Major Concert Sponsors - The Orchestra of Southern Utah

Special Thanks
Utah Shakespeare Festival
Guild of Utah Shakespeare Festival
Marlo Ihler
Tina Rheault
Guest Artists and their families
Hal and Joan Campbell
Ellen Treanor
Rollan Fell, graphic design
The Print Shoppe
Friends of Music Guild
OSU musicians, supporters, and leadership
Major Concert Sponsors:
Utah Division of Arts and Museums
Sterling and Shelli Gardner Foundation
Additional Concert Sponsors:
Supporting Recreation, Arts and Parks in Cedar City
Media Sponsors:
The Program
Gerald Rheault, Conductor
“If music be the food of love, play on.”
Twelfth Night by William Shakespeare
Introduction by Scott Phillips - 50th Anniversary Celebration
of the Utah Shakespeare Festival
Readings by:
Fred Adams, Britannia Howe, David Ivers, and Joshua Stavros
Overture to Midsummer Night’s Dream.........................Felix Mendelssohn
Romeo and Juliet Fantasy - Overture.................... Pyotr Ilyich Tchaikovsky
INTERMISSION
Chaconne in G Minor......................................... Tomaso Antonio Vitali
Respighi-Lewis
Scott Lewis, viola
Tzigane......................................................... Joseph-Maurice Ravel
Melissa Thorley-Lewis, violin
Lobby Music
Bingham High School Orchestra Students
OSU Mission Statement
The Orchestra of Southern Utah exists to imbue our community with
a responsiveness to the musical arts through our live performances.
Gerald Rheault
Conductor
As a professional musician for more than
twenty years, his career started at age 15
when he was hired to play trombone for a
local church for their Christmas Eve service.
Shortly after that, he gained an appreciation
for the piano and began to teach himself
how to read and play piano music. After
playing the piano for only seven short
months, he entered a community talent
showcase and competition where he won
first prize for his rendition of a solo piano
work. Being noticed by the choir director of his school, he was asked to
accompany the concert choir for the coming year. Included in this year
of accompanying was a chance to perform with the choir at Walt Disney
World where he performed on a live broadcast of their Christmas television
program. He was shortly thereafter noticed by the proprietor of a then
little-known local opera company where he was asked to be the resident
rehearsal pianist and associate conductor. He stayed with this company for
four years before moving to California.
In California, he acquired the position of Liturgy Coordinator for the
local Catholic Church. Soon his reputation took him to other religious
venues such as synagogues, and other Christian and non-Christian
denominations as music director and musician. After a short time, he
became the most sought-after music director and conductor of most local
theatre companies and schools, as well as the local community orchestra.
He has traveled to many parts of the country to utilize his strengths as a
conductor and musician, including Florida, Ohio, Los Angeles, Long Beach,
San Francisco and Monterey, California and South Lake Tahoe, Nevada.
After many years of free-lance and professional music directing and
conducting work, he was hired by the Utah Shakespeare Festival as a
keyboardist. He was soon asked to be a Music Director and Conductor for
their annual productions and is currently a regularly returning musical
presence for them. Currently, he is also Choir Director for the Community
Presbyterian Church Chancel Choir.
Most recently, he has studied in Southern Utah University’s music
program as a piano performance major with Dr. Kirill Gliadkovsky. He has
been seen locally in many SUU productions both on stage… and under/
behind it… as a pianist/keyboardist and conductor. His most recent
endeavors have been: The Wizard of Oz, The Magic Flute and Opera
Scenes, Gianni Schicchi, You’re A Good Man, Charlie Brown, Company, and
The Mikado for the Musical Theatre and Opera programs. While working
towards his graduation in May, 2011, he performed his Senior Recital on
piano. He continues to serve as pianist for The Master Singers men’s chorus.
Scott Lewis
Viola
Scott Lewis’s parents were professional
musicians who met while playing in the St.
