Interlochen, Michigan 124th Program of the 50th Year *


Octavio Más-Arocas, conductor with special guest

Kevin Cobb, trumpet

Friday, January 20, 2012 7:30pm, Corson Auditorium

Campane di Ravello ................................................................... John Corigliano (b. 1938)

Concerto in E-flat Major for Trumpet ..................... Johann Baptist Georg Neruda Allegro (c.1707-1780) Largo Vivace Kevin Cobb, trumpet

Vetrate di chiesa (Church Windows), P. 150 ............................ Ottorino Respighi La fuga in Egitto (The Flight to Egypt) (1879-1936) San Michele Arcangelo (St. Michael the Archangel) Il mattutino di Santa Chiara (The Matins of St. Clare) San Gregorio Magno (St. Gregory the Great)




PROGRAM NOTES by Melanie Chitwood, Barrington, R.I. Campane di Ravello John Corigliano American born John Corigliano has an impressive repertoire; three full symphonies, an opera, numerous concertos and countless pieces for small ensembles and for soloists. His musical talent was no doubt inherited from his parents; his father, John Corigliano Sr., was concertmaster of the New York Philharmonic, and his mother, Rose Buzen, was a pianist and teacher. Corigliano teaches composition at The Juilliard School of Music and continues to compose. Campane di Ravello was commissioned by the Chicago Symphony Orchestra to honor Sir Georg Solti on his 75th birthday. It was premiered at Symphony Hall on October 9, 1987. Concerto in E-flat Major for Trumpet Johann Baptist Georg Neruda Johann Baptist Georg Neruda was born to a musical family in Bohemia, now the Czech Republic. Educated as a violinist in Prague, he eventually won a job playing with the Dresden Court Orchestra. In Dresden, he rose through the ranks to become concertmaster in the early 1750s. His credentials as a composer are equally impressive; Neruda has eighteen symphonies, fourteen concertos, an opera (Les Troqueurs), and numerous sonatas and sacred works. Neruda's E-flat Trumpet Concerto is one of his more important pieces. Like much of Neruda's works, it is written in the Style Galant, which began to gain popularity in the latter half of the eighteenth century. The Style Galant was a reaction to the complex and showy trends of the late Baroque period; it was a return to classical simplicity, with fewer ornamentations and a renewed emphasis on the melody. The concerto was originally written for `natural horn;' however, it is usually performed on trumpet. While the exact date of the composition is unknown, it is thought to have been composed in the 1760s. Church Windows Ottorino Respighi Born in Bologna, Italy on July 9th, 1879, Ottorino Respighi showed musical promise as a young child. He began studying violin at age eight, and then viola and piano, and at thirteen he began to study composition. In 1901, Respighi received a diploma in composition from the Liceo Musicale in Bologna. He continued to tour Europe, performing with orchestras and with the Mugellini Quintet. In 1908, Respighi was appointed teacher of composition at the Conservatorio di Santa Cecilia and he relocated to Rome, focusing all his energy on composition. Respighi is often called a `new, old composer,' as he was fascinated with Italian composers of the past, paying homage to many 16th, 17th and 18th century composers in much of his work. Church Windows, while not as popular as his celebrated Roman Trilogy, is one of Respighi's more powerful pieces. In the summer of 1919 Respighi composed a three movement piano piece entitled Preludes on Gregorian Themes. In 1925, Respighi decided to orchestrate the music adding also a fourth movement. Originally, Respighi's name for this four-movement symphonic poem was Entrances to a Temple. Ultimately it was his friend, literature professor Claudio Guastalla, who suggested the name Church Windows as well as the names for the individual movements.

The first movement, The Flight to Egypt, has a contemplative, even reverent feel to it. Guastalla described it as "the passing of a chariot beneath a brilliant, starry sky." The second movement, St. Michael Archangel, is a thunderous and energetic description of a battle interrupted only by a few moments of peace by the sound of a celestial-like trumpet call that is heard in the distance. The third movement, The Matins of St. Clare, is a delicate pastoral. In this movement, Guastalla heard something "mystical, pure and convent-like;" the bells made him think of "nuns in holy orders, flocking like swallows to a bird call." In the final movement, St. Gregory the Great, Respighi builds from a quiet, tender Gregorian chant, to an orchestra in full force. Appropriately included in his orchestration is a part for organ, which is more common in a church than a symphony orchestra. The splendor of Respighi's final movement celebrates the same beauty and color of church windows at their most luminous and most magnificent.

* * * KEVIN COBB (IAC 84-85, 87, IAA 87-89) joined the American Brass Quintet (ABQ) in the fall of 1998 and with that appointment also became a faculty member of The Juilliard School and the Aspen Music Festival. He also currently serves as faculty at The Hartt School and at SUNY Stony Brook. Originally from Bowling Green, Ohio, his first solo appearance was at age fifteen with the Toledo Symphony. After attending Interlochen Arts Academy studying with John Lindenau, he graduated from the Curtis Institute of Music, where he studied with Frank Kaderabek, followed by The Juilliard School as a student of Mark Gould. Mr. Cobb leads a diverse career and is regularly active with many of New York's top organizations. He can frequently be heard on television commercials, and has even played with Metallica and Peter Gabriel. In addition to the ten CDs he's recorded with the ABQ, his solo CD entitled, One, on Summit Records, features an all American program of unaccompanied trumpet solos.

