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SAN FRANCISCO
COMPOSERS CHAMBER ORCHESTRA |
PROGRAM
NOTES |
| Subtle an Sublime by David Graves | ||||
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This
particular group of string players has performed at SFCCO concerts for
more than a year. At our last concert I was particularly impressed with
how they work together cohesively and expressively. I thought it would
be great if there could be a "showpiece" for them. At the same
time, I had been working on a piece that, in a very short period of time,
instills that "perfect moment." That is, music where the listener
becomes inexorably drawn into the music with such impact that it takes
the breath away in a fleeting moment and leaves the ear with an unspoken
emotion, longing for more. "Subtle and Sublime" establishes
its harmonic environment within eleven measures and its bittersweet message
in only eight -- and then climaxes in less than four minutes. |
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| To Prelude Peace Collection by Michael Cooke | ||||
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To Prelude Peace is a collection of four works based on middle eastern melodies. Originally written in 1991, the versions you will hear tonight are the revised 1994 version, published by Cimarron Music Press that same year. The collection is based on the idea that learning about one other and focusing on our similarities are the first steps to getting along peacefully in the world. “Morning Call to Prayer” for solo trombone is based on the Muslim call to prayer. “Sudan Lovers Holding Hands” for oboe and bassoon is based on an East Sudan love song. “Celebration Dance” for violin, viola and cello is based on the Jewish dance called “the Hashual”, which means the fox. “The Harmony of Peace (The Unheard Brotherhood)” combines all three melodies and all the instruments from the previous works. This piece shows, with a little imagination, how well these different melodies can work together in harmony.
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| The Overture to Machiavelli's Belfagór by Lisa Scola Prosek | ||||
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The Overture
to Machiavelli's Belfagór sets the stage for the comic
arch devil, who is compelled to return amongst the living to discover
why women, and wives in particular, are the downfall of so many men. Hell
has become overcrowded, and it up to Belfagór to discover why.
Belfagór indeed falls in love on Earth, and his ruin and disillusionment
at the hands of his wife and her family tells a remarkably modern tale
of shopping, borrowing, and self destruction. |
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| Aria for Oboe and Orchestra by Michael Kimbell | ||||
| The Aria for Oboe and Orchestra is the central slow movement of a large-scale oboe concerto that the composer has been working on for the past few years. Inspired by Bach’s cantata arias which often include the oboe, it is a lyrical, philosophically probing piece with spun-out melodies. For this concert the Aria has been re-scored for chamber ensemble.
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| Sinfonietta Suite (“En attendant Godot”) by Mark Alburger |
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| Sinfonietta
Suite (“En attendant Godot”) (after Samuel Beckett)
loiters in a barren Igor Stravinskian trope of The Rake's Progress,
through which wander trespassers from the same composer's The Rite of
Spring and Alburger's Antigone. The four movements are played
without pause, aside from those inevitable pauses associated with the works
of the great Irish-French playwright. |
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| California Oaks by Alexis Alrich | ||||
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Oaks is the first in a series of orchestral portraits of endangered forests.
I grew up among California live oaks and think of them as the essence of
strength and beauty. Habitat destruction, climate change and disease are
threatening these trees that embody the California landscape. California
Oaks is about three oak habitats: coastal live oak savannahs, valley and
blue oak riparian forests, and the black oak woodlands of Yosemite Valley.
A solo bass clarinet plays the main “oak” melody. An oboe theme
evokes the Mokulemne and Stanislaus Rivers. The background is reminiscent
of fiddle and mandolin music played by California mountain musicians. These
melodies interweave and reach their peak at Yosemite Valley. Percussion
interludes suggest the sounds of insects and birds and the textures of the
land. After these peaceful scenes, the portrait becomes an elegy. The orchestra
is reduced to strings and then a solo bass. A silence is followed with an
outburst. At the end, the repetition of a harp phrase leaves a question
in the air: What will be the fate of the forests? |
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