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Resident Orchestra at the Green Music Center

SRS @ Home - April 25

WATCH THE CONCERT LIVE WITH US!  |  April 25 AT 3 PM

This concert is available for viewing here on the SRS website, but for a more enriching experience, watch it on the Santa Rosa Symphony YouTube channel on your smart TV, computer or other device. Please visit our Ways to Watch page well in advance, so you'll be ready on concert day. YouTube users find they can navigate back to the channel more easily by clicking on "subscribe." They also find it helpful to click on the bell icon to receive notifications of new content.  View instructions here.

Please note: Dates, program and artists are subject to change.


Season Subscribers please note: On April 28, you will receive a special access link to watch the concert for up to 30 days. So, if you missed the premiere, or just want to watch it again, look for an email with your special access link.
 

CONCERT PROGRAM

This performance will be recorded on April 10, 2021 at Weill Hall at the Green Music Center.

Conducted by Francesco Lecce-Chong
Artistic partner, Ellen Taaffe Zwilich
Joseph Edelberg, violin

CAROLINE SHAW: Entr’acte for String Orchestra
ELLEN TAAFFE ZWILICH: Romance for Violin and Orchestra   
ARTURO MÁRQUEZ: Danzón No. 4
TCHAIKOVSKY: Serenade in C major for String Orchestra

April Concert Program Flipbook coming soon!


The Extras

  • Pre-concert talk with Francesco, live on YouTube one hour prior to the concert.

  • During the concert, the camera crew take you closer than ever before to Francesco and the musicians, and orchestra members introduce the works.  

  • Stay tuned immediately after the performance for a Q & A with Francesco.
     

Exclusive Symphony Season Ticket Subscriber Benefits!

To acknowledge the support of Symphony season subscribers, please read below for some new benefits, available only to you.

Only Season Ticket Subscribers will have the opportunity to re-watch the above virtual concerts, whenever they want, up to 30 days after the Live Stream dates on YouTube.

Only Season Ticket Subscribers will receive exclusive access to guest artist recitals and concert conversations with Francesco on YouTube.

Exclusive access link to view the 2012 historic Orchestral Opening concert of Weill Hall  Soon, all subscribers will receive an exclusive access link to watch the 2012 Orchestral Opening Concert of the Green Music Center on the Symphony’s YouTube Channel. This celebratory extravaganza featured Bruno Ferrandis and Corrick Brown conducting, plus Jeffrey Kahane performing on piano. The palpable excitement will move you to your feet. Relive that momentous event, or view it for the very first time. 

April 18, 2021 on YouTube—Symphony Season Subscriber Exclusive Access
Jennifer Frautschi, violinIn Recital and In Conversation with Francesco
with Pedja Muzijevic, piano

PROGRAM:
Camille Saint-Saëns: Sonata No. 1 in D minor for Violin and Piano, Opus 75
Allegro agitato – Adagio
Allegretto moderato – Allegro molto

Jennifer Frautschi underwritten by Sigmund Anderman, In memory of Susan Anderman

 

Information for 2020-2021 Season Ticket Holders

We understand that you purchased tickets for live concerts, but we are very excited for you join us on this virtual journey, experiencing a season like no other. Your subscription tickets are your access to Santa Rosa Symphony orchestral virtual concerts, special virtual soloist recitals and more! If access to these virtual performances is not possible, the SRS kindly asks that you convert your tickets to a donation, before January 15, which will allow us to sustain our ability to bring great musical performances to our community and music education programs to 30,000 young people annually. Thank you for your support and commitment—we are truly grateful. Please contact SRS Patron Services at (707) 546-8742 or by email. Symphony staff, working from home, continue to monitor voicemails, email and mail.

   

Ways to Watch

SRS @ Home Series will be available to watch on YouTube. Visit our Ways to Watch page for specific guides for viewing on a variety of devices. We highly recommend doing all the prep work at least a few days in advance of the event or concert. That way, the day of, you'll be ready to watch. Click here for Ways to Watch.
 

Concert Sponsors

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz
SRS @ Home Series Lead Sponsor – Charles M. Schulz Museum, dedicated to the Peanuts Creator
SRS @ Home Series Supporting Sponsor – Victor and Karen Trione
SRS @ Home Series Supporting Sponsor – The Stare Foundation and David Stare of Dry Creek Vineyard
SRS @ Home Supporting Sponsor – County of Sonoma – Board of Supervisors
 
Concert Sponsor: Viking Cruises
Supporting Sponsor: County of Sonoma & Creative Sonoma
Conductor Francesco Lecce-Chong underwritten by David and Corinne Byrd
Guest Artist Joe Edelberg underwritten by Dr. Larry Schoenrock Endowment Fund
Pre-Concert Talks sponsored by Jamei Haswell and Richard Grundy
Media Sponsor: The Press Democrat
        
       

