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  31. <title>About the composer: Mary Watkins, Five Movements in Color</title>
  32. <link>https://www.flagstaffsymphony.org/concerts/about-the-composer-mary-watkins-five-movements-in-color/</link>
  34. <dc:creator><![CDATA[emma]]></dc:creator>
  35. <pubDate>Wed, 20 Mar 2024 15:02:33 +0000</pubDate>
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  67. <p>Trained in classical music at Howard University, Mary D. Watkins has composed three operas and has written for symphony orchestras, chamber and jazz ensembles, film, theatre, dance, and choral groups, in addition to being a popular recording artist for Olivia records in the 1970s.</p>
  68. <p>Mary Watkins is an eclectic composer and pianist of the classical and jazz traditions, often incorporating one with the other or bringing the various styles of ethnic, blues, gospel, country, folk and pop music into her original works.  Her versatility as a composer, arranger, pianist, and producer has led her to compose for symphony orchestra, chamber and jazz ensembles, film, and theatre.</p>
  69. <p>Born in Denver, Colorado Watkins began playing piano at age four.  By eight, she was accompanying a children’s choir and had begun to improvise and compose short pieces.  In 1972 she received a Bachelor’s degree in Music Composition from Howard University in Washington, D.C.  She later earned her living performing with jazz groups in the DC area and as Musical Director,  Resident Composer and pianist for theatre and modern dance groups.</p>
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  104. <p>Mary’s deep respect for black history and culture led her to write operas: <em>Dark River</em>, based on the story of Civil Rights activist Fanny Lou Hamer and her work with the Student Nonviolent Coordinating Committee; <em>Queen Clara,</em> based on the life of the founder of the Red Cross, Clara Barton; and <em>Emmett Till: The Opera,</em> which tells the story of the 14-year-old African American who was lynched in Mississippi in 1955, after being accused of offending a white woman in her family’s grocery store.</p>
  105. <p>Mary Watkins was one of the groundbreaking women of color who brought multiple disciplines to what became known as Women’s Music. Like much of the music that comes out of a community’s need to confront oppression and challenge stereotypes, Women’s Music created music that comes from a woman-identified perspective.</p>
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  123. <p><em>Five Movements in Color</em> encompasses music of West Africa as well as many different musical styles and genres from the African diaspora. <strong>Watkins has said that the piece is an “epochal painting or poem about our journey as a [Black] people in [the United States].”</strong> The complete work includes improvisational sections, layered ostinatos and polyrhythms, and syncopation, all of which are characteristics found in various musics of West Africa and its diaspora.</p>
  124. <p>The second movement, <em>Soul of Remembrance</em>, is often excerpted and played stand- alone. Of it, Watkins said, “I saw my own people in their long march to fully express themselves as fully human in a society when we were always boxed in.”</p>
  125. <p>Mary was invited to be one of five African American composers to present their work with The New Black Music Repertory Ensemble of Chicago. The Ensemble’s series, <em>Music of the African Diaspora</em>, featured Mary’s <em>Five Movements in Color.</em></p>
  126. <p>Watch a short film about Mary Watkins in the video below!</p>
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  145. <div class="wpb_video_wrapper"><iframe title="Mary Watkins - Because of a Song - Short Film" src="https://player.vimeo.com/video/654600248?dnt=1&amp;app_id=122963" width="1080" height="608" frameborder="0" allow="autoplay; fullscreen; picture-in-picture; clipboard-write"></iframe></div>
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  160. <p>The Flagstaff Symphony Orchestra will perform <em>Five Movements in Color</em> on April 12th, at 7:30 pm in Ardrey Auditorium.</p>
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  175. <a class="nectar-button large regular accent-color  regular-button"  style="" target="_blank" href="https://nautickets.universitytickets.com/w/event.aspx?id=1816&#038;r=44a00ef25ccb4d75af1e536834f92e2f" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Get Tickets</span></a>
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  186. <title>About the composer: Jocelyn Hagen, The Notebooks of Leonardo da Vinci</title>
  187. <link>https://www.flagstaffsymphony.org/concerts/about-the-composer-jocelyn-hagen-the-notebooks-of-leonardo-da-vinci/</link>
  189. <dc:creator><![CDATA[emma]]></dc:creator>
  190. <pubDate>Wed, 13 Mar 2024 17:59:25 +0000</pubDate>
  191. <category><![CDATA[Informative]]></category>
  192. <category><![CDATA[Music]]></category>
  193. <category><![CDATA[Upcoming Concerts]]></category>
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  222. <p>Jocelyn Hagen composes music that has been described as “simply magical” (Fanfare Magazine) and “dramatic and deeply moving” (Star Tribune, Minneapolis/St. Paul). She is a pioneer in the field of composition, pushing the expectations of musicians and audiences with large-scale multimedia works, electro-acoustic music, dance, opera, and publishing. Her first forays into composition were via songwriting, still very evident in her work. The majority of her compositions are for the voice: solo, chamber and choral. Her melodic music is rhythmically driven and texturally complex, rich in color and deeply heartfelt.</p>
  223. <p>In 2019 and 2020, choirs and orchestras across the country are premiering her multimedia symphony The Notebooks of Leonardo da Vinci that includes video projections created by a team of visual artists, highlighting da Vinci’s spectacular drawings, inventions, and texts. Hagen describes her process of composing for choir, orchestra and film simultaneously in a Tedx Talk given at the Walker Art Center in Minneapolis, now available on YouTube. Her dance opera collaboration with choreographer Penelope Freeh,Test Pilot, received the 2017 American Prize in the musical theater/opera division as well as a Sage Award for “Outstanding Design.” The panel declared the work “a tour de force of originality.”</p>
  224. <p>In 2013 Hagen released an EP entitled MASHUP, in which she performs Debussy’s “Doctor Gradus ad Parnassum” while singing Ed Sheeran’s “The A Team.” She is also one half of the band Nation, an a cappella duo with composer/performer Timothy C. Takach, and together they perform and serve as clinicians for choirs from all over the world.</p>
  225. <p>Hagen’s commissions include Conspirare, the Minnesota Opera, the Minnesota Orchestra, the International Federation of Choral Music, the American Choral Directors Association of Minnesota, Georgia, Connecticut and Texas, the North Dakota Music Teachers Association, Cantus, the Boston Brass, the Metropolitan Symphony Orchestra and the St. Olaf Band, among many others. Her work is independently published through JH Music, as well as through Graphite Publishing, G. Schirmer, ECS Publishing, Fred Bock Music Publishing, Santa Barbara Music Publishing, and Boosey and Hawkes.</p>
