Gershwin Meets Beethoven with the Humboldt Symphony

The Humboldt Symphony performs popular pieces by Gershwin and Beethoven and other works on Friday evening and Sunday afternoon, December 9 and 11.

George Gershwin’s symphonic tone poem An American in Paris is his most famous work, after “Rhapsody in Blue.” “You hear the sounds of the Paris streets of the 1920s, even the taxi horns,” said Humboldt Symphony conductor Paul Cummings. “It has elements of jazz, blues and ragtime—popular styles heard in a cabaret but in a symphonic setting. Gershwin was gifted at making this music work for orchestra—and in this piece especially, he did it with his orchestration as well as his composition.”

The Humboldt Symphony performs the version called “An American in Paris Suite” as arranged by John Whitney, which is basically selected from the original.

Gershwin himself described it as “a light, jolly piece, a series of impressions musically expressed...It’s not a Beethoven symphony, you know.” 
Beethoven’s Egmont Overture is not a symphony either, but in compact form it exemplifies the majestic power of his music. “It’s a great example of Beethoven’s mastery of musical form and structure,” said Cummings. “There’s a logical flow to this music that had a major impact on 19th century composers.”

This overture was composed for a play by Goethe, dramatizing the heroic sacrifice of the 16th century Flemish Count of Egmont, who took a stand against oppression and paid for it with his life. Beethoven’s overture was so effective in expressing this theme that it became the unofficial anthem of the 1956 rebellion against Soviet control in Hungary.

“Beethoven uses the entire orchestra to great effect,” Cummings said. “The writing in this overture features the instruments at their best. Woodwinds are especially called upon to be expressive. It’s a very exciting piece.”

The Symphony program also includes the first and second movements of Alexander Borodin’s Polovtsian Dances, which all the dances from Act II of the play Dance of the Polovtsian Maidens. “There are a variety of moods in this music, depending on the character each dance depicts,” Cummings said.

The Brook Green Suite by Gustav Holst is entirely a string orchestra piece. “All the instruments have independent voice,” Cummings observed, “and there’s some wonderful counterpoint.” Known as Holst’s most accessible work, the Brook Green Suite was the last of his music that Holst heard performed.

Humboldt Symphony performs on Friday December 9 at 8 p.m. and Sunday December 11 at 3 p.m. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door. Free to HSU students with ID. Directed by Paul Cummings, produced by HSU Music Department.

Media: Humboldt State Now, Arcata Eye, North Coast Journal, Humboldt Beacon.

Embraceable Fang Zhang at HSU


Pianist Fang Zhang brings an international reputation and a unique program that includes European classics, American popular music and a Chinese piano work to HSU’s Fulkerson Recital Hall on Saturday, April 9.

“We are delighted to host the Chinese pianist, Fang Zhang,” said HSU Music professor Daniela Mineva. “His superb musicality and mature artistry are combined with impeccable technique.”

Born in Shenyang, China, Mr. Zhang began piano lessons at the age of four and won his first piano competition at the age of seven. With graduate degrees from the Eastman School of Music and appointed to the faculty of the Peoples University of China, he has performed widely on three continents. He was awarded the 2006 Rachmaninoff Society Special Prize at the Viardo International Piano Competition, among other honors. In 2008 he co-founded the Beijing Chamber Ensemble, and will tour U.S. universities with this group through 2012.

 At HSU he will play Beethoven’s Rondo in C Major and “Funérailles,”the seventh of ten compositions in the Poetic and Religious Harmonies cycle by Franz Liszt, followed by "Sheng dan jing mo chou,”a piano work inspired by traditional Beijing Opera.

 He ends the first half of his concert with two George Gershwin songs, as transcribed for piano by Pittsburgh-born Earl Wild: “Embraceable You” and "I Got Rhythm,” both from the musical Girl Crazy.

After the intermission, Mr. Zhang plays the Piano Sonata in B Minor by Franz Lizst, which Daniela Mineva describes as “very demanding.” It is considered Lizst’s greatest work for solo piano.

In addition to his concert on Saturday, Mr. Zhang will conduct a Master Class on Friday, April 8 from noon until 1:30 PM in the Fulkerson Recital Hall. It is free and open to the public.

 Pianist Fang Zhang performs on Saturday April 9 at 8 pm in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets: $8/$3 students and seniors from HSU Ticket Office (826-3928) or at the door. A Guest Artist concert produced by HSU Department of Music.