PROGRAM NOTES

April 2021 Program Notes by Elizabeth Schwartz
 
CAROLINE SHAW
Entr’acte for String Orchestra
 
COMPOSER: born August 1, 1982, Greenville, North Carolina
WORK COMPOSED: 2011 for string quartet; adapted for string orchestra on commission from A Far Cry Chamber Orchestra in July 2014
WORLD PREMIERE: The Brentano Quartet performed on April 21, 2011, at Princeton University
INSTRUMENTATION: string orchestra
ESTIMATED DURATION: 11 minutes
 
Composer, violinist, vocalist and producer Caroline Shaw became the youngest recipient of the Pulitzer Prize for Music in 2013 with her groundbreaking Partita for 8 Voices. Since then Shaw has produced a variety of new works for many diverse ensembles. Recent commissions include new works for Renée Fleming with Inon Barnatan; Dawn Upshaw with Sō Percussion and Gil Kalish; the Orchestra of St. Luke’s with John Lithgow; the Dover Quartet; the Calidore Quartet; Brooklyn Rider; and the Baltimore Symphony, among others.
 
Shaw’s compositions defy the common belief that contemporary music is by definition obscure, esoteric or comprehensible only to musical cognoscenti. Instead, Shaw creates music that appeals to audiences of all ages and backgrounds, with its fresh approach to established forms, accessible sounds and moments of pure joy.
 
Shaw writes, “Entr’acte was written in 2011 [while Shaw was a graduate student at Princeton University] after hearing the Brentano Quartet play Haydn’s Op. 77, No. 2 – with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”
Shaw also composed Entr’acte for string quartet, specifically for young ensembles, whose members have little or no experience with new music. Entr’acte’s straightforward, expressive themes appeal to players and audiences alike and the piece has become popular with young ensembles. “People say [Entr’acte] is like a gateway drug for new music,” Shaw says, jokingly.
 
Entr’acte begins simply, with a catchy repeated rhythmic motif. Shaw juxtaposes the Minuet’s signature ¾ rhythm with the less-regulated, improvisatory quality of the Trio. When she composed Entr’acte, Shaw wanted the players to collaborate in the way the music unfolds; to this end, she provides detailed instructions in the score regarding how to execute certain passages. In the Trio, for example, the cellist’s part includes the following directions: “Notes with fall-off gesture are basically that. Slide down from the written pitch (which does not have to be absolutely exact, except where tenutos are marked), maybe a half or whole step, with a slight coming away. Like a little sigh.”
 
ELLEN TAAFFE ZWILICH
Romance for Violin and Chamber Orchestra
 
COMPOSER: born April 30, 1939, Miami, Florida
WORK COMPOSED: 1996; originally for violin and piano; dedicated to Yehudi Menuhin and Edna Michell. Commissioned by the McKim Fund in the Library of Congress.
WORLD PREMIERE: Violinist Ida Kavafian and pianist Menahem Pressler gave the premiere at the Library of Congress on March 6, 1996.
INSTRUMENTATION: solo violin, flute, oboe, bassoon and string orchestra
ESTIMATED DURATION: 7 minutes
 
The Santa Rosa Symphony continues its spotlight on the music of Pulitzer Prize-winning composer Ellen Taaffe Zwilich. Zwilich gained international attention when she became the first woman to win the prestigious Pulitzer for Music in 1983. Since then, she has written a wide variety of works, earned numerous awards, and has established herself as one of America’s foremost living composers.   
 
In a 1985 New York Times interview, Tim Page wrote, “Mrs. Zwilich’s compositions reflect a concision and craft that appeal to both professional musicians and the general audience. Her music is complex, yet should prove accessible to those willing to listen closely. It is directly emotive, yet devoid of vulgarity, and characterized by a taut chromatic intensity that stretches the limits of tonality while rarely venturing outside them.” Page’s observations, written 11 years before Zwilich composed her Romance for Violin and Piano, apply equally well to this expressive music. Reviewers have praised the Romance for its “eloquent economy,” emerging from the Romance’s central theme, which Zwilich describes as “a simple direct tune.”
 
“As the title might suggest, my Romance for Violin and Piano is a short and simple work,” Zwilich writes in her own program notes. “Unlike most of my chamber music, Romance eschews development in favor of a simple direct ‘tune,’ followed by a brief, more athletic ‘Allegro.’ and concluding with a slightly varied reprise of the original ‘tune.’ Above all, this piece celebrates some of the simple pleasures of playing the fiddle; therefore it is dedicated to my violinist friends and colleagues.”
 
The Romance opens with two arpeggiated chords, A major and F major; these dual tonalities frame the harmonic journey of the whole work. The solo violin moves effortlessly between these two related tonalities, exploring more distant key areas along the way. The soloist’s primary theme winds sinuously over the orchestra’s accompaniment, creating an atmosphere of wistful introspection. Suddenly, without warning, the tranquility is shattered by a sudden change of tempo and a nervous ostinato (short, repeated rhythmic pattern). Both soloist and orchestra explode into a frenzy of activity. The melody of the soloist’s primary theme transforms into an emotional outburst. This agitation continues briefly and then subsides, returning once again to the dreamy melancholy of the opening.