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  244. <div class="wpb_video_wrapper"><iframe title="Composing for choir, orchestra—and video projections | Jocelyn Hagen | TEDxMinneapolisSalon" width="1080" height="608" src="https://www.youtube.com/embed/O5UEH89pdVs?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>
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  259. <p>Jocelyn Hagen&#8217;s work The Notebooks of Leonardo da Vinci will be performed at the FSO&#8217;s season finale concert on Friday, April 12th with the NAU Shrine of the Ages Choir and Flagstaff Master Chorale.</p>
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  274. <a class="nectar-button jumbo regular accent-color  regular-button"  style="" target="_blank" href="https://nautickets.universitytickets.com/w/event.aspx?id=1816&#038;r=44a00ef25ccb4d75af1e536834f92e2f" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Get Tickets</span></a>
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  284. <item>
  285. <title>The Cast of A Midsummer Night&#8217;s Dream</title>
  286. <link>https://www.flagstaffsymphony.org/events/the-cast-of-a-midsummer-nights-dream/</link>
  288. <dc:creator><![CDATA[emma]]></dc:creator>
  289. <pubDate>Thu, 15 Feb 2024 18:15:11 +0000</pubDate>
  290. <category><![CDATA[Informative]]></category>
  291. <category><![CDATA[Special Events]]></category>
  292. <category><![CDATA[Upcoming Concerts]]></category>
  293. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26365</guid>
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  295. <description><![CDATA[]]></description>
  296. <content:encoded><![CDATA[
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  304. <p>This Saturday, the 17th at 7:30pm iin Ardrey Auditorium is the performance of <a class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg xo1l8bm" tabindex="0" role="link" href="https://www.facebook.com/events/382863774226934/?__cft__&#091;0&#093;=AZXJtdvbh4V4SXud05H3WBMGqyejb1gcT4uuw5CXP4lrkNYaeAGVps2npDyWLiNvt8AjVbq4jB1jqimSPajbwBYLQCAYn73AvYB2zww0sC6pmkCGoBIbtcETbhKFJedfu1EEfM4M3PjncwFz0EI97Y4V&amp;__tn__=-UK-R"><span class="xt0psk2">A Midsummer Night&#8217;s Dream</span></a> with <a class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg xo1l8bm" tabindex="0" role="link" href="https://www.facebook.com/flagshakes?__cft__&#091;0&#093;=AZXJtdvbh4V4SXud05H3WBMGqyejb1gcT4uuw5CXP4lrkNYaeAGVps2npDyWLiNvt8AjVbq4jB1jqimSPajbwBYLQCAYn73AvYB2zww0sC6pmkCGoBIbtcETbhKFJedfu1EEfM4M3PjncwFz0EI97Y4V&amp;__tn__=-&#093;K-R"><span class="xt0psk2">Flagstaff Shakespeare Festival</span></a>, <a class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg xo1l8bm" tabindex="0" role="link" href="https://www.facebook.com/NAUCommunityAcademy?__cft__&#091;0&#093;=AZXJtdvbh4V4SXud05H3WBMGqyejb1gcT4uuw5CXP4lrkNYaeAGVps2npDyWLiNvt8AjVbq4jB1jqimSPajbwBYLQCAYn73AvYB2zww0sC6pmkCGoBIbtcETbhKFJedfu1EEfM4M3PjncwFz0EI97Y4V&amp;__tn__=-&#093;K-R"><span class="xt0psk2">NAU Community Music and Dance Academy</span></a>, and NAU Treble Vox Choir!</p>
  305. <p>Before the concert, join us for the pre-concert reception in the Kitt Recital Hall Atrium from 6 pm to 7:25 pm for light snacks, drinks, and community! Also &#8211; most of the items from the “My Favorite Things” online auction will be on display for you to browse and bid on. The “Chat with Charles” and Flagstaff Shakespeare Festival director Christine Schmidle will be at 6:30pm in Kitt Recital Hall.</p>
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  357. <p><strong>Justus Burkitt as Theseus/Oberon</strong></p>
  358. <p><span style="font-weight: 400;">Justus Burkitt has been performing Shakespeare across Arizona for over 20 years, most recently with Laark Productions in </span><i><span style="font-weight: 400;">A Midsummer Night’s Dream </span></i><span style="font-weight: 400;">as Oberon (a role he is happy to be reprising for you now!) and with Flagstaff Shakespeare Festival in their 2023 production of </span><i><span style="font-weight: 400;">Twelfth Night</span></i><span style="font-weight: 400;"> as Orsino. His other FlagShakes credits include Iago in </span><i><span style="font-weight: 400;">Othello</span></i><span style="font-weight: 400;"> and Dromio of </span><span style="font-weight: 400;">Syracuse in </span><i><span style="font-weight: 400;">A Comedy of Errors</span></i><span style="font-weight: 400;">. He has also appeared in Laark Productions shows as Don P</span><span style="font-weight: 400;">edro in </span><i><span style="font-weight: 400;">Much Ado About Nothing</span></i><span style="font-weight: 400;">, Laertes in </span><i><span style="font-weight: 400;">Hamlet </span></i><span style="font-weight: 400;">and Caliban in </span><i><span style="font-weight: 400;">The Tempest</span></i><span style="font-weight: 400;">. He has </span><span style="font-weight: 400;">appeared with Southwest Shakespeare Festival as Macduff in </span><i><span style="font-weight: 400;">Macbeth</span></i><span style="font-weight: 400;">. Justus owes much of </span><span style="font-weight: 400;">his happiness in life to his wife, Bree, and their two dogs (Jill and Sonora) and cat (Indigo).</span></p>
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  392. <p><strong>Paige Latendresse as Puck/ Egeus /Philostrate</strong></p>
  393. <p><span style="font-weight: 400;">Paige Latendresse has been performing in Arizona since 2017. Her most recent credits include the Nurse in FlagShakes summer production of </span><i><span style="font-weight: 400;">Romeo and Juliet </span></i><span style="font-weight: 400;">and Angelo in </span><i><span style="font-weight: 400;">Comedy of Errors</span></i><span style="font-weight: 400;">. Paige currently manages two cafes in Uptown Sedona and spends her free time at home with her four dogs and wonderful partner Nathan. She is very excited to be a part of such a unique performance with FlagShakes and FSO. </span></p>
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  404. <div id="fws_6630e07077359"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  405. <div  class="vc_col-sm-3 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  406. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  407. <div class="wpb_wrapper">
  408. <div class="img-with-aniamtion-wrap " data-max-width="100%" data-max-width-mobile="default" data-border-radius="none" data-shadow="none" data-animation="fade-in" >
  409.      <div class="inner">
  410.        <div class="hover-wrap" data-hover-animation="none">
  411.          <div class="hover-wrap-inner">
  412.            <img class="img-with-animation skip-lazy " data-delay="0" height="896" width="728" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-10.53.24-AM.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-10.53.24-AM.png 728w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-10.53.24-AM-244x300.png 244w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
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  420.  