Media: Humboldt State Now, Tri-City Weekly, Arcata Eye

Pianist Fang Zhang: The Program


Rondo in c major Op.51 No.1: L.V. Beethoven

Funérailles from Harmonies poétiques et religieuses: F. Liszt

Sheng, Dan, Jing , Mo, Chou : A Mao Wang


Two Etudes: Embraceable You, I got Rhythm: G.Gershwin-E.Wild


Intermission


Sonata in b minor:  F. Liszt 

Artist's Commentary

Sheng dan jing mo chou” is a piano work inspired by Role Types in Chinese traditional opera -Beijing Opera.


Beijing opera followed the traditions of classical Chinese operas, and was developed on the basis of Kunqu opera and many other local operas. Accordingly, the characters on its stage were divided into sheng, dan, jing and chou, the four major role types, according to their sexes, personalities, ages, occupations and social status (In the early phase of Beijing opera, there used to be sheng, dan, jing, mo and chou five major categories. Later, sheng and mo merged into one.). Different role types had their specific features in singing and other aspects of performance.

Sheng

The Sheng (生) is the main male role in Beijing opera. This role has numerous subtypes. The laosheng is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of laosheng role is the hongsheng, a red-faced older male. The only two hongsheng roles are Guan Gong, the Chinese God of War, and Zhao Kuang-yin, the first Song Dynasty emperor. Young male characters are known as xiaosheng. These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. Off-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project.The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.Troupes will always have a laosheng actor. A xiaosheng actor may also be added to play roles fitting to his age. In addition to these main Sheng, the troupe will also have a secondary laosheng.

Dan

The Dan (旦) refers to any female role in Beijing opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Beijing opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[52] In the early years of Beijing opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai ciao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the xianggong tangzi, in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional Dan later in life.

Jing

The Jing (净) is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles.This type of role will entail a forceful character, so a Jing must have a strong voice and be able to exaggerate gestures.[55] Beijing opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality. Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity.Three main types of Jing roles are often seen. These include tongchui, roles that heavily involve singing, jiazi, roles with less emphasis on singing and more on physical performance, and wujing, martial and acrobatic roles.

Chou

The Chou (丑) is a male clown role. The Chou usually plays secondary roles in a troupe.[57] Indeed, most studies of Beijing opera classify the Chou as a minor role. The name of the role is a homophone of the Mandarin Chinese word chou, meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. Chou roles can be divided into Wen Chou, civilian roles such as merchants and jailers, and Wu Chou, minor military roles. The Wu Chou is one of the most demanding in Beijing opera, because of its combination of comic acting, acrobatics, and a strong voice. Chou characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. Chou characters wear special face paint, called xiaohualian, that differs from that of Jing characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit.

Beneath the whimsical persona of the Chou, a serious connection to the form of Beijing opera exists. The Chou is the character most connected to the guban, the drums and clapper commonly used for musically accompaniment during performances. The Chou actor often uses the guban in solo performance, especially when performing Shu Ban, light-hearted verses spoken for comedic effect. The clown is also connected to the small gong and cymbals, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although Chou characters do not sing frequently, their arias feature large amounts of improvisation. This is considered a license of the role, and the orchestra will accompany the Chou actor even as he bursts into an unscripted folk song. However, due to the standardization of Beijing opera and political pressure from government authorities, Chou improvisation has lessened in recent years. The Chou has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect, as opposed to the more formal dialects of other characters.


Artist Bio


Fang Zhang enjoys an incredible career both as pianist and performer spread over three continents. He is prize winner and finalist of Viardo International Piano Competition where he was awarded with Rachmaninoff Society Special Prize, and Missouri Southern International Piano Competition. Mr. Zhang is widely recognized for his technical demands of the repertoire and artistic imagination. He completed graduate degrees at the Eastman School of Music (MM), where he also received the Eastman Performer's Certificate, the School's highest award for distinction in performance and Central Conservatory of Music, Beijing (BM).

Frequent guest as an orchestral soloist, Mr. Zhang has performed at some of the most prestige venues in China and United States. As an active chamber musician, he was awarded the First Prize as the collaborative pianist in the 2007 Jesse Kniesel Lieder Competition. In 2008, he co-founded and jointed as pianist the Beijing Chamber Ensemble. The group is invited for season 2011-2012 to perform and give master classes at some of the most prestige educational institutions in USA like Eastman School of Music, University of Michigan at Ann Arbor, and University of Colorado at Boulder.


In 2010 concert season, Mr.Zhang performance with Xiamen Orchestra Symphony and Shenzhen Orchestra Symphony resulted in CD release “Live Concert under the Beijing EAV Publishing Center.


Born in Shenyang, China, Mr. Zhang began piano lessons at the age of four and won his first piano competition at age of seven. He studied with Thomas Schumacher, Guo Zhihong, Fang Zhang (no relation), Yafen Zhu, Qifang Li and Lu Pan. Currently, Mr. Zhang is on the faculty at the Beijing Renmin University of China, School of Arts where he maintains studio of 18 students.