Arturo Márquez
Danzón No. 4 for Chamber Orchestra COMPOSER: born December 20, 1950, Alamos, Sonora, Mexico WORK

COMPOSED: 1996. Dedicated to his siblings Beatriz and Sergio WORLD PREMIERE: Francisco Savín conducted the premiere in 1996 in Netzahaucóyotl Hall at the Universidad Nacional Autonoma de México in Mexico City.
INSTRUMENTATION: flute, oboe, clarinet, soprano saxophone, bassoon, horn, trumpet, trombone, piano, claves, guiro, maracas, suspended cymbal, tarolas (Cuban timbales) and strings.
ESTIMATED DURATION: 11 minutes.

In 2007, conductor Gustavo Dudamel and the Simón Bolívar Youth Orchestra, Venezuela’s premiere youth ensemble from the famed El Sistema, toured the United States and Europe for the first time. Their programs included Danzón No. 2, a composition by Mexican composer Arturo Márquez. At the time, neither Márquez nor his work were well known to audiences outside Latin America. Thanks to Dudamel and the stellar musicianship of the SBYO, Márquez and his music have gained thousands of new fans around the world, and increasing numbers of ensembles are programming Márquez’ richly evocative music on their concerts.
 
Márquez is best known for his series of danzóns, works based on a Cuban dance style that migrated to Veracruz, Mexico. The Danzón No. 2, in particular, is one of the most popular and frequently performed works written after 1950 from Latin America. Márquez incorporates the unique music of his culture, particularly mariachi bands and percussion street orchestras, into his orchestral music. (Márquez’ father, also Arturo, was a mariachi; of his nine children, only his namesake became a musician.)
 
The danzón combines elements of Latin ballroom dance’s formality and elegance with the infectious rhythms of Cuban folk music. Each of Márquez’ Danzóns (he has composed nine to date) reflects a story or a mood that is connected to Márquez’ life; Danzón No. 4 is dedicated to two of Márquez’ siblings. While there is no specific narrative, its understated melancholy suggests a nostalgic journey rich in memories. From the solo bassoon’s opening notes to the gently relentless high-pitched clicks of the claves, this music weaves a hypnotic spell that carries the listener away.
 
Piotr Ilyich Tchaikovsky
Serenade in C major for String Orchestra, Op. 48
 
COMPOSER: born May 7, 1840, Kamsko-Votinsk, Viatka Province, Russia; died November 6, 1893, St. Petersburg
WORK COMPOSED: 1880
WORLD PREMIERE: October 30, 1881 in St. Petersburg
INSTRUMENTATION: string orchestra. Tchaikovsky added a note to the score: “The larger the string orchestra, the better will the composer’s desires be fulfilled.”
ESTIMATED DURATION: 28 minutes
 
Piotr Ilyich Tchaikovsky, who dubbed Mozart “the Christ of music,” composed the Serenade for Strings as a tribute to his favorite composer. “It is intended to be an imitation of [Mozart’s] style,” Tchaikovsky wrote, “and I should be delighted if I thought I had in any way approached my model.”
 
Tchaikovsky worked on the Serenade at the same time as the 1812 Overture, and his feelings about the two works could not have contrasted more strongly. “You can imagine, beloved friend, that my muse has been benevolent of late when I tell you that I have written two long works very rapidly,” Tchaikovsky wrote to his patron, Nadezhda von Meck, “the festival Overture [the 1812] and a Serenade in four movements for string orchestra. The Overture will be very noisy; I wrote it without much warmth or enthusiasm and therefore it has no great artistic value. The Serenade, on the contrary, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not without artistic qualities.” Indeed, Tchaikovsky was so pleased with his Serenade that upon its completion he wrote his publisher, “I am violently in love with this work and cannot wait for it to be played.” At its premiere, the audience responded in a similar fashion, calling for an encore of the second movement. Even Anton Rubinstein, Tchaikovsky’s stern teacher, who was often harshly critical of his student’s music, conceded that the Serenade was Tchaikovsky’s finest work.
 
The opening Pezzo in forma di Sonatina (Piece in the form of a Sonatina) begins with a slow introduction, in the manner of an 18th-century string serenade. This full hymn-like melody gives way to an energetic tune that suggests the buoyancy and joy of Mozart. The lilting Waltz has delighted audiences since its premiere; here Tchaikovsky eloquently captures the essential cosmopolitan Viennese flavor of this dance with its shimmer and sparkle. In the Élégie, we hear hints of the brooding quality most associated with Tchaikovsky’s style, but the overall mood is meditative rather than melancholy. In the final movement, Tchaikovsky indicates a Russian theme (Tema Russo) and the slow introduction is indeed a Russian folk tune, paired with another Russian folksong full of hustle and bustle. The hymn melody from the first movement returns to conclude the serenade. 

© 2021 Elizabeth Schwartz


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Banner photo by Susan and Neil Silverman Photography

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ATTENTION: Symphony offices are currently closed due to COVID-19. Symphony staff, working from home, continue to monitor voicemails, email and mail.

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Phone:  (707) 546-7097

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