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The Savannah Concert Association presents The Hilton Head Symphony Orchestra With this concert, the Hilton Head Symphony Orchestra is making its second appearance this season, the first being a memorable performance last November of Mahler's "Resurrection" Symphony. Founded in 1981 primarily as an amateur ensemble, the orchestra today is a fully professional group. Well supported financially and by volunteer time, it sponsors the Hilton Head Youth Orchestra, the Hilton Head Chorus and the widely acclaimed Hilton Head International Piano Competition.
Mary Woodmansee Green has conducted orchestras in Europe, the Middle East and many prominent U.S. venues such as Lincoln Center, Carnegie Hall and the Kennedy Center. Well known for presenting important premiers and appearing with world renowned performers, she currently divides her time between the Hilton Head Symphony Orchestra and the Kennett Symphony of Chester County, PA. Janet Witman Janet Witman is recognized for her ability to perform both on the classical harp and the Celtic harp. A graduate of the Curtis Institute in Philadelphia, she has appeared in many American cities. In 1999 she won the National Scotland Harp Championship. Active as a teacher, she and her husband live in Brandywine Valley, PA. Terry Moore Terry Moore is concertmaster of the Hilton Head Symphony Orchestra.
With degrees from Indiana University and the Catholic University of
America, he has previously been a member of the Florida Orchestra,
the Toronto Symphony and the Savannah Symphony. During his
Army service, he played with the “Strolling Strings” performing
frequently at the White House. He is married to Sarah Schenkman,
principal cellist of the Hilton Head Symphony Orchestra. PROGRAM Invitation to the Dance - Weber/Berlioz Symphony No. 4 in A Major, "Italian" - Mendelssohn INTERMISSION Celtic Concerto for Harp & Orchestra - Zaerr Scottish Fantasy for Violin, Harp & Orchestra - Bruch PROGRAM NOTES The first important step in elevating the waltz into a concert vehicle was taken by Carl Maria von Weber (1786-1826) with the Invitation to the Dance, composed for the piano in 1819. It was little known until the luminous orchestration that Hector Berlioz (1803-1869) made for it in 1841. "There was a wild sweetness in it that I found intoxicating," recorded Berlioz in his memoirs. When he was 21, Felix Mendelssohn (1809-1847) went on an extended tour of the Continent. Italy stirred him so deeply that he began the "Italian" Symphony there. The opening movement is in sparkling sonata form with an elaborately contrapuntal development. The Andante is a slow march; the third movement is a minuet/scherzo whose central trio uses the sonorities of the bassoons and horns. The finale turns to a tempestuous minor key for an exuberant dance modeled on the whirling saltarello that Mendelssohn heard in Rome. Harpist and composer Laura Zoerr (born in 1960) received her baccalaureate in harp and composition from the University of Oregon, and her master’s degree from the Eastman School of Music. Her compositions include works for string quartet, woodwind quintet, choir and this, the Celtic Concerto for Harp & Orchestra. The Concerto consists of seven traditional Irish tunes interwoven with transitions and interludes. Throughout his life the German composer Max Bruch (1838-1920) was interested in folk song. While conductor of the Liverpool Philharmonic from 1878-80, he gathered first hand knowledge of Great Britain’s indigenous music, and was inspired by the music, lore and land of Scotland. The opening movement of the Scottish Fantasy is divided between a solemn introduction and a setting of the tune Auld Rob Morris. The vigorous second movement is based on the song, Hey, the Dusty Miller, while the third is a version of I’m a-down for Jack o'Johnnie. The rousing finale uses the traditional war song Scots wha hae, said to be sounded by Robert the Bruce at the Battle of Bannockburn in 1314.
Tickets $35, $25, $12.50 For a free brochure of the 2006-2007 season, email name & address to eoliver524@comcast.net
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