS CENTER STAFF Butch Coyne Director Tina Sciolla Business Manager Carolyn Guggemos Production Manager Danielle Foster Marketing and Communications Assistant Armida Robles Patron Services Manager SCU•PRESENTS PERFORMING ARTS CENTER DONORS PRESIDENT’S CIRCLE Melanie Brace J. Gerald & Mona Clements SPONSOR Charles Barkis Mona-Lisa Blouin Puja Bohacek Debra Demartini Chris Esteban Claire Hawley Theresa Ruby-Percell John Lewis Pamela Allston Madden Craig Nairn Lawrence Nelson Laurie Poe Hudson Washburn Lizabeth Yee Barbara Murray DONOR Andre Abrahamians Jayne Booker Phyllis Brown Patricia Cain Barbara Colyar Leana Dalton Ann Digioia Krys Frank Farris Judy Foot Tuyet Giles Esther Goes Claire Hawley Julie Henriques Keith Inouye Lauren John Janet Kleinhofer Ann Krys Bette Linderman Maria Longsworth Ian Mccamey Tully Moxness Susanne Mulcahy Darryl Noda Charles Noya Jeff And Penny Osorio Katie Peuvrelle Henry & Catherine Ricardo Anna Rutter Anthony Sampson Dianne Stauffer Nick Steiner Leslie Stobbe Jill Stolarik Barbara Wadors FRIEND Chase Abrams Beverly Acuna Molly Aufdermauer Robert Baines Judy Boccignone Alina Borchardt Lisa Bowden Christella Burton Greg Callaghan Patricia Cargnoni Karen Carter Loyace Clegg Jennifer Couture Patricia Curia Sharon Dahnert Sandra De Alcuaz Henry Dearborn Michael Digioia Jack Dubin Eric Eklund Lottie Esteban Seiko Fujii Ellyn Gaich Gregory Galati Bonnie George Catherine Giberson Susan Griffin Djuwita Harjadi Claire Hawley Diane Heerwagen Judy Hodkiewicz Viki Inouye Patricia Irwin Wendy Jolles Tracey Kahan Wayne Kamiya Joey Kipp Dave Land Laura Lenza Bruce Lescher Bette Linderman Maureen Locke Ted Lorraine Hannah Luscher James Mar Kathy Mattingly Mike Metcalf Carl Miya Joanne Miyahara Lan Nguyen Ronald Ogi Lorette Pirio Marianne Poblenz Jenn Poret Katherine Sampson William Santos Pam Saunders Cindie Simms Tobie Smith Anne Marie Starr Julia Sullivan Weston Tierney Richard Upton Betty Verhoeven Tamara Welsh Kimber Wood Jane Wu Erica Yee Barbara Zinicola ARTS FOR SOCIAL JUSTICE DONORS PRESIDENT’S CIRCLE Esther Rechenmacher BENEFACTOR Katherine Mattingly Melinda & Stephen Scherr SPONSOR Kristen Brown Derrick & Tricia Carpenter Andrew Chai William & Kris Coyne Rebecca Cushman Ken & Judy Foot Barbara Murray Dante Nomellini, Jr Hyman Yip Manju Kumar DONOR Andre Abrahamians Katherine Almazol Dawn Burton Patricia Cain Lucy Hsu Erica Mikesh Alicia Ortiz Patti Simone Patricia Tennant Richard Upton Juley Yakominich Jason Yee FRIEND Nicole Banks Julie Garcia Anupam Goyal Barbara Green-Ajufo Freya Helton Sandra Howard Donna Johns Ashley Lucas Roslyn Lyons Ruth Mikusko Mary Miller Barbara Murray Lan Nguyen Marianne Poblenz Jenn Poret Lisa Reyes Tara Steele Norma Welles J Wentworth Jillian Yakominich