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CELEBRATING MUSIC

SATURDAY, MAY 5, 2018 8:00PM

CARPENTER PERFORMING ARTS CENTER

SYMPHONY NO. 9LUDWIG VAN BEETHOVEN’S

BOB COLE CONSERVATORY SYMPHONY

THE BOB COLE CHAMBER CHOIR

THE CSULB UNIVERSITY CHOIR, FORTY-NINER CHORUS

EMILY BOSETTI, SOPRANO, MICHAELA BLANCHARD, MEZZO-SOPRANOMARCUS KLOTZ, TENOR, MALEK SAMMOUR, BASS-BARITONE

JOHANNES MULLER STOSCH, MUSIC DIRECTOR

OUR DISTINGUISHEDHONOREE

DAVID F. GARCIA Dear faculty, students, and friends,

I am honored to have been recognized with the Outstanding Alumni Award from The Bob Cole Conservatory of Music at California State University, Long Beach. My years as an undergraduate music major in composition at Long Beach from 1991 to 1995 were indeed formative as the faculty helped me realize my passion for the study of music. Little did I know at the time that I would earn a doctorate in ethnomusicology, but I now know that the mentoring I received from Professors Bruce Miller, Martin Herman, Lee Vail, Justus Matthews, and others set me on the path that I have been on ever since. Many congratulations to the class of 2018 and to your families. I wish you all the best for your future endeavors, and may your music studies at Long Beach always enrich your lives with joy, reflection, and compassion.

—David F. Garcia, B.M. 1995

BIOGRAPHYDavid Garcia, Associate Professor at the University of North Carolina, holds degrees in music from California State University, Long Beach (B.M. in composition, 1995), University of California, Santa Barbara (M.A. in ethnomusicology, 1997), and The City University of New York, The Graduate Center (Ph.D. in ethnomusicology, 2003). Published in MUSICultures, Journal of the Society for American Music, The Musical Quarterly, and other academic journals, his research focuses on the music of the Americas with an emphasis on black music and Latin music of the United States. He teaches undergraduate courses in music of Latin America, world music, and jazz, and graduate seminars in ethnomusicology, music of the African diaspora, and popular music. He is also musical director of UNC’s Charanga Carolina which specializes in Cuban danzón and salsa music.

His first book, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music (Temple University Press, 2006), was awarded a Certificate of Merit in the category Best Research in Folk, Ethnic, or World Music by the Association for Recorded Sound Collections in 2007. His current book, Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins, was published with Duke University Press in August 2017. It was recently recognized with a commendation by the British Forum for Ethnomusicology. He is currently editing a reader on the history of Latin music, dance, and theater in the United States, 1776-1900. David Garcia is a recipient of a National Endowment for the Humanities fellowship (2014-2015). He has presented his research at conferences organized by the Society for Ethnomusicology, Cuban Research Institute, Casa de las Américas, and Latin American Studies Association. He was named Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute, Florida International University.

PROGRAM

PRESENTATION OF THE CELEBRATING MUSIC HONOREEPresented by Dr. Elizabeth Lindau

JENNIFER HIGDON (B. 1962)

blue cathedral

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 9 in D minor, Op. 125 Allegro ma non troppoMolto vivaceAdagio molto e cantabileFinale

Emily Bosetti—sopranoMichaela Blanchard—mezzo-sopranoMarcus Klotz—tenorMalek Sammour—bass-baritoneThe BCCM Chamber Choir, University Choir and Forty-Niner Chorus

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“An die Freude”Johann Christoph Friedrich von Schiller, 1785

O Freunde, nicht diese Töne!Sondern laßt uns angenehmere anstimmen,und freudenvollere.

Freude!Freude!

Freude, schöner GötterfunkenTochter aus Elysium,Wir betreten feuertrunken,Himmlische, dein Heiligtum!Deine Zauber binden wiederWas die Mode streng geteilt;Alle Menschen werden Brüder,Wo dein sanfter Flügel weilt.