  421. <div  class="vc_col-sm-9 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  422. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  423. <div class="wpb_wrapper">
  425. <div class="wpb_text_column wpb_content_element " >
  426. <div class="wpb_wrapper">
  427. <p><strong>Becky Zaritsky as Titania / Hyppolyta</strong></p>
  428. <p><span style="font-weight: 400;">Becki Zaritsky is thrilled to be returning to </span><i><span style="font-weight: 400;">A Midsummer Night&#8217;s Dream </span></i><span style="font-weight: 400;">for her third time! Select credits: Miss Prism in </span><i><span style="font-weight: 400;">The Importance of Being Earnest</span></i><span style="font-weight: 400;">, Quince in </span><i><span style="font-weight: 400;">A Midsummer Night’s Dream</span></i><span style="font-weight: 400;">, Halina in </span><i><span style="font-weight: 400;">Indecent</span></i><span style="font-weight: 400;">, and Rosalind in </span><i><span style="font-weight: 400;">As You Like It</span></i><span style="font-weight: 400;"> (Flagstaff Shakespeare Festival); Callie in </span><i><span style="font-weight: 400;">Consequences </span></i><span style="font-weight: 400;">(24-hr Theatre Project with The Phoenix Theatre Company), Harriet in </span><i><span style="font-weight: 400;">The Bremen Town Musicians</span></i><span style="font-weight: 400;"> (The REV on Tour); understudy Tatiana Racón in </span><i><span style="font-weight: 400;">The Comedy of Tenors</span></i><span style="font-weight: 400;"> (Walnut Street Theatre); Assistant Stage Manager for </span><i><span style="font-weight: 400;">West Side Story </span></i><span style="font-weight: 400;">(International Tour). Becki is also part of the Flagstaff improv team Chomsky School of Business, and is an aerialist at Momentum Aerial. </span><a href="http://www.beckizaritsky.com/"><span style="font-weight: 400;">www.BeckiZaritsky.com</span></a><span style="font-weight: 400;"> @BeckZarit #BeckSideStory</span></p>
  429. </div>
  430. </div>
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  438. </div></div>
  439. <div id="fws_6630e07078016"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  440. <div  class="vc_col-sm-3 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  441. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
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  443. <div class="img-with-aniamtion-wrap " data-max-width="100%" data-max-width-mobile="default" data-border-radius="none" data-shadow="none" data-animation="fade-in" >
  444.      <div class="inner">
  445.        <div class="hover-wrap" data-hover-animation="none">
  446.          <div class="hover-wrap-inner">
  447.            <img class="img-with-animation skip-lazy " data-delay="0" height="2560" width="2022" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-scaled.jpg" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-scaled.jpg 2022w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-237x300.jpg 237w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-809x1024.jpg 809w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-768x972.jpg 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-1213x1536.jpg 1213w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Hannah-Fontes_hs-1618x2048.jpg 1618w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
  448.          </div>
  449.        </div>
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  455.  
  456. <div  class="vc_col-sm-9 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  457. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  458. <div class="wpb_wrapper">
  460. <div class="wpb_text_column wpb_content_element " >
  461. <div class="wpb_wrapper">
  462. <p><strong>Hannah Fontes as Helena/Snug/Fairy/Peaseblossom </strong></p>
  463. <p><span style="font-weight: 400;">Hannah Fontes is an actor, aerialist, and arts administrator based in Flagstaff, where she is the Marketing Director at the Flagstaff Shakespeare Festival. Besides marketing, she is the producer and a co-host on their podcast Untamed Shrews, a podcast about being a woman in theater. Her favorite acting credits include</span><i><span style="font-weight: 400;"> Romeo and Juliet </span></i><span style="font-weight: 400;">(Juliet)</span><i><span style="font-weight: 400;">, Othello</span></i><span style="font-weight: 400;"> (Desdemona), </span><i><span style="font-weight: 400;">A Midsummer Night’s Dream</span></i><span style="font-weight: 400;"> (Helena), </span><i><span style="font-weight: 400;">Shakespeare in Love</span></i><span style="font-weight: 400;"> (Nurse), </span><i><span style="font-weight: 400;">meg jo beth amy &amp; louisa</span></i><span style="font-weight: 400;"> (Meg/Anna), </span><i><span style="font-weight: 400;">Sense and Sensibility</span></i><span style="font-weight: 400;"> (Lucy/ Fanny), </span><i><span style="font-weight: 400;">The Tempest </span></i><span style="font-weight: 400;">(Caliban), and </span><i><span style="font-weight: 400;">Merry Wives of Windsor </span></i><span style="font-weight: 400;">(Mistress Quickly). She also wrote a one woman show titled </span><i><span style="font-weight: 400;">I Am Playing Me</span></i><span style="font-weight: 400;"> that has been touring around the southwest and beyond for the past year. Hannah has also worked with Sweet Tea Shakespeare, Island Shakespeare Festival, Merry-Go-Round Playhouse (The Rev), Utah Shakespeare Festival, Arizona Theatre Company, Southwest Shakespeare Company, Bridge Initiative, Tier5 Theatre Company, Neil Simon Festival, and Canyon Moon Theatre Company. Hannah holds a Bachelor of Fine Arts degree in Musical Theatre from Southern Utah University. When Hannah isn’t doing theatre, you can find her doing aerial arts, baking, thrifting, volunteering at her church, and petting dogs.</span></p>
  464. </div>
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  474. <div id="fws_6630e07078c96"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  475. <div  class="vc_col-sm-3 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  476. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  477. <div class="wpb_wrapper">
  478. <div class="img-with-aniamtion-wrap " data-max-width="100%" data-max-width-mobile="default" data-border-radius="none" data-shadow="none" data-animation="fade-in" >
  479.      <div class="inner">
  480.        <div class="hover-wrap" data-hover-animation="none">
  481.          <div class="hover-wrap-inner">
  482.            <img class="img-with-animation skip-lazy " data-delay="0" height="998" width="838" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.02.26-AM.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.02.26-AM.png 838w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.02.26-AM-252x300.png 252w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.02.26-AM-768x915.png 768w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
  483.          </div>
  484.        </div>
  485.      </div>
  486.    </div>
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  488. </div>
  489. </div>
  490.  