Humboldt Symphony

The Humboldt Symphony spring concert features works by Gershwin, Telemann and Stravinsky’s “The Firebird Suite” on FRIDAY MAY 2 at 8 PM and SUNDAY MAY 4 at 2 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Paul Cummings conducting.

Two Soloists Headline Humboldt Symphony Spring Concert

HSU faculty member Dr. Gil Cline on trumpet and student Emily Loeffler on piano are the soloists for the Humboldt Symphony spring concert on Friday evening, May 2, and Sunday afternoon, May 4, in the Fulkerson Recital Hall on the HSU campus in Arcata.

Conducted by Paul Cummings, the Humboldt Symphony features works by two 20th century composers known for combining elements of classical and popular music—George Gershwin and Igor Stravinsky.

But first up is the Don Quixote Suite for string orchestra by Georg Philipp Telemann, a Baroque era contemporary of Bach who was among the most prolific composers of all time. This suite musically illustrating the classic Cervantes story was written late in Telemann’s long career.

Then the third movement of George Gershwin’s Piano Concerto in F features student pianist Emily Loeffler. Written between his best known pieces (“Raphsody in Blue” and “An American in Paris”), this Gershwin concerto has been praised as one of the high points of the modern era’s blending of European classical music with the rhythms and spirit of jazz and American musical theatre.

Russian composer Igor Stravinsky, who admired Gershwin and the Piano Concerto in particular, was another proponent of such blending. The Humboldt Symphony plays two sections of his famous Firebird Suite. As a young man, Stravinsky composed a ballet score for the Firebird which he later adapted for orchestra in several versions. It became his breakthrough work and remains one of his most familiar and influential compositions.

Between Gershwin and Stravinsky, the Humboldt Symphony performs the Trumpet Concerto by contemporary American composer Robert J. Bradshaw. HSU professor Dr. Gil Cline is the soloist for this work honoring the citizens of Sarajevo, who rebuilt their city that had been destroyed by civil war shortly after they hosted the 1984 winter Olympics.

The Humboldt Symphony spring concert begins at 8 PM on Friday, May 1, and at 2 PM on Sunday, May 3. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Paul Cummings conducting.

Humboldt Symphony

George Gershwin’s Rhapsody in Blue with Deborah Clasquin on piano, Beethoven’s Fifth Symphony and Mozart’s “Paris” Symphony #31 will be played by the Humboldt Symphony Orchestra, Kenneth Ayoob conducting, on October 13 and 14 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $6 general, $2 students and seniors, free to HSU students with ID, at HSU ticket office or at the door. Reservations: 826-3928.


George Gershwin’s “Rhapsody in Blue,” featuring Humboldt favorite, Deborah Clasquin at the piano, plus Beethoven’s Fifth Symphony and a symphony by Mozart---it’s a combination that seems tailor-made for audience enthusiasm.

That’s the program for the Humboldt Symphony Orchestra’s first concert of its 81st season, to be performed on Friday, October 13 and Saturday, October 14 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $6 general, $2 students and seniors; free to HSU students with ID.

While acknowledging that these works are among the most exciting and popular in the classical repertoire, Humboldt Symphony conductor Kenneth Ayoob didn’t choose them for that reason. “That audiences will relate to this music is important,” he said, “but it wasn’t my primary consideration in choosing the program.”

The Humboldt Symphony Orchestra is comprised of community members (including several advanced high school players) but mostly of “a richer mix of HSU students than it’s had in awhile,” Ayoob said. As a professor of Music and chair of the HSU Music department, he began his selection process with the question, “What do the students need to know about?”

His first answer was simple: Beethoven.

“There are certain things about the way a Beethoven piece is constructed that students need to learn---he’s not like anybody else,” Ayoob said. Beethoven’s Symphony #5 “ is a work they should know, and they should know it from the inside.”

Mozart is similarly indispensable. “In building an orchestra, it’s always good to do Mozart. He wrote so much, especially for strings. We’ve got a particularly rich mix in strings this year.”

Ayoob chose Mozart’s Symphony #31 (known as the “Paris” symphony) partly because it also had good parts for the wind section. “I’ve got a fairly young wind section,” he said, “so I wanted to make sure they got this experience. This is something they can really do.”

It also becomes part of celebrating the 250th anniversary year of Mozart’s birth, which began with the Humboldt Symphony performing a Mozart concerto at their last concert, and the Faculty Artist Series Mozart concert last spring. “It’s short for a symphony,” Ayoob noted. “Just under 20 minutes, so it’s a good opener.”