Louis Symphony. After attending Indiana
University, Scott performed with orchestras
in Minneapolis; Victoria, British Columbia;
Johannesburg, South Africa; and Columbus,
Ohio before joining the Utah Symphony in
1988. Scott has studied chamber music under
members of the Guarneri Quartet and Josef Gingold, and has also studied
the orchestral repertoire under the principal violists of the Cleveland
Orchestra and the New York Philharmonic. He also played two years as
principal violist of the Cape Town, South Africa, Symphony, during which
he performed the Bartok Viola Concerto. He and Melissa Thorley-Lewis
currently live in Farmington, Utah with daughter, Bryn, and both are
members of the Utah Symphony.
Melissa Thorley-Lewis
Violin
Melissa Thorley-Lewis was born in and grew
up in Cedar City. Her first teacher was
Cedar’s own Roy Halversen. Further study was
under Oscar Chausow in Salt Lake City, Berl
Senofsky at The Music Academy of the West in
Santa Barbara, and Josef Gingold at Indiana
University. Ms. Thorley-Lewis joined the Utah
Symphony after playing at the Tanglewood
Institute and with the North Carolina Symphony. She also has played with
the first violin section of the Cape Town Symphony in South Africa while
on a two-year sabbatical. She has soloed with the Utah Symphony, playing
Vivaldi’s Four Seasons and Tchaikovsky’s Serenade Melancolique. She is
looking forward to renewing ties with the OSU ,where her mother, her
sister, and a niece are members.
Program Notes
Befitting of tonight’s concert theme, the Overture to Midsummer Night’s
Dream, Opus 21, was a work composed by Felix Mendelssohn (1809-1847) as
inspired by William Shakespeare’s comedy “A Midsummer Night’s Dream.” He
wrote the Overture in 1826 shortly after reading a German translation of the
play. The stunning accomplishment of the Overture represents the creative
maturity of the seventeen-year-old composer as well as the embodiment of the
Romantic ideal of a marriage of music with poetry. The Overture exemplifies
Mendelssohn’s ability to create extraordinarily imaginative and atmospheric
music while remaining within the context of traditional harmonic and formal
structure. Celebrating the eve of longest day of the year is the impetus for
Shakespeare’s play—it is a night for lovers and a night for magic. All of the
thematic elements of the play are presented in the Overture, as the wind
instruments introduce us to the fairy land of Titania and Oberon in the first
motif, the hunting-horns proclaim the second theme which is followed by a love
melody, simple but full of graceful charm. This leads up to a mock pageant, a
dance by the clowns, and an imitation of Bottom’s donkey bray. The horns of
Theseus are heard again, and the fairy melody returns with its freshness and
dreamy beauty to complete the story. It is interesting to note that the Overture
was not written to accompany a performance of the play; however, sixteen
years later, Mendelssohn was commissioned by the Prussian King Frederick
William IV to write the entire incidental score for a production of the play at
the palace in Potsdam in 1843. This incidental music blended beautifully with
the Overture and includes the celebrated Wedding March, heard between Acts IV
and V, which is among humanity’s most universal melodies.
Pyotr Ilyich Tchaikovsky (1840-1893) was also deeply inspired by the works of
Shakespeare, composing tonight’s selection of Romeo and Juliet Fantasy—
Overture. Tchaikovsky also composed works based on The Tempest and
Hamlet. Unlike Tchaikovsky’s other major compositions, Romeo and Juliet does
not have an opus number. Considered by many to be one of the composer’s
greatest orchestral works, the Fantasy—Overture conveys three themes to depict
characters of the play. The first is the introduction, representing Friar Laurence,
which presents the flavor of Russian Orthodoxy. Secondly, the agitated theme
of the warring Capulets and Montagues appears, then the action suddenly slows
and we hear the theme that signifies the couple’s first meeting and the scene
at Juliet’s balcony, known as the “love theme”. After the passionate theme
of the lovers is developed, there is another bout of the feuding families. The
love theme returns with heightened intensity and the coda brings us to the
funeral march, marked by the timpani, and Friar Lawrence, the character whose
attempt to help turned to disaster. At first, Romeo and Juliet was a success in
neither Europe nor Russia. European listeners of the 1870s were not ready for it.