  491. <div  class="vc_col-sm-9 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  492. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  493. <div class="wpb_wrapper">
  495. <div class="wpb_text_column wpb_content_element " >
  496. <div class="wpb_wrapper">
  497. <p><strong>David Scandura as Demetrius/Bottom</strong></p>
  498. <p><span style="font-weight: 400;">David Scandura has called Flagstaff home for nearly 17 years. He graduated from Northern Arizona University in 2015 with a bachelor’s degree in English Secondary Education and a minor in Cinema Studies. A lifelong writer and performer, David is a former guest columnist with </span><i><span style="font-weight: 400;">Flag Live!</span></i><span style="font-weight: 400;"> and a spoken word poet across Northern Arizona. He wrote and starred in the television pilot </span><i><span style="font-weight: 400;">The Masterpiece</span></i><span style="font-weight: 400;"> (Malcolm West) with Alyra Productions. On stage, David has performed in</span><i><span style="font-weight: 400;"> Macbeth</span></i><span style="font-weight: 400;"> (Donalbain) with NAU. His original play </span><i><span style="font-weight: 400;">Visiting Hours</span></i><span style="font-weight: 400;"> was featured in a dramatized reading as part of NAU’s New Works Festival. His most recent performance with Flagstaff Shakespeare Festival was </span><i><span style="font-weight: 400;">Two Noble Kinsmen</span></i><span style="font-weight: 400;">. In his spare time, David is a diehard heavy metal fan, a full-time cat dad, and discusses movies every week on </span><i><span style="font-weight: 400;">The Greatest Movie Ever Made Podcast </span></i><span style="font-weight: 400;">along with fellow FlagShakes member Justus Burkitt.</span></p>
  499. </div>
  500. </div>
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  508. </div></div>
  509. <div id="fws_6630e07079836"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  510. <div  class="vc_col-sm-3 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  511. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  512. <div class="wpb_wrapper">
  513. <div class="img-with-aniamtion-wrap " data-max-width="100%" data-max-width-mobile="default" data-border-radius="none" data-shadow="none" data-animation="fade-in" >
  514.      <div class="inner">
  515.        <div class="hover-wrap" data-hover-animation="none">
  516.          <div class="hover-wrap-inner">
  517.            <img class="img-with-animation skip-lazy " data-delay="0" height="910" width="738" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.01.22-AM.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.01.22-AM.png 738w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-11.01.22-AM-243x300.png 243w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
  518.          </div>
  519.        </div>
  520.      </div>
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  524. </div>
  525.  
  526. <div  class="vc_col-sm-9 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  527. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  528. <div class="wpb_wrapper">
  530. <div class="wpb_text_column wpb_content_element " >
  531. <div class="wpb_wrapper">
  532. <p><strong>Marcus Winn as Lysander/Flute/Cobweb/Mustardseed</strong></p>
  533. <p><span style="font-weight: 400;">Marcus Winn is super privileged to be portraying Lysander. Recent credits include Romeo in </span><i><span style="font-weight: 400;">Romeo and Juliet </span></i><span style="font-weight: 400;">and Arcite in </span><i><span style="font-weight: 400;">Two Noble Kinsmen</span></i><span style="font-weight: 400;">. He would like to thank God, his mom and brother, family and friends, and his teacher and mentor Don K. Williams.</span></p>
  534. </div>
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  540. </div>
  541. </div>
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  544. <div id="fws_6630e0707a2bb"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  545. <div  class="vc_col-sm-3 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  546. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  547. <div class="wpb_wrapper">
  548. <div class="img-with-aniamtion-wrap " data-max-width="100%" data-max-width-mobile="default" data-border-radius="none" data-shadow="none" data-animation="fade-in" >
  549.      <div class="inner">
  550.        <div class="hover-wrap" data-hover-animation="none">
  551.          <div class="hover-wrap-inner">
  552.            <img class="img-with-animation skip-lazy " data-delay="0" height="964" width="688" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-10.55.33-AM.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-10.55.33-AM.png 688w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Screen-Shot-2024-02-15-at-10.55.33-AM-214x300.png 214w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
  553.          </div>
  554.        </div>
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  556.    </div>
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  560.  
  561. <div  class="vc_col-sm-9 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  562. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
  563. <div class="wpb_wrapper">
  565. <div class="wpb_text_column wpb_content_element " >
  566. <div class="wpb_wrapper">
  567. <p><strong>Audrey Young as Hermia /Quince/ Moth</strong></p>
  568. <p><span style="font-weight: 400;">This is Audrey Young’s seventh season with FlagShakes with her most recent productions including </span><i><span style="font-weight: 400;">Two Noble Kinsmen </span></i><span style="font-weight: 400;">(Emilia), </span><i><span style="font-weight: 400;">Twelfth Night</span></i><span style="font-weight: 400;"> (Feste), </span><i><span style="font-weight: 400;">Othello </span></i><span style="font-weight: 400;">(Emilia), and the Viola Award winning </span><i><span style="font-weight: 400;">Crumbs from the Table of Joy </span></i><span style="font-weight: 400;">(Gerte Schulte). Additional 2022-2023 credits include </span><i><span style="font-weight: 400;">Cyrano de Bergerac </span></i><span style="font-weight: 400;">(Roxane) with Red Earth Theatre Co., </span><i><span style="font-weight: 400;">Almost, Maine </span></i><span style="font-weight: 400;">(Sandrine, Gayle, Rhonda), </span><i><span style="font-weight: 400;">Eurydice </span></i><span style="font-weight: 400;">(Little Stone/Eurydice US), and </span><i><span style="font-weight: 400;">The Great Gatsby</span></i><span style="font-weight: 400;"> (Daisy Buchanen) with Emerson Theater Collaborative. In 2020, Audrey was the recipient of the Viola Award for Emerging Artist.</span></p>
  569. <p><a href="http://www.officialaudreyyoung.com"><span style="font-weight: 400;">www.officialaudreyyoung.com</span></a><span style="font-weight: 400;">  </span></p>
  570. </div>
  571. </div>
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  579. </div></div>
  580. <div id="fws_6630e0707aec1"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  581. <div  class="vc_col-sm-3 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
  582. <div class="vc_column-inner" ><div class="column-bg-overlay-wrap" data-bg-animation="none"><div class="column-bg-overlay"></div></div>
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  603. <p><strong>Christine Schmidle &#8211; Director  </strong></p>
  604. <p><span style="font-weight: 400;">Christine Schmidle is a freelance director and text coach and worked on over 60 productions at Shakespeare’s Globe in London. She received her MFA at Mary Baldwin College. Christine’s working experience includes the American Shakespeare Center, the Neuss Shakespeare Festival (Germany), the Prague Shakespeare Festival, and of course Flagstaff Shakespeare Festival. She has been published in the Shakespeare Bulletin and Shakespeare Quarterly and translated “Der Bestrafte Brudermord” (a German Renaissance adaptation of Shakespeare’s Hamlet) into English for Hidden Room’s puppet show, which has been touring worldwide. Follow her work at </span><a href="http://www.actshakespeare.com"><span style="font-weight: 400;">www.ActShakespeare.com</span></a><span style="font-weight: 400;">.</span></p>