The reason for selecting Gershwin’s most famous composition-- and one of the most famous pieces of American music-- was slightly different. “Deborah Clasquin and I had talked about her doing something with the orchestra for awhile,” Ayoob said, “and she told me she felt ready now, and she wanted to do ‘Rhapsody in Blue’.”

But Ayoob also saw the advantages for the student players. “I thought it would be great,” he said, “and also good experience for the orchestra. There are actually parts for saxophones in it, so a lot of our sax players who don’t often get the opportunity to play in the orchestra get to play this.” Employing as much of the orchestra as possible was also a consideration in choosing Beethoven’s Fifth. “It has trombones.”

After serving as conductor of the Eureka Symphony, Ayoob is beginning his fourth year conducting the Humboldt Symphony Orchestra. He’s hoping the trend of more student participation will continue. “We’d love to see more student players join us.”

Tickets for the October 13 and 14 concerts may be purchased at HSU ticket office or at the door. For reservations or information, call 826-3928.

The Program

Humboldt Symphony Orchestra:

Kenneth Ayoob, conductor
Karen Davy, assistant conductor

Saturday and Sunday, October 13th and 14th 2006
8:00 PM Fulkerson Rectial Hall


Symphony #31 (Paris) in D, k. 300a W. A. Mozart (1756 - 1791)
Allegro assai
Andante
Allegro

Rhapsody in Blue George Gershwin
(1898 – 1937)
Deborah Clasquin, piano arranged by Ferde Grofe

Intermission

Symphony #5, op. 67 in C minor Ludwig van Beethoven
(1770 – 1827)
Allegro con brio
Andante con moto
Allegro
Allegro - presto


The Players

Violin
Halim Beere, concertmaster
Ellis Britton
Sasha Chandler, associate concertmaster
Karen Normandia Davy, principal 2nd
Mary De Andreis
Bailey Dunwoody
Chelsea Morden
Kit Dols Morris
Marie Van Luven

Viola
Rebecca Downey
Mattie Eckstrom
Natalie Kramer
Don Morris
Maria Siler
Maria Zazueta

Cello
Laura Boxton
Christy Coranado
Margaret Burton
Mary Dunn
Cassie Moulton
Jack Turner
Andy Triechak, principal

Bass
Bobby Amirkan
Joshua Boronkay
Anastasia Ciau
Mary Delo
Rebekha Kass-Lent
Maia Wiitala
Shao Way Wu, principal, HSU faculty

Flute
Kate Bernet
Jacquelyn Joseph
Gabriel Roddenborn

Piccolo
Jacquelyn Joseph

Oboe
Brittany DePew
Maxine Sherry

Clarinet
Stephanie Douglass
Melissa Gussin
Jamie Parisi

Bass Clarinet
Melissa Gussin

Bassoon
Aaron Lopez
Karen Mejia

Saxophone
Jeanette Kyle
Dellamay Miller
Sky Miller

Horn
Christine Forman
Anwyn Halladay
Spencer Hitzerroth
Matt Morgan
Mike Thompson

Trumpet
Kyle Kaufman
Michel Navedo
Thomas Obeso

Trombone
Leah Jmaeff
Talon Nansel
Thomas Obeso
Kearney Vander Sal

Tuba
Andrew Miller

Timpani
Amy Cadle

Percussion
Daniel Grantz
Tyler Hunt
Jonathon Kipp
Kevin Repp
Rudy Slizewski

Banjo
Annabelle Cannon

Performers are listed alphabetically in order to emphasize the importance of each member’s contribution.


Media

North Coast Journal: "Sit down and make a list of the top 10 most memorable passages from classical music. Done? Ok, your number one is the thundering opening to Beethoven's Fifth Symphony--the 'da-da-da-DUM.' Somewhere in your top five, probably, is the thrilling clarinet glissando that kicks off George Gershwin's 'Rhapsody in Blue.' This weekend, you can have the somewhat unusual experience of hearing the Humboldt Symphony perform one right after the other. Inspired programming?

'When I sat down and looked at the program, I thought, 'This is kind of odd,' said conductor Kenneth Ayoob last week. But he noted that the Symphony has two functions--to teach students the nuts-and-bolts pieces they'll likely be playing throughout the rest of their careers, and to provide a program that the public will want to hear. Ths weekend's shows fulfill the first mission in spades, Ayoob figures.

How about the second? Well, the top dog Humboldt County pianist Deborah Clasquin taking the solo piano part for 'Rhapsody' (her first performance of the piece in Humboldt County, Ayoob believes) there's little danger of poor attendance."--Hank Sims