Gradually, the work won over listeners with its lush melodies, orchestration, and
sincerity of emotional expression. Tchaikovsky revised it twice before it became
the famous piece we know now. The Overture’s love theme has been used in
many TV shows and movies such as Wayne’s World, Animaniacs, Freakazoid, Road
Rovers, Taz-Mania, Tiny Toons, Scrubs, The Fresh Prince of Bel-Air, Moonraker,
Spongebob Squarepants, Pushing Daisies, Sesame Street, etc.
Program Notes
The Chaconne in G minor by the Italian composer/violinist Tomaso Antonio
Vitali (1663 – 1745) carries a bit of mystery about it’s true history. Vitali
studied composition in Modena with Antonio Maria Pacchioni, and authentic
works by him include a set of trio sonatas (1693), chamber sonatas, and violin
sonatas. The Chaconne in G minor was marked by the copyist, at the time of
transcription, in the upper margin of the first page of the Dresden manuscript
as “Parte del Tomaso Vitalino” (Tomaso Vitalino’s part), who may or may not
be Vitali (thus the mystery.) A Chaconne is a musical form used as a vehicle for
variation on a repeated short harmonic progression or else over a ground bass.
One striking feature of the “Vitali” Chaconne’s style is the way it wildly changes
key, uncharacteristic of the Baroque era, and another piece of the uncertainty
surrounding the actual composer of this work. Despite the mystery, the
piece has been ever popular amongst violinists. It is increasingly exciting and
courageous as successive variations become more difficult, challenging technical
ability and providing a perfect showcase for both the instrument and musician.
Tonight’s version of the Chaconne was arranged by the soloist, Scott Lewis, for
the viola-based Respighi’s version.
Tzigane is a rhapsody written by the French composer Maurice Ravel (18751937.) It was commissioned by and dedicated to Hungarian violinist Jelly
d’Arányi, great-niece of the influential violin virtuoso Joseph Joachim. The
original instrumentation was for violin and piano, with the first performance
in London on April 26, 1924. Ravel soon orchestrated the composition, and
this version was first performed on November 30, 1924 in Paris. The name of
the piece is derived from the generic European term for “gypsy” (in French:
gitan, tsigane, or tzigane rather than the Hungarian cigány) although it does
not use any authentic Gypsy melodies. Maurice Ravel is one of the most
important French Impressionist composers, along with Debussy. In addition to
composing, he was an accomplished pianist and conductor. As a composer, he
was often fascinated with the interpretation of a theme. Tzigane is a work
derived from Ravel’s interest in the gypsies and in Hungarian culture. It can
be broadly divided into two sections: the Cadenza and the post-Cadenza.
The Cadenza could be considered a gypsy’s emotional monologue about
his life—his misery, passions, memories, surroundings, and dreams. As the
Cadenza ends, we are transported into the countryside where the gypsies
live. We experience the gaiety of their lives in a section that peaks in a
festive, frenzied dance. The piece provides the soloist with plenty of “tricks”
to demonstrate virtuosity and technical agility, but the greatest challenge
is in the interpretation of the Cadenza. When the orchestra finally joins
the soloist, it provides a rich but unobtrusive background to an ever-morecomplicated battery of virtuoso techniques: rapid harmonics, quadruple
stops, and an amazing passage that calls upon the player to play pizzicatti
with the left hand in the midst of bowed arpeggios.