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  638. <p><strong>Shari Snodgrass &#8211; Stage Manager </strong></p>
  639. <p><span style="font-weight: 400;">Shari Snodgrass has been running around backstage with various theatre companies in </span><span style="font-weight: 400;">Washington and Arizona for 20 plus years. Some of her favorite productions she’s </span><span style="font-weight: 400;">participated in include: </span><i><span style="font-weight: 400;">Two Noble Kinsmen</span></i><span style="font-weight: 400;"> (Flagstaff Shakespeare Festival) </span><i><span style="font-weight: 400;">Avenue Q </span></i><span style="font-weight: 400;">(Theatrikos Theatre Company), </span><i><span style="font-weight: 400;">Sweeney Todd</span></i><span style="font-weight: 400;"> (Theatrikids) </span><i><span style="font-weight: 400;">Rent</span></i><span style="font-weight: 400;"> (Flagstaff Musical </span><span style="font-weight: 400;">Theatre), </span><i><span style="font-weight: 400;">Into the Woods</span></i><span style="font-weight: 400;"> (Leavenworth Summer Theatre), </span><i><span style="font-weight: 400;">Joseph and the Amazing </span></i><i><span style="font-weight: 400;">Technicolor Dreamcoat </span></i><span style="font-weight: 400;">(LST), </span><i><span style="font-weight: 400;">Phantom of the Opera</span></i><span style="font-weight: 400;"> (Wenatchee District Musical), and </span><i><span style="font-weight: 400;">Chicago</span></i><span style="font-weight: 400;"> (Music Theater of Wenatchee). Many thanks to a great cast and crew and </span><span style="font-weight: 400;">much love to my family, Jenny, Victor, Dylan, and Elaina; thanks for sharing Auntie and </span><span style="font-weight: 400;">letting her play with her friends.</span></p>
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  654. </item>
  655. <item>
  656. <title>A Midsummer Night&#8217;s Dream: How Mendelssohn came to write his most famous work.</title>
  657. <link>https://www.flagstaffsymphony.org/events/a-midsummer-nights-dream-how-mendelssohn-came-to-write-his-most-famous-work/</link>
  659. <dc:creator><![CDATA[emma]]></dc:creator>
  660. <pubDate>Thu, 01 Feb 2024 19:17:00 +0000</pubDate>
  661. <category><![CDATA[Informative]]></category>
  662. <category><![CDATA[Music]]></category>
  663. <category><![CDATA[Special Events]]></category>
  664. <category><![CDATA[Upcoming Concerts]]></category>
  665. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26336</guid>
  666.  
  667. <description><![CDATA[]]></description>
  668. <content:encoded><![CDATA[
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  677.            <img class="img-with-animation skip-lazy " data-delay="0" height="540" width="900" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Mendelssohn-Shakespeare-blog-900-x-540-px-1.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Mendelssohn-Shakespeare-blog-900-x-540-px-1.png 900w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Mendelssohn-Shakespeare-blog-900-x-540-px-1-300x180.png 300w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/02/Mendelssohn-Shakespeare-blog-900-x-540-px-1-768x461.png 768w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
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  690. <blockquote class="nectar_single_testimonial" data-color="default" data-style="bold"><div class="inner"> <p><span class="open-quote">&#8221;</span>We were entwined in A Midsummer Night’s Dream and Felix particularly made it his own. He identified with all of the characters. He recreated them, so to speak, every one of them whom Shakespeare produced in the immensity of his genius. </p></div></blockquote>
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  702. <p>Mendelssohn had a great admiration for William Shakespeare&#8217;s works. He was particularly inspired by &#8220;A Midsummer Night&#8217;s Dream&#8221; and composed music to accompany the play. Mendelssohn&#8217;s love for Shakespeare&#8217;s writing is evident in his beautiful compositions that capture the essence of the play.</p>
  703. <p>The Mendelssohn household in Berlin was imbued with music, literature and intellectual social gatherings and it is not surprising that 17-year-old Felix Mendelssohn was inspired to compose “incidental” music for one of his favorite Shakespeare plays.  Originally written for two pianos, it was subsequently orchestrated and first performed at a garden party at the Berlin home in 1827.  A public performance was given later that same year with the composer conducting, just following his 18th birthday.</p>
  704. <p>Four somber chords introduce the “Overture” and will be heard again during the course of the work.  Scurrying passages for strings portray the “fairyland” that is soon invaded by the mortal characters of the tale.  Horns announce a hunting party, and in the original score we would have heard the distinctive sound of the ophicleide, a no longer extant instrument that was the ancestor of the tuba.  Following many passages of highly melodic invention, the four somber chords return to conclude the Overture.</p>
  705. <p>Seventeen years later, Mendelssohn wrote thirteen more “incidental” pieces for the play, only three of which are now frequently performed.  Mendelssohn was a master of the genre of music entitled “Scherzo”, of which this is a prime example.  Portraying the scene in which Leander is put to sleep by Puck, the gentle and dreamy Nocturne opens with a lyrical horn solo.  A sudden and somewhat startling transition leads to the Wedding March, a prelude to the fifth act’s royal festivities.  We are of course all too familiar with the March’s ceremonial applications today.  A return to the fairy music and the repeated chords of the Overture concludes this familiar orchestral suite.</p>
  706. <p>*Program Note Information by Charles Spining</p>
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  724. <p><strong>On Saturday, February 17th at 7:30pm in Ardrey Auditorium, Shakespeare&#8217;s &#8220;A Midsummer Night’s Dream&#8221; will come to life in a one-of-a-kind performance by the actors of <a class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv x1fey0fg xo1l8bm" tabindex="0" role="link" href="https://www.facebook.com/flagshakes?__cft__&#091;0&#093;=AZW7nn94lhrdqb3wZbf_o8X-egcR0KXTs9sQhDGpsLccXMCANoARUkJ-1BG0izbtY45lReEnUhvZZ2QNJbhpiAQUlqWWGsP2TkY7LUARwGBomAI53N4UTWdl5sxMFLrjdHTfDxL4788lkuiWrr9lioFgezRAmtZb663nOQXaXVDS0REYgqZCAGUcp0vNQsIFfcA&amp;__tn__=-&#093;K-R"><span class="xt0psk2">Flagstaff Shakespeare Festival</span></a> and the musicians of the Flagstaff Symphony Orchestra! </strong></p>
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  739. <a class="nectar-button jumbo regular accent-color  regular-button"  style="" target="_blank" href="https://nautickets.universitytickets.com/w/event.aspx?id=1815&#038;r=f35f747ae65c4572add0aa84ab64b9f4" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Get Tickets!</span></a>
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  748. </item>
  749. <item>
  750. <title>Get to know this season&#8217;s concertmaster: Ikuko Kanda</title>
  751. <link>https://www.flagstaffsymphony.org/concerts/get-to-know-this-seasons-concertmaster-ikuko-kanda/</link>
  753. <dc:creator><![CDATA[emma]]></dc:creator>
  754. <pubDate>Wed, 03 Jan 2024 17:30:14 +0000</pubDate>
  755. <category><![CDATA[Informative]]></category>
  756. <category><![CDATA[Meet the Flagstaff Symphony]]></category>
  757. <category><![CDATA[Upcoming Concerts]]></category>
  758. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26305</guid>
  759.  
