OPUS 27 - Ventura Music Festival !

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Performance 1 - Ventura Music Festival Rising Stars Concert

When: May 6, 2010  Thursday evening, 7:30 pm
Where:

Ventura Missionary Church [map]
6950 Ralston St.
Ventura, CA 93001

This is an open seating, ticketed event through the Ventura Music Festival.

• Click to buy tickets: http://www.brownpapertickets.com/event/96141
• Questions: Contact Ann Willard-Bevans at 805-648-3146, or email awb@venturamusicfestival.org

Performance 2 - Camarillo

When: May 7, 2010   Friday Evening,7:30 pm
Where:

Camarillo United Methodist Church [map]
291 Anacapa Drive
Camarillo, CA

This is a non-ticketed event. Suggested donations:

• $5 Senior & Student
• $10 Adults

Performance 3 - Thousand Oaks

When: May 9, 2010  Sunday Evening, 7:00 pm
Where:

Thousand Oaks Civic Arts Plaza [map]
Scherr Forum Theatre
2100 E. Thousand Oaks Blvd.
Thousand Oaks, CA

This is a general seating event.  First come, first served.

Ticket prices:

• $10 Student 
• $15 Seniors
• $25 Adults

To purchase tickets, see our contacts page.

May 9, 2010   Friends of the Phil Celebration, Sunday afternoon, 5:00pm

Join us before the concert, as we celebrate the 2010 season with a 3-course, wine-paired
gourmet dinner at Fiamme Restaurant. 3731 E. Thousand Oaks Blvd., Westlake Village,
in the Paseo Market Place Shopping Center (Corner of T.O. Boulevard & Marmon Avenue)
$50 All-inclusive. This is a fundraising event and a major portion of this cost is tax-deductible.
Seating is limited. For dinner reservations, please call MB TIckets:

Questions? Please send email to: tophilharmonic@gmail.com.

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The Thousand Oaks Philharmonic - Opus 27 Concert

Program:

Rising Stars Overture                                       Michael Glenn Williams (b. 1957)

Piano Concerto Piano No. 2 in G Minor, Op. 16                       Sergey Prokofiev (1891-1953)           
I: Andantino
Michael Aspinwall, soloist

Violin Concerto No. 1 in G minor, Op. 26                      Max Bruch (1838-1920)
III. Allegro energico
Evan De Long, soloist

Cello Concerto No. 1, in A Minor, Op. 33                   Camille Saint-Saens (1835-1921)
II-III: Allegretto con moto-Tempo primo
Matthew Chen, soloist

Intermission

Piano Concerto No. 2 in C Minor, Op. 18                    Sergey Rachmaninov (1873-1943)
I: Moderato
Charles Su, soloist

Stabat Mater                                                                 Gioacchino Rossini (1792-1868)
            Cujus Animam (Through her weeping heart)
Brandon Hynum, soloist

Concertino for Flute & Orchestra, Op. 107                  Cecile Chaminade (1857-1944)         
Rachel Flowers, soloist

Rhapsody in Blue                                                          George Gershwin (1898-1937)
David Fraley, soloist

 

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Student Performers

Alicia Zhong, piano, is a Medea Creek Middle School student from Oak Park.

Michael Aspinwall, piano, is a sophomore at Calabasas High School.

Matthew Chen, cello, is a high school student from Westlake Village.

Charles Su, piano, is a senior at Ventura High School.

Brandon Hynum, tenor, of Newbury Park, is a student at the Thornton School of Music-USC.

Rachel Flowers, flute, is a high school student from Oxnard.

David Fraley, piano, is a Monte Vista Middle School student from Camarillo.

Evan De Long, violin, is a home-schooled high school student from Newbury Park. 

 

Conductor

Richard Rintoul (DMA in Conducting, UCLA; MM in Orchestral Conducting, USC; BFA in Viola Performance, Cal Arts) conducts the orchestra and teaches conducting at the University of California, Santa Barbara. He is also the founding conductor of the Orchestra da Camera at the Colburn School of Performing Arts (Los Angeles) since 1987. Dr. Rintoul founded and for nine seasons conducted the Colburn Chamber Orchestra, with which he toured England & California, did national radio & television broadcasts (winning an Emmy in 1994) and recorded a well-reviewed CD, currently in international release. He spent a decade as the Director of Orchestral Activities and Director of Strings at California State University, Long Beach. There he founded the Studio Orchestra and taught advanced and graduate level conducting as well as directing the string chamber music program. He helped build the Pasadena Young Musician’s Orchestra, the Glendale Youth Orchestra and the Crossroads School Music Department (Santa Monica) into strong organizations. As a choir director, Dr. Rintoul served three southland churches for nineteen years. He was conductor of the Idyllwild Arts Summer Youth Symphony (Idyllwild, California) for eighteen seasons and for two summers, he conducted the Interlochen Philharmonic at the Interlochen Center for the Arts in Michigan.

His educational guest conducting includes work with student Honor Orchestras and High School Ensembles in a dozen states. Professionally, Dr. Rintoul has conducted the San Diego Symphony, the Downey Symphony, the Santa Barbara Chamber Orchestra, the Inland Empire Orchestra, and recording sessions for episodes of Star Trek “Enterprise” and the “Medal of Honor” video game series among a variety of projects. He has conducted productions of “the Medium,” “The Marriage of Figaro,” “The Daughter of the Regiment” and opera galas at CSULB. Additional operatic conducting credits are for “The Mikado,” “HMS Pinafore” and “Trial By Jury” with Opera a la Carte, the world premiere and subsequent performances of “Monticello” for radio station KCRW and a stint as chorus master for the Long Beach Opera. Dr. Rintoul has also been filmed conducting much of the standard orchestral repertoire for IVASI Systems’ “Video Conductor” DVD training materials. Having played viola professionally on hundreds of film soundtracks, he remains active in the recording industry.