The Orchestra
Music Director and Conductor
Xun Sun
Assistant Conductor
Gerald Rheault
1st Violin
LuAnne Brown, Concertmaster
Marin Colby, Colleen Dowse, Chelsea Gardner, Heather Grafelman
Caroleen Lee, Jiabao Li, Suzanne Stewart, Patty Walser
2nd Violin
June D. Thorley, Principal
Marie U. Adams, Marisa Barth, Lou Beauregard, Samantha Lambert
Kaer Neumann, Linda Reeves, Stephanie Sharp
Viola
Allen Butt, Principal
Joseph Arnell, Logan Butt, Kaycee Etchart,
Amanda Eddy, Sara Penny, Alexis Richards
Cello
Nina Hansen, Principal
Leah Brown, John Figueiredo, Sandy Gustaveson
John Ries, Michele M. Tincher, Debra A. Vradenburg
Contrabass
Carl Templin, Principal
Sarah Hoggard, Becky VanSleeuwen
Flute
Ariel Rhoades, Interim Woodwind Section Leader
Katy Garvin
Piccolo
Katy Garvin
Oboe
Patrice Ramsay, Principal
Katie Humes
English Horn
Virginia Stitt
The Orchestra
Clarinet
Tashina Wortham, Principal
Kortne Pedersen
Bassoon
Michael Wallace, Principal
Kevin Johnston
French Horn
Pete Akins, Principal
Lauralyn Anderson, Debbie Nollan, Debbie Jackson
Trumpet
Don Christensen, Principal
Jamie Bayer, Abe Fawson
Trombone
Christina Carrigan, Robert Gordon
Bass Trombone
Emily Gailey, James Landon
Tuba
Dennis Loeffel
Timpani
James Harrison
Percussion
Carylee Zwang, Percussion Section Leader
Bryson Hunt
Keyboard
Benjamin Lee
Librarians
Hal Campbell, Joan Campbell
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The Orchestra of Southern Utah
would like to thank you
for your generous contributions
If you would like to contribute to OSU, please contact:
Diane Strachan, OSU Treasurer, 435-867-8373.
You may also mail your contributions using the form below:
Donate to the Orchestra of Southern Utah:
______Enclosed is a check payable to the Orchestra of Southern Utah
_____We wish to donate $__________________________
Please
send your check to:
Orchestra of Southern Utah
Attention: Treasurer
PO Box 312
Cedar City, UT 84721-0312
Please indicate how you wish your name to appear
on the Donor Recognition
Donations are tax deductible. We are a 501(3)c non-profit organization.
Thank you for your support of the Orchestra of Southern Utah!
OSU Wish List
The Orchestra of Southern Utah invites you to help whittle our wish list:
• Music, pieces range from $50 to $500 each
• Timpani ($1200 still remaining to be raised)
• Other percussion instruments needed, ranging from
$50 to $1000 each
• Programs, flyers, posters, and other promotions
• Guest artist expenses
Charitable IRA Rollover Information
The new tax package just approved by Congress reinstates the IRA
Charitable Rollover. A gift to the Orchestra of Southern Utah can
take the place of your required IRA withdrawal (for those over the
age of 70½) without the taxes of a regular distribution, and these
funds will never be subject to income or estate taxes. To donate,
contact OSU Treasurer Diane Strachan at 435-867-8373.
We appreciate your Sound Investments in your orchestra.
S i n c e r e Th a n k s & Ap p r e c i a t i o n t o
Our Financial Supporters
$5000 and above:
Recreation, Arts and Parks (RAP) through Cedar City Corporation
Cedar City/Brian Head Tourism Bureau
Sterling and Shelli S. Gardner Foundation
$2000 and above:
George S. and Dolores Doré Eccles Foundation, Leavitt Group,
State Bank of Southern Utah, Color Country Pediatrics,
Utah Division of Arts and Museums (formerly Utah Arts Council)
$1000 and above:
Premier Pediatrics (Dr. Robert Dowse and staff) Baby Ears Project,
Hal and Joan Campbell, June Thorley
$100 and above:
Anonymous, Jim Case, Dixie Escalante Power Company, Don Christensen,
Genevieve Gardner, Naida G. Gardner, J. Bryan and Jackie Jackson,
LeRoy and Barbara Kuehl, Dale and Olene LeFevre, Dennis Loeffel,
Moving Edge Transport, Inc., Steve and Debbie Nollan, Connie and Ted Porray,
Susan Wiltsey-Smith, Barrie and Diane Strachan, Judith Tweedie,
Carol J. Wagers, Melinda Wagner in memory of Orien Dalley,