  760. <description><![CDATA[]]></description>
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  770.            <img class="img-with-animation skip-lazy " data-delay="0" height="450" width="900" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2024/01/Ikuko-.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2024/01/Ikuko-.png 900w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/01/Ikuko--300x150.png 300w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/01/Ikuko--768x384.png 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2024/01/Ikuko--670x335.png 670w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
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  784. <div class="wpb_text_column wpb_content_element " >
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  786. <h4>We are delighted to have violinist Ikuko Kanda serving as this season&#8217;s concertmaster of the Flagstaff Symphony Orchestra! Get to know a little about her before you see her leading the orchestra at our next concert on January 20th.</h4>
  787. <p>&nbsp;</p>
  788. <h4>Q: Where did you grow up, and where do you live now?</h4>
  789. <p>A: I grew up near Tokyo, Japan in a city called Kawagoe. I came to the US when I was 22 and now I live in Gilbert, Arizona.</p>
  790. <h4>Q: When did you start playing violin and, when did you realize you wanted to do this professionally?</h4>
  791. <p>A: I come from a musical family. I started playing violin when I was 4 years old. Dad was a high school music teacher, Mom played piano, and my grandfather was a piano tuner who played harmonica and guitar. When I was about 10, I loved listening to various violin concertos everyday and I probably drove my family crazy. Although I didn’t want to practice sometimes as a kid, I think I wanted to play violin professionally without realizing it.</p>
  792. <h4>Q: What has it been like joining the Flagstaff Symphony Orchestra this season?</h4>
  793. <p>A: It’s been wonderful! I’ve been surrounded by great people, great programs, and, most of all, great support from the audience.</p>
  794. <h4>Q: What else you are up to outside of FSO?</h4>
  795. <p>A: I give violin and viola lessons, mostly to middle school and high school kids, but I have taught students ages 3 to 87. I also sub with the Phoenix Symphony and enjoy chamber music whenever the opportunity presents itself.</p>
  796. <h4>Q: Any fun hobbies or quirks you want to share about yourself?</h4>
  797. <p>A: My husband and I love cooking new and exciting meals together. I also love hanging out with our cats, Luckie and Bonny.</p>
  798. <h4>Q: What is your favorite concert or piece performed of the season, or that you are looking forward to performing, and why?</h4>
  799. <p>A: That’s a hard question, as I’ve enjoyed the diverse programming this season. The Rachmaninoff was very memorable, but I’m looking forward to playing Mendelssohn’s “A Midnight Night’s Dream” in February as this is only the second time I’ve played the work in its entirety.</p>
  800. <p>&nbsp;</p>
  801. <h4>You can see Ikuko leading the orchestra at the front right-hand side of the stage at our upcoming 2024 concerts beginning with <a href="https://www.flagstaffsymphony.org/event/symphonic-soul-morgan-james/">Symphonic Soul: Morgan James.</a></h4>
  802. </div>
  803. </div>
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  811. </div></div>
  812. <div id="fws_6630e07081eb5"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  813. <div  class="vc_col-sm-12 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
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  816. <a class="nectar-button large regular accent-color  regular-button"  style="" target="_blank" href="https://www.flagstaffsymphony.org/event/symphonic-soul-morgan-james/" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Symphonic Soul: Morgan James</span></a>
  817. </div>
  818. </div>
  819. </div>
  820. </div></div>
  821. ]]></content:encoded>
  825. </item>
  826. <item>
  827. <title>A warm welcome to new staff and board members!</title>
  828. <link>https://www.flagstaffsymphony.org/news/special-announcement/a-warm-welcome-to-new-staff-and-board-members/</link>
  830. <dc:creator><![CDATA[emma]]></dc:creator>
  831. <pubDate>Mon, 11 Dec 2023 18:51:23 +0000</pubDate>
  832. <category><![CDATA[Informative]]></category>
  833. <category><![CDATA[Meet the Flagstaff Symphony]]></category>
  834. <category><![CDATA[Special Announcement]]></category>
  835. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26282</guid>
  836.  