Wem der große Wurf gelungen,Eines Freundes Freund zu sein;Wer ein holdes Weib errungen,Mische seinen Jubel ein!Ja, wer auch nur eine SeeleSein nennt auf dem Erdenrund!Und wer’s nie gekonnt, der stehleWeinend sich aus diesem Bund!

Freude trinken alle WesenAn den Brüsten der Natur;Alle Guten, alle BösenFolgen ihrer Rosenspur.Küsse gab sie uns und Reben,Einen Freund, geprüft im Tod;Wollust ward dem Wurm gegeben,Und der Cherub steht vor Gott.

Froh, wie seine Sonnen fliegenDurch des Himmels prächt’gen Plan,Laufet, Brüder, eure Bahn,Freudig, wie ein Held zum Siegen.

Seid umschlungen, Millionen!Diesen Kuß der ganzen Welt!Brüder, über’m SternenzeltMuß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen?Ahnest du den Schöpfer, Welt?Such’ ihn über’m Sternenzelt!Über Sternen muß er wohnen.

“Ode To Joy”

Oh friends, not these sounds!Let us instead strike up more pleasingand more joyful ones!

Joy!Joy!

Joy, beautiful spark of divinity,Daughter from Elysium,We enter, burning with fervour,heavenly being, your sanctuary!Your magic brings togetherwhat custom has sternly divided.All men shall become brothers,wherever your gentle wings hover.

Whoever has been lucky enoughto become a friend to a friend,Whoever has found a beloved wife,let him join our songs of praise!Yes, and anyone who can call one soulhis own on this earth!Any who cannot, let them slink awayfrom this gathering in tears!

Every creature drinks in joyat nature’s breast;Good and Evil alikefollow her trail of roses.She gives us kisses and wine,a true friend, even in death;Even the worm was given desire,and the cherub stands before God.

Gladly, just as His suns hurtlethrough the glorious universe,So you, brothers, should run your course,joyfully, like a conquering hero.

Be embraced, you millions!This kiss is for the whole world!Brothers, above the canopy of starsmust dwell a loving father.

Do you bow down before Him, you millions?Do you sense your Creator, O world?Seek Him above the canopy of stars!He must dwell beyond the stars.

PROGRAM NOTES

blue cathedral Jennifer Higdon was born in Brooklyn, New York in 1962 and has since become one of the leading composers through the turn of the twenty-first century. She holds degrees from Bowling Green State University and University of Pennsylvania. Her works have been categorized as neo-romantic, avant-garde, and contemporary. Higdon has composed music for many of the classical genres including orchestral, vocal, and chamber and has received many awards including the Pulitzer Prize and multiple Grammy awards. Higdon teaches composition at Curtis, has been featured at many festivals, and has served as composer-in-residence for various Orchestras. Jennifer Higdon has become one of the most frequently performed American composers, with blue cathedral being one of the most performed contemporary orchestral works with more than 600 performances since its premiere in 2000.

blue cathedral is a contemporary orchestral tone-poem written by Higdon following the loss of her brother Andrew Blue Higdon. This work contemplates life and the journey following it. “Blue…like the sky. Where all possibilities soar. Cathedrals…a place of thought, growth, spiritual expression.” An ethereal atmosphere is created by the use of bell-like sounds both in the percussion as well as with Chinese reflex bells. Following the introduction of soft strings, a solo flute (the composer’s instrument) and solo clarinet (the composer’s brother’s instrument) play lyrical melodies that defy time and space. Later, Higdon carefully chooses varieties of colorful expression in English horn, viola, cello, piccolo and bassoon. The piece returns to the flute and clarinet duo, but this time the clarinet continues to ascend unattended. The composition develops a “sensation of contemplation and quiet peace” and “the feeling of celebration and ecstatic expansion of the soul.”