John and Patty Walser
Additional Donations:
Anonymous, Marie Adams, Lauralyn Anderson, Loren and Mary Barney,
Lou Beauregard, Gail and Jane Bradshaw, Joanne Brattain, LuAnne Brown,
Penny Brown, Allen Butt, Logan Butt, William Byrnes, Marin Colby,
Charley Dalebout, Abe Fawson, Emily Gailey, Chelsea Gardner,
Heather Grafelman, Jorn and Jannette Grass, Sandy Gustaveson,
James Harrison, Sarah Hoggard, Abby Holmgren, Katie Humes,
Suzanne Jensen, Tyician Knight, Caroleen Lee, Jiabao Li, Dennis Loeffel,
Brooke MacNaughtan, Kaer Neumann, Kortne Pedersen, Sara Penny,
Linda Reeves, Aaron Reeves, Ariel Rhoades, John L. Ries,
Wayne and Maria Smith, Virginia Stitt, Carl Templin, Michele Tincher,
Angela Ure, Becky VanSleeuwen, Michael Wallace, Carylee Zwang
In Kind Donations:
Best Western Town and Country, Hughes and Associates,
The Print Shoppe, Whittlesticks
Media Sponsor: Utah Public Radio
Futher information at www.orchestraofsouthernutah.org
or Diane Strachan, OSU Treasurer, 435-867-8373
We Are Pleased to Invite You to Our
2011-2012 Season
October 13 — Celebrating American Musical Theatre
November 17 — Fall Concert
Pines of Rome by Ottorino Respighi
Thus Spake Zarathustra by Richard Strauss
China Dance by Zhou Hong
December 11 and 12 — Messiah
Febuary 11 — Jubilee (Musical Artwork)
Pictures at an Exhibition by Modest Petrovich Mussorgsky
arranged by Ravel
Febuary 23 — Winter Concert
Russian Easter Overture by Nikolai Rimsky-Korsakov
Piano Concerto #2 by Sergei Rachmaninoff featuring Kirill Gliadkovsky
Pictures at an Exhibition by Modest Petrovich Mussorgsky arranged by Ravel
April 19 — Spring Concert, Roy L. Halversen Young Artist Concert
3 to 4 young soloists chosen by audition
Symphony No. 3 by Johannes Brahms
—Planning for the Fall Recital Series—
Community musicians and advanced students are invited to participate in
the 15th Annual Orchestra of Southern Utah Recital Series.
September 6 - Holiday Music
September 13 – Music of Multiples (Groups of 3 or more)
September 20 - Global Music
September 28 – Classical Keepsakes
October 4 – Musical Memories (favorites from musicals and movies)
Contact Sara Penny for more information, 435-586-2286
CD and DVD O r d e r F o r m
Recordings of tonight’s concert are $15 per CD and $25 per DVD.
Recorded by Steven Swift.
For questions, call Sara Penny at 435-586-2286.
Please make checks payable to OSU and mail this form with your
remittance to:Orchestra of Southern Utah
Attn: Diane Strachan
P.O. Box 312
Cedar City, UT 84721
Name:__________________________________________________
Address:__________________________________________________
City, State, Zip:____________________________________________
Phone Number(s): _________________________________________
E-mail Address:____________________________________________
CD Quantity:
_________ X $15.00 = $ _______
DVD Quantity: _________ X $25.00 = $ _______
Total = $ _______
We also have CDs and DVDs of past concerts available.
Tax deductible donations are always welcome to help us keep the
music alive for our area.
Thank you for your support!
Unauthorized recordings are strictly prohibited.
The recording of the concert is copyrighted by the Orchestra of Southern.
Orchestra of
Southern Utah
Leadership
Pete Akins
June Thorley
Laura Lee
Diane S. Strachan
Julie Davis
Patrick Dowse
Rob Dowse
Blaine Hofeling
Marlo Ihler
Bryan Jackson
Brooke MacNaughtan
Tina Rheault
Xun Sun
Gerald Rheault
Keith Bradshaw and Hal Campbell
Hal & Joan Campbell
Laurel Dodgion
Adrianne J. Tawa
Diane S. Strachan
Sara Penny
President
Vice President
Secretary
Treasurer
Board
Board
Board
Board
Board
Board
Board
Board
Member
Member
Member
Member
Member
Member
Member
Member
Music Director and Conductor
Assistant Conductor
Composers-in-Residence
Librarians
Publicity and Management
Choral Director
Season Tickets
Management Services &
Friends of Music Guild
Bridget Lee Grants Officer