  837. <description><![CDATA[]]></description>
  838. <content:encoded><![CDATA[
  839. <div id="fws_6630e0708310d"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
  840. <div  class="vc_col-sm-12 wpb_column column_container vc_column_container col no-extra-padding inherit_tablet inherit_phone "  data-t-w-inherits="default" data-bg-cover="" data-padding-pos="all" data-has-bg-color="false" data-bg-color="" data-bg-opacity="1" data-hover-bg="" data-hover-bg-opacity="1" data-animation="" data-delay="0" >
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  846. <h3>We are grateful for two new board members whose support, oversight, and strategic direction help to ensure the success of the Flagstaff Symphony Orchestra.</h3>
  847. </div>
  848. </div>
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  880.        <div class="hover-wrap" data-hover-animation="none">
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  882.            <img class="img-with-animation skip-lazy " data-delay="0" height="470" width="1430" data-animation="fade-in" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/12/Screen-Shot-2023-12-11-at-11.43.41-AM.png" alt="" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/12/Screen-Shot-2023-12-11-at-11.43.41-AM.png 1430w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/12/Screen-Shot-2023-12-11-at-11.43.41-AM-300x99.png 300w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/12/Screen-Shot-2023-12-11-at-11.43.41-AM-1024x337.png 1024w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/12/Screen-Shot-2023-12-11-at-11.43.41-AM-768x252.png 768w" sizes="(min-width: 1450px) 75vw, (min-width: 1000px) 85vw, 100vw" />
  883.          </div>
  884.        </div>
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  891. <div id="fws_6630e070843d6"  data-column-margin="default" data-midnight="dark"  class="wpb_row vc_row-fluid vc_row standard_section "  style="padding-top: 0px; padding-bottom: 0px; "><div class="row-bg-wrap" data-bg-animation="none" data-bg-overlay="false"><div class="inner-wrap"><div class="row-bg"  style=""></div></div><div class="row-bg-overlay" ></div></div><div class="row_col_wrap_12 col span_12 dark left">
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  898. <h3>We also hired three new staff members this year. The FSO wouldn&#8217;t function without their incredible work behind-the-scenes and off-stage!</h3>
  899. </div>
  900. </div>
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  960. ]]></content:encoded>
  964. </item>
  965. <item>
  966. <title>Behind the Music &#8211; Tchaikovsky&#8217;s Nutcracker</title>
  967. <link>https://www.flagstaffsymphony.org/events/behind-the-music-tchaikovskys-nutcracker/</link>
  969. <dc:creator><![CDATA[emma]]></dc:creator>
  970. <pubDate>Mon, 20 Nov 2023 21:17:21 +0000</pubDate>
  971. <category><![CDATA[Informative]]></category>
  972. <category><![CDATA[Music]]></category>
  973. <category><![CDATA[Special Events]]></category>
  974. <category><![CDATA[Upcoming Concerts]]></category>
  975. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26246</guid>
  976.  
  977. <description><![CDATA[]]></description>
  978. <content:encoded><![CDATA[
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  987. <h3></h3>
  988. <p><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-scaled.jpg"><img decoding="async" class="alignnone wp-image-26250" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-290x300.jpg" alt="" width="291" height="301" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-290x300.jpg 290w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-992x1024.jpg 992w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-768x793.jpg 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-1487x1536.jpg 1487w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/45-1983x2048.jpg 1983w" sizes="(max-width: 291px) 100vw, 291px" /></a><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-scaled.jpg"><img decoding="async" loading="lazy" class="alignnone wp-image-26251" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-300x242.jpg" alt="" width="373" height="301" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-300x242.jpg 300w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-1024x825.jpg 1024w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-768x618.jpg 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-1536x1237.jpg 1536w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/86-2048x1649.jpg 2048w" sizes="(max-width: 373px) 100vw, 373px" /></a><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-scaled.jpg"><img decoding="async" loading="lazy" class="alignnone wp-image-26252" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-300x271.jpg" alt="" width="333" height="301" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-300x271.jpg 300w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-1024x926.jpg 1024w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-768x694.jpg 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-1536x1389.jpg 1536w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/11/28-3-2048x1851.jpg 2048w" sizes="(max-width: 333px) 100vw, 333px" /></a></p>
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  1006. <h3><strong>Behind the Music &#8211; Tchaikovsky&#8217;s <em>Nutcracker</em></strong></h3>
  1007. <div></div>
  1008. <div>The Nutcracker is based on E.T.A. Hoffmann’s 1816 fairy tale <em>Nussknacker und Mausekönig</em> (Nutcracker and Mouse King) via a French retelling by Alexandre Dumas. The original story is a rich and subtly humorous story for children while offering irony and literary allusions that only adults would understand. Ahead of its time in having no moral or didactic agenda, it blurs fantasy and reality as strange nocturnal events take place in the same world that the children inhabit.</div>
  1009. <div></div>
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  1011. <div>Central to the success of <em>Nutcracker </em>is the brilliance of Tchaikovsky’s orchestrations and his imaginative use of instrumental color, together with a powerful deployment of harmony for dramatic effect.</div>
  1012. <div></div>
  1013. <div></div>
  1014. <div>The orchestration of <em>Nutcracker </em>is never less than magical—not just magical in effect but magical in dramatic significance. Every time the scenario touches on the supernatural or the extraordinary, Tchaikovsky does something special in the orchestra. The Magic Castle at the beginning of Act II charms with flourishing flutes and rippling passages from the harp and celesta. For the following number where Petipa describes a rose-water fountain, Tchaikovsky creates a sweetly cascading sound in the flutes using a technique, frulato, he’d learned from a flute-playing colleague in Kiev. It’s essentially flutter-tonguing, ahead of its time.</div>
  1015. <div></div>
  1016. <div></div>
  1017. <div>But the most magical of all is the bell-like celesta that is the signature sound of the Sugar-Plum Fairy, heard at the beginning of Act II and coming into its own for her solo variation in the pas de deux. While in Paris, Tchaikovsky had been seduced by the “glistering tones” of this marvelous new instrument: “something between a small piano and a Glockenspiel.” Wanting to surprise Russian audiences (and his composer colleagues!) he had one shipped secretly to Saint Petersburg, refusing at first to even make it available for practice, although he did specify that the musician had to be a very good pianist! The celesta works its enchantments in the Dance of the Sugar-Plum Fairy—a distillation of the delicate effects, exotic color, and lyricism that make Tchaikovsky’s Nutcracker so irresistible.</div>
  1018. <div></div>
  1019. <div><em>Program Notes by Yvonne Frindle</em></div>
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  1054. <h4>These festive holiday performances will be on December 1st and 2nd at 7:30pm of this year. An add-on to the season subscription, tickets for the performances are <a href="https://nautickets.universitytickets.com/w/default.aspx?cid=167&amp;fbclid=IwAR0H5GbzhwhK9bFnbLFv33QF2UoYazBhcu57ZNj6LSPMAGXaNB6_z525cxI">available for purchase through the NAU Box Office.</a>  Single tickets are on sale now!</h4>