—note by Matt Lopez

Symphony No. 9 in D minor, Op. 125 Ludwig Van Beethoven (b. Bonn, bap, Dec 17, 1770; d. Vienna, March 26, 1827) was a German pianist and composer, who is often considered one of the most influential figures in the history of music. Although his compositions fall under the categories of the classical and romantic eras, Beethoven’s music distinguishes itself from other music written during this time period due to his unconventional compositional skills. His innovative harmonic techniques dynamically coexist with his use of traditional classical styles to create truly unique masterpieces. This famous form of composition bloomed out of the personal anguish within Beethoven’s life; his inability to establish healthy relationships paired with his gradual loss of hearing are often seen as his inspiration for composing unique works. From his combination of tradition, exploration and personal expression, Beethoven has composed music of such inspiring power and expressiveness. His influence and impact on music of the last 150 years is unparalleled.

Beethoven’s Ninth and final symphony is a monolithic masterpiece; it claims an important title in the history of the symphony and in Beethoven’s development as a composer. The piece was first performed on May 7, 1824 in Vienna. Although deaf, Beethoven insisted on conducting; he stood on stage attempting to beat time, direct the orchestra, and follow his score. Explicit instructions were given to the musicians to ignore the composer and focus solely on Michael Umlauf, the conductor who premiered this grand symphony. Beethoven’s actions on stage were nonsensical. Joseph Böhm, one of the violinists who premiered his work, stated, “he stood in front of the conductor’s stand and threw himself back and forth like a madman. At one moment he stretched to his full height, at the next he crouched down to the floor. He flailed about with his hands and feet as though he wanted to play all the instruments and sing all the chorus parts.” Once this grand symphony came to an end and thunderous applause filled the theater, Beethoven was hunched over his score still attempting to conduct. It wasn’t until contralto soloist Caroline Unger gently turned his head that he could see the crowd’s rapturous response.

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Symphony No. 9 in D minor is unique in its instrumentation to say the least: it is scored for four soloists, full chorus, and orchestra. The first movement begins in celebration, establishing the opening theme. However, the exposition does not repeat and the recapitulation is almost an entirely new idea. Traditionally, the Adagio is played as the second movement followed by the Scherzo as the third; however, these two pieces are switched. The Scherzo (2nd movement) is usually repeated, but instead, Beethoven tricks the audience into thinking that it does, with a change mid-phrase. The Adagio (3rd movement) is placed before the finale for dramatic effect.

The piece expresses the composer’s deepest emotions with serene and noble variations. In the finale, Beethoven disrupts the peace with a Schreckensfanfare (fanfare of terror). Similar to operatic recitatives, themes from previous movements come back and are dismissed as the new theme of the finale enters. The composer then introduces the human voice as it sings An die Freude (Ode to joy), an ode by Friedrich Schiller to his tune.

“Beethoven is struggle, the struggle for peace, for fulfillment of spirit, for serenity and triumphant joy. He achieved it in his music, not only in his ninth but in all of his symphonies.” —Leonard Bernstein

—note by Sam Hernandez-Yanes and Georgette Patricio

ABOUT JOHANNES MULLER STOSCH German-born conductor Johannes Müller Stosch serves as Director of the Bob Cole Conservatory and oversees the Orchestral Studies Division at California State University, Long Beach. He leads the conservatory comprised of 25 tenure-track faculty, 80 adjunct instructors, 12 staff, and 500 students. Important initiatives of his work are a renewed emphasis on community engagement, collaboration with partners in the arts and campus communities, an entrepreneurial initiative to enhance the conservatory’s curriculum and growth of the conservatory’s national recognition through sustained excellence. Dr. Stosch was chosen to be part of the President’s and Provosts’ Leadership Fellow’s Team and the CSULB Data Fellows Initiative.

As conductor of the Bob Cole Conservatory Symphony, he has developed the orchestra into one of finest in Southern California. In 2017, the Bob Cole Conservatory Symphony played in Germany and the Czech Republic for sold-out audiences and toured in South Korea in 2013.

Praised as possessing “stylistic, charismatic, expressive and expert” leadership, Stosch also serves as Music Director and Conductor of Holland Symphony Orchestra in Michigan. During his tenure, Holland Symphony has seen unprecedented growth in size and quality of performances, as well as record numbers of season subscriptions. During a challenging climate for most arts organizations, Holland Symphony enlarged its already sold-out season. He was instrumental in establishing the Young American Composer’s Competition in an attempt to assist young composers gain wider recognition.

Müller Stosch keeps an active guest-conducting schedule both internationally and nationally. Most recent engagements included high-profile concerts with Long Beach Symphony, Kunming Philharmonic in China, University Symphonies in Vancouver, Canada, and at the University of Oregon in Eugene. In 2009, Müller Stosch was a featured guest conductor with the Busan Sinfonietta in Korea. This concert was broadcast on national TV (KBS).

Stosch has held conducting positions with the Cincinnati Symphony Orchestra, the Brockport Symphony in New York, Tri State Players in Ohio, and served repeatedly on the conducting and coaching staff at the Opera Theatre Festival in Lucca, Italy. A concert tour with the Eastman String Orchestra brought Müller Stosch to Japan, where he conducted concerts as part of Hiroshima’s 2006 Peace Festival.

An avid and natural operatic conductor with “stylish authority,” he has been a frequent guest conductor for new opera productions at Cincinnati’s famous College-Conservatory of Music, including the main-stage production of Britten’s Owen Wingrave. Previous engagements include Mozart’s Cosi fan Tutte, the world premier of Joel Hoffman’s The Memory Game, Dvořák’s Rusalka and Virgil Thomson’s The Mother Of Us

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All. He worked repeatedly as visiting opera conductor at the Opera Theater at Webster University in St. Louis, Missouri. In 2000, he was chosen as Music Director of the Museumsinsel-Operafestival in Berlin, Germany. During his doctoral studies he served as Assistant Conductor of the famed Eastman Philharmonia Orchestra, and won Eastman’s prestigious Walter Hagen Conducting Prize.

Aside from his passion in conducting, Müller Stosch has a special interest in performance practice and early music. In Germany, he worked with Hannover’s L’Arco, Bremer Ratsmusik, and Concerto Brandenburg. He also frequently appears on organ and harpsichord with Pacific Symphony Orchestra in Orange County, California. Concert tours as a soloist and collaborative artist have taken him throughout the U.S., Germany, Italy, Chile, and Japan. Müller Stosch has several commercial recordings to his credit all of which have been played on public radio.

Müller Stosch received his Doctorate of Musical Arts in Conducting from the Eastman School of Music on full scholarship. In 1997, after winning the coveted Strader Organ Competition in Cincinnati, Ohio, he received two Master of Music degrees in organ performance and orchestral conducting from the Cincinnati College-Conservatory of Music, also on full-tuition scholarship. He is married to pianist Clara Cheng Stosch, and they live in Long Beach with their Amazon parrot Papageno.

SOLOIST BIOGRAPHIES

EMILY BOSETTI is a student of Shigemi Matsumoto in her fourth year as a vocal performance major at the Bob Cole Conservatory of Music. This spring, Emily performed the lead role of Cunegonde in the BCCM Opera Institute’s production of Candide by Leonard Bernstein. In 2017, she performed the role of La Comtesse in Chérubin by Jules Massenet with the Opera Institute, sang in the Long Beach Opera chorus of Philip Glass’ The Perfect American, performed the role of Pepík in The Cunning Little Vixen by Leoš Janáček at the Miami Music Festival, and was chosen to represent the Choral/Vocal/Opera department in the BCCM Showcase Concert. In 2016, Emily performed her first role with the BCCM Opera Institute as Esmeralda in The Bartered Bride by Bedřich Smetana. Emily looks forward to performing the lead role of Lisette in La Rondine by Giacomo Puccini at the Miami Music Festival this summer.

MICHAELA BLANCHARD is graduating with her Bachelor of Music in Vocal Performance degree this May, and is an alumna of the Classical Voice Conservatory at the Orange County School of the Arts. Following Celebrating Music she sings live once more to end her Bob Cole Career. Her solo recital, The Nature of Love, produced by the Blanchard family, takes place on Michaela’s twenty-third birthday, May 12th, 2018 at 8pm in the Daniel Recital Hall. Michaela is a student of Tim MacDougall and a member of the award-winning BCCM Chamber Choir. She has worked with notable conductors such as James Conlon in the War Requiem as a part of Britten 100/LA: A Celebration, and Andreas Mitisek in the American premier The Perfect American by Phillip Glass. She has also sung for Grant Gershon, Eric Whitacre, Jake Runestad, Roberta Alexander, Julia Migenes, Delores Ziegler, and Ben Makino in masterclass settings. Michaela is grateful for the support of her family and mentors, and the many opportunities she has been presented with as a BCCM student. She looks forward to having a career as eclectic, and well-rounded as the person and musician she has become.

MARCUS KLOTZ is a lyric tenor who is pursuing a career as a classical vocalist as well as a conductor. He completed both his B.A. in Choral Music Education and B.A. in Vocal Performance at Pepperdine University (2016), where he studied voice with both Louise Lofquist and Henry Price. Since completing his undergraduate degree in the spring of 2016, his talents have brought him to perform on a variety of stages. He was featured as a baritone soloist during the Prague Proms performance of Carmina Burana with the Czech National Symphony in Smetana Hall during the summer of 2016. Previously singing

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as a baritone, Marcus made the switch to tenor in February 2017 and made his debut in April at the Palm Springs Opera Guild’s Opera in the Park. Since then, he has sung the role Rodolfo in Puccini’s La Bohème with Pasadena Opera Guild and has been featured in the Opera Buffs Showcase in the fall of 2017. He currently studies with voice teacher Vladimir Chernov at UCLA while also pursuing a M.M. in Choral Conducting at the Bob Cole Conservatory of Music at California State University. Long Beach. Marcus has had the honor of learning from great artists such as Stephanie Blythe, Vittorio Grigolo, and Timothy Mussard.

MALEK SAMMOUR is a senior at the BCCM and studies in the studio of Timothy MacDougall. Malek has been studying in the BCCM Opera Institute for four years and has been in productions such as Die Zauberflöte, L’elisir d’amore, and most recently Candide as Dr. Pangloss. Malek sings in the BCCM Chamber Choir, and has sung in both the CSULB University Choir and Jazz And Tonic. He as sung in works such as the Verdi Requiem, the Mozart Requiem, and Mendelssohn’s Elijah. This summer, Malek will be singing in the Songfest Young Artist Program at the Colburn School in LA, as well as the Seraphic Fire Choral Institute in Aspen, Colorado.

PERSONNEL

SOPRANO Michaela BlanchardEmily BoothEmily BosettiSarah ConniffSaane HalaholoAmanda MelloAmanda MittonKathleen MoriartyJennifer Paz *Kathleen Van Ruiten

ALTOAttia ArenasHolly FreibergNatalie GonzalezKaylee Lackman *Brittany Olivia LoganAshley MinerNancy MorganSarah ShalerPauline Tamale

TENOR Jonny ArenasHarlee C. BalajadiaEthan DaneguldbergMarcus KlotzBlake Larson *Ricardo MartinezThomas Murphy O’HaraSean WilburnEmilio Valdez

BASSJustin BaptistaJohn CarrollBrandon GuzmánZachary HainesMatthew Lyon HazzardRyan King *Ian Gabriel LunaMalek Sammour

* section leader

Bob Cole Conservatory Chamber ChoirDr. Jonathan Talberg—conductor, Marcus Klotz—assistant conductor

SOPRANOKatherine BoergerJulia ChapmanAnna CrumleyCandelaria DangerfieldCasey GoodwinLea GuardadoHannah HamiltonEmily LaSalleKelly McCandlessMariah MitchellNicole Peppel *Kelsey ReynoldsAbbie RosenthalAbigail Wyatt

ALTOMadeleine AdragnaMelina AdragnaJasmine AhlooChloe Billings *Joey CariniMegan DalenSelene FernandezAbigail HuesmannCaroline HyattKatherine KeiltyNagel MartinezNiko MurakamiChristine PatrikianChloé PuertasAnneka RempJordan RuppRosie SahagunShaye Swanson

TENORSlater AstleCesar BallardoChris Cazneaux *Isaiah ChaconNickolas CruzNathan FennacyBerkley KielhackJungmin KimJimmy LopezVincent LozaLuke McCandlessCasey McCrearySam MillerMichael RothbartStephen Tontz

BASSJosiah AlmendralaTim CervenkaCharles EggerMatthew Lyon Hazzard *Nathan JimenezSteven LeytonPatrick Rosal

* section leader

CSULB University ChoirDr. Joshua Palkki—conductor, Matthew Lyon Hazzard—assistant conductor

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SOPRANO Christianne BatolSarah BrownJosefina CarilloKelsey ChristiansenBrenna DonovanKatherine Doty-RomeroKathleen FitzsimmonsAnastasia GaestelumMarina GarciaStephanie GilmanYanran HeEmily KiertznerEmma LealSummer Le

ALTOEmily BeckerAngelique DoddDaniela FajardoSusan HaddadianJamie HellwigVictoria HolmesKaitlyn KimuraCheryl LakeSarah LindellHillary NgoVickie NguyenTerra PerroneMolly RosenfeldNia Salapare

Junehae LeeNatalie MartinezRosalyn SextonBailey SparksRebecca TurnerYue Yin

TENOR Austin AvilesJoshua BeauchampTom FloresAlan GabrielNoah LovoldLuke McCandlessArin ShahjhanianJohn Stouras

BASSCooper AllenVincente BastidasJacob BrandKevin ChanTaylor ShipmanNicolas ScottBrent VallefuocoRonel Wright

Forty-Niner ChorusBrian Dokko—conductor

VIOLIN IMizuki Takagi, ConcertmasterLucy LuLaura BedolMakena ClarkCrystaline TranWan Chi ChangAlice LeeYoungmin ChaMegan PollonLiya Ma

VIOLIN IIJaclyn Kim, PrincipalKenichi KiyamaDanny CeriJackson SneadRicardo RiosCole PerezEsbeyde SanchezOscar MartinezAngela BorlasaMaria Penaloza

VIOLATaylor Cooksey, PrincipalDavid KangMarylin MelloMelissa McGlumphyFred CanadaMarisa Ramey

VIOLONCELLOHyunji Yi, Principal Jisun JungRaymond NewellShawn BerrySohyun JangSara Park-KimChristopher BrownEmily DavisSydney MossAndrew DaviesSamuel Hernandez-YanesJocelyn MoralesNatalie DoGeorge Rochelle

BASSTobias Banks, Principal Hunter HawkinsAlexis LuterKatie McNamaraBryan Marquez

FLUTEElvin Schlanger *Emily Harrington Matt Lopez

Bob Cole Conservatory SymphonyDr. Johannes Müller Stosch—conductor

PICCOLOMatt Lopez

OBOESeth Leue † Soli Jones ‡

ENGLISH HORNSeth Leue

CLARINETSole Chang †Diane Lee ‡Carrie Johnston

BASSOONDaniel St. John †Henry Mock ‡

CONTRABASSOONJeffrey Wasik

HORNJennifer Ornelas †Keith Pepper ‡Kimberly DohiKaiden WatermanEdward Nugent

TRUMPETJoshua Goldstein †Tatiana Giesler ‡Maxfield Maynard

TROMBONERachel Trumbore †Bradley Martinez ‡Daniel NakazonoRobby RosenJinsei Goto

TUBAJessica Joyce

HARPStephanie Iorga

PIANO/CELESTAArin Shahjahanian

TIMPANIArthur Lin †XinYi Chong ‡

PERCUSSIONPetra ElekDavid RoweAlec WingfieldXinYi Chong

† Principal on Beethoven‡ Principal on Higdon

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Legacy DonorsAnonymousBob & Regena ColeShigemi Matsumoto & Marty Stark (In memory of Moriichi & Suki Matsumoto) L. Patrick Pritchard

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