Last year, OCTAVIO MÁS-AROCAS was offered the Felix Mendelssohn Scholarship after sharing the podium with Kurt Masur at the Manhattan School of Music. Consequently, last September he worked as Maestro Masur's assistant with the Leipzig Gewandhaus Orchestra and the Finnish Radio Orchestra. He is the winner of the Robert J. Harth Conductor Prize from the Aspen Music Festival, the Thelma A. Robinson Award from the Conductors Guild, Prize Winner of the 3rd European Conductor Competition, and winner of the Spanish Ministry's Conductors Competition. Mr. Más-Arocas has conducted orchestras across America and Europe including the Leipziger Symphoniorchester, Spokane, Toledo, Phoenix, Memphis, Kansas City, San Antonio, Manhattan School, and National Repertory orchestras, the American Brass Quintet, the Universidad Nacional de Mexico Philharmonic, the orchestras of Rosario in Argentina, Kharkov in Ukraine, and Pescara in Italy, the National Youth Orchestras of Spain and Portugal, the Amsterdam Brass in Netherlands, the Sinfonica de Madrid and the Ciudad Alcala symphonies. He holds degrees from Bard College and L'Academia Musicale Pescarese in Italy, and pursued doctoral studies at Bowling Green State University with Emily Freeman Brown and has worked with such conductors as David Zinman, Kurt Masur, Leonard Slatkin, Marin Alsop, Gustav Meier and Larry Rachleff. * * *

In consideration of the performing artists and other patrons, the use of flash photography is not permitted. Federal copyright and licensing rules prohibit the use of video cameras and other recording equipment. In order to provide a safe and healthy environment, Interlochen maintains a smoke-free and alcohol-free campus. Michigan law prohibits any weapons, including concealed weapons, on Interlochen property because we are an educational campus. Thank you for your cooperation.


John Driscoll, manager VIOLIN I Kah Yan Lee, Malaysia+ Jizhe Zhang, Canada Eunmin Woo, Wash. Chase Ward, Okla. Yue Qian, China Sage Jenson, Minn. Yu-Hung Lin, Taiwan Mary Catherine Manning, Ark. Flora Kielland, Alaska Marguerite Thomas, Ireland Yeon Song Kim, South Korea Seo Yon Park, South Korea Dolores Checa Jose, Mexico VIOLIN II Adrian Evarkiou-Kaku, Calif.* Sherri Zhang, Md. Gaga Won, Mich. Julia Emmons, Wash. Lily Honigberg, D.C. Dylan Naroff, Fla. Carrie Garrison, Ore. Zoë Rohrich, Colo. Celina Farmer, Alaska Tsung-Yi Liu, Taiwan Gerald Karni, Mass. Thomas Hanawalt, Mich. Sahada Buckley, Ala. VIOLA Emma Strub, Texas* Ye Jin Goo, Canada Patrick Prejean, La. Dominic Mileti, Ohio James Bell, Minn. Nina Drew, Canada Caroline Swanson, Texas Brendan Klippel, N.Y. Allie Johnson, Texas CELLO Fange Zhang, China* Pedro Sanchez, Venezuela Daniel Blumhard, Pa. Jacob Thompson, Ky. CELLO cont. Yu-Yu Liu, Taiwan Hannah Rohrich, Colo. Aliya Ultan, N.Y. Hannah MacLeod, Minn. Edie Ofstedal, Minn. Yunwen Chen, China Qiao Jian Nan Ma, China Michael Phelan, Ohio Maya Samuels, Israel DOUBLE BASS Yu Xin Wu, China* Yizhen Wang, China Moises Carrasco, Mass. Carlos Sanchez Nunez, Costa Rica Tabari Lake, U.S.V.I. FLUTE~ James Blanchard, N.M. Meghan Dunne, Fla. (piccolo) Alexander Ishov, Fla.> Anthony Trionfo, Nev.^ (piccolo) OBOE William Welter, Iowa* Hayley Boss, Colo. Wentao Jiang, China Sarah Loos, Ill. (English horn) CLARINET~ Erin Kim, South Korea^ Junkai Lai, Kan.> Andrew Laskiewicz, Mich. (bass) Benjamin Walter, Va. BASSOON Michelle Gaffney, Colo.* Amy Kramer, Fla. Lily Simpson, Wash. Rachel Parker, Mich. (contra) HORN Hirofumi Tanaka, Japan* William Kovaleski, Ohio Michael Woodard, Texas. Mariah Avery, Ga. TRUMPET~ Elmer Churampi, Peru^ Jhonathan Churampi Vilca, Peru Robert Marx, Germany Theodore Van Dyck, Maine> TROMBONE~ Zongxi Li, China> Sze Ho Kens Lui, Hong Kong^ Katjana Nagel, Mich. (bass) TUBA Benjamin Darneille, Ill. HARP Charles Overton, Va.* Jeanette Chen, Texas Vivienne Janse Van Rensburg, South Africa HARPSICHORD/CELESTE Menghan Cao, China PIANO Feidaite Kuerban, China ORGAN Joseph Russell, Ill. PERCUSSION Nicole Patrick, Fla.* Noah McKee, Calif. Chelsea Elder, Ohio Evan Saddler, Iowa Riley Palmer, S.D. Landon Tilley, Ind. G. Donnie Spackman, Pa.

+ denotes concertmaster * denotes principal ~ denotes section alphabetized ^ denotes principal for Corigliano > denotes principal for Respighi



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