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  1069. <a class="nectar-button jumbo regular accent-color  regular-button"  style="" target="_blank" href="https://nautickets.universitytickets.com/w/default.aspx?cid=167&#038;fbclid=IwAR0H5GbzhwhK9bFnbLFv33QF2UoYazBhcu57ZNj6LSPMAGXaNB6_z525cxI" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Get Tickets</span></a>
  1070. </div>
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  1078. </item>
  1079. <item>
  1080. <title>Behind the Keys: Meet Guest Soloist Silvan Negruţiu</title>
  1081. <link>https://www.flagstaffsymphony.org/concerts/behind-the-keys-meet-guest-soloist-silvan-negrutiu/</link>
  1083. <dc:creator><![CDATA[emma]]></dc:creator>
  1084. <pubDate>Mon, 23 Oct 2023 15:09:04 +0000</pubDate>
  1085. <category><![CDATA[Informative]]></category>
  1086. <category><![CDATA[Music]]></category>
  1087. <category><![CDATA[Upcoming Concerts]]></category>
  1088. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26168</guid>
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  1091. <content:encoded><![CDATA[
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  1113. <blockquote class="nectar_single_testimonial" data-color="default" data-style="bold"><div class="inner"> <p><span class="open-quote">&#8221;</span>A pianist who “shines in his ability to capture the mood, the color, the very character of each piece while still maintaining a sense of the whole” (Fanfare) </p></div></blockquote>
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  1125. <p><strong>Silvan Negruțiu serves as the Karen and Michael Kitt Endowed Professor in Piano, Associate Professor, and Director of Piano Studies in the Kitt School of Music at Northern Arizona University.</strong> He is the founder and Artistic Director of Flagstaff Piano Festival and Northern Arizona Piano Competition.  <strong>Hailed as “a startling and authentic pianist displaying rich imagination and brilliant vigor, whose precision and splendor of keyboard sound certainly inspire a transcendental reality” (The Musical News Journal, Bucharest), a pianist who “shines in his ability to capture the mood, the color, the very character of each piece while still maintaining a sense of the whole” (Fanfare)</strong>, Silvan Negruţiu has performed on major international stages, from the Kennedy Center in Washington DC to Ireland’s National Concert Hall, the Romanian Athenaeum in Bucharest, the Xi’an Concert Hall in China, the Showa Recital Hall in Tokyo, and the Hong Kong Academy for Performing Arts. <strong>We got to sit down and talk with him leading up to his performance of Franz Liszt’s Totentanz with the FSO!</strong></p>
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  1131. <a class="nectar-button jumbo regular accent-color  regular-button"  style="" target="_blank" href="https://audienceaccess.co/bio/FORY-63300" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Read his full bio!</span></a>
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  1143. <p><strong>Q: Can you tell us a little bit about your background?</strong></p>
  1144. <p><strong>A:</strong> I began by music studies in native Romania when I was seven. At fourteen, I left my hometown to study piano at the Dinu Lipatti Boarding Music School in Bucharest, which is common for young musicians in Eastern European countries. I spent about ten years in Bucharest, where I also attended the Romanian National University of Music as an undergraduate student in piano performance. Following my undergraduate degree, I moved to Dublin after winning a scholarship to study with John O’Conor at the Royal Irish Academy of Music. This was a dream come true because he was someone I had admired greatly for many years and had always wanted to work on the Beethoven Sonatas with him. After a few wonderful years in Dublin, I moved to the US when Shenandoah Conservatory in Virginia invited me to move along with John O’Conor to pursue a doctorate degree, while teaching a studio of piano students there. The US has become my new adoptive country ever since, having also spent eight years at Millikin University in Illinois before moving to Flagstaff to teach at Northern Arizona University.</p>
  1145. <p><strong>Q: What was it like moving from Europe to the US?</strong></p>
  1146. <p><strong>A:</strong> Although there are many cultural differences between European countries and the US (also true between Eastern and Western European countries), the principles of music making and pedagogy are similar. In my opinion, one of the many positives of American music pedagogy is the attention to the individual needs of students and the care for their growth based on their unique social and musical capital. European music instruction is more direct and emphasizes the great artistic and pedagogical traditions of each place. There is much worth in both systems and I am grateful that I had the opportunity to learn and work in both the European and the American contexts. In terms of lifestyle, I do miss the public transit system and walking everywhere in Dublin and<br />
  1147. Bucharest. However, I find the cultural-historical richness and vastness of the American Southwest truly inspiring, and I enjoy the ability to hop in my car and explore all that my new home has to offer.</p>
  1148. <p><strong>Q: What drew you to piano and then wanting to pursue music professionally?</strong></p>
  1149. <p><strong>A:</strong> My parents noticed my musical inclination as a child. My mother is a very fine pedagogue and she happened to know the first grade teacher at the arts school in town, which was close to our home. This is a specialized school that requires a basic aural skills audition for admission, offering two instruments to choose from in first grade: piano or violin. My mother convinced me to choose violin because she already had a violin at home. However, when I heard the piano sound during the audition’s pitch-matching test, I was mesmerized and immediately declared that the piano was my instrument. My poor<br />
  1150. parents then had to go buy a piano for me! It was only around seventh grade – when I decided to move to Bucharest – that I truly knew I wanted to pursue music as my professional career.</p>
  1151. <p><strong>Q: How do you like living in Flagstaff?</strong></p>
  1152. <p><strong>A:</strong> I absolutely enjoy working with such wonderful students and colleagues at NAU. I am also in awe with the creative and supportive community here, both on campus and in the larger Northern Arizona area. I have made many great friendships with local people that I admire. Outside of music and piano, I am an avid hiker and cyclist, and Flagstaff is truly idyllic for those hobbies. I often take my piano students on hikes around Flagstaff, which is a great way to combine the things that I love. Some of my best ideas and inspiration come on a hike or a walk when I am away from the instrument and the computer. I believe nature enriches our creativity and is beneficial for our physical and mental health. For all of these reasons and many more, I am grateful to call Flagstaff home.</p>
  1153. <p><strong>Q: What excites you about <em>Totentanz</em>?</strong></p>
  1154. <p><strong>A:</strong>First, playing it and sharing it with an audience is just pure joy and excitement. It’s like fireworks emerging from every instrument on stage, with a brief pause for prayer in the middle. Then, I am fascinated by how well Totentanz – which translates as Dance of Death – portrays Liszt’s complex personality. He was an adored touring virtuoso with rich displays of showmanship that paralleled today’s rockstars. As an innovative musician on many fronts, he was the first pianist to present a full solo piano recital and to establish the concept of a public piano masterclass. At the same time, Liszt was a very deep thinker who was drawn to religion and philosophy, even becoming a monk later in life. Along with Chopin and Thalberg, he revolutionized the mechanics of piano technique, blending virtuosity with profound musicianship in a way that is often referred to as “transcendental.” This blend of artistic qualities is prominently present in his Totentanz.</p>
  1155. <p>Liszt’s works were often inspired by other forms of art, his travels, and ancient music. Totentanz was inspired by Traini’s painting The Triumph of Death, which Liszt had seen in Pisa during a trip to Italy. He decided to use the Medieval Gregorian plainchant Dies irae – translating to “