 Orchestra

The Thousand Oaks Philharmonic was founded in December of 2000 as a California registered non-profit educational organization. Its mission is to provide exceptional music students in its area, an opportunity to be featured as soloists with a professional orchestra in front of a live audience. When formed by Edward Francis, the Thousand Oaks Philharmonic was an idea which would bring musical opportunities to young artists as well as other members of local communities. The Thousand Oaks Philharmonic (friends call us the T.O. Phil) is made up of professional musicians that include college faculty, music industry personnel and private teachers from areas all over the Southland.  The orchestra has performed more than 60 concerts.  The annual concert season includes a composer project presentation that has a scholarly perspective.  The T.O. Phil also maintains a recital hall in Westlake Village, where smaller ensembles, solo recitals and master class seminars are held on a regular basis.  The organization enjoys an artistic partnership with Steinway & Sons.

 Composers

 Michael Glenn Williams (b. 1957), composer, columnist, pianist and board member of the Thousand Oaks Philharmonic, was educated at Cal State University Northridge and the Eastman School of Music. He is founder of The Chopin Project and his wide-ranging works—including jazz, film scores and electronica— have been performed worldwide.

 Wolfgang Amadeus Mozart (1756-1791) composed the Piano Concerto in C Major during an extraordinarily successful period of rush and bustle. The sublime beauty of the second movement Andante—made famous by its use in the film Elvira Madigan—with its few notes and bare outline exhibits a classic example of how Mozart left himself room to improvise during performance.

 Sergey Prokofiev (1891-1953) bridged pre- and post-revolutionary Russia as one of the twentieth century’s great original composers and pianists reinvigorating many musical idioms. As a youth he studied with Gliere and Rimsky-Korsakov before his exodus to American and Europe. However, he returned to the Soviet Union before WWII to create the ballet score for Romeo and Juliet and, after evacuating Moscow before the Nazis, composed hisWar Sonatas, opera War and Piece and ballet Cinderella on the lam. He survived his later years of Stalinist censorship writing patriotic music and died the same day as the dictator. The four-movement Piano Concerto No. 2, full of pyrotechnics and lyricism, contains a grand cadenza (one of piano’s most demanding) in the sonata-like opening Andantino.

Max Bruch (1838-1920) The concerto was first completed in 1866 and the first performance was given on April 24, 1866 with Bruch himself conducting. The concerto was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The third movement, the finale, opens with an extremely intense, yet quiet, orchestral introduction that yields to the soloist's statement of the exuberant theme in brilliant double stops. It is very much like a dance that moves at a comfortably fast and energetic tempo. The second subject is a fine example of Romantic lyricism, a slower melody which cuts into the movement several times, before the dance theme returns with its fireworks. The piece ends with a huge accelerando, leading to a fiery finish that gets higher as it gets faster and louder and eventually concludes with two short, yet grand chords.

 Camille Saint-Saëns (1835-1921), a reader at 2 and composer at 3, is best remembered for his Samson et Dalila opera, “Organ” Symphony No. 3 andCarnival of Animals zoological fantasy. Contrast is a driving force in the three-part Cello Concerto No. 1 with the first and last movements sharing a triplet theme and the second a minuet with cello countermelody.

Sergey Rachmaninov (1873-1943), a formidable pianist and last of Russia’s great Romantic composers, received Tchaikovsky’s encouragement in his youth and accolades during his first tour in America, where he made his home (with Switzerland) after fleeing the Soviet Revolution in 1917. As a keyboard performer he was known for astounding technique—marked by precision, clarity, finger extension and power—and a profoundly articulate interpretation of a work’s inner voices. Trance therapy roused the composer from a failed performance of his first symphony, depression and alcoholism to create this major work—and its celebrated first movement melody—that turned his life around.

Gioacchino Rossini (1792-1868) had immense impact on opera. Prolific early in his career – he composed his first opera at age eight – Rossini created almost 40 operas in less than 20 years before giving up that genre in 1829 with William Tell and, in 1842, the final version of his ten-movement requiem,Stabat Mater, a core piece of choral repertory. His setting of the solemn 13th century poem, The Sorrowful Mother Stood – a meditation on the suffering of Mary during Jesus’ crucifixion – is highly theatrical, like his operas, creating a continuous musical fabric of sheer tunefulness full of direct, even simple, immediacy and sweeping intensity. The difficult tenor aria Cujus animam in the second section requires both a vocal line of springing yet dignified naïveté and a high D in its final moments.

 Cecile Chaminade (1857-1944), a child piano prodigy, became one of the few women composers of her time to achieve great popularity, first in Paris, then all over the world, especially in Britain and the U.S. where fan clubs sprang up. Half of her nearly 400 compositions are short piano pieces and 125 are songs, but she also composed a ballet, comic opera, dramatic symphony, chamber works and orchestral suites. The wide-ranging Concertino for Flute, composed in 1902 as an examination piece for Paris Conservatoire flute students, provides quite a workout as well as graceful melodies for the soloist.

 In his short life George Gershwin (1898-1937) proved himself to be both a great tunesmith and gifted composer bridging the classical, jazz and popular music worlds, scoring (with brother Ira as lyricist) Broadway shows (Lady Be Good) and the folk opera Porgy and Bess and composing the most popular work for piano and orchestra ever written by an American, Rhapsody in Blue. Inspired by James Whistler’s painting Nocturne in Black and Gold, Gershwin completed the work in less than a month and retained an improvised gag during rehearsals that became the famous opening clarinet glissando.

Dr. Richard Rintoul, will discuss the pieces prior to each performance during the concert.
(Note there will be no preconcert lecture)

All programs and events subject to change. 

 

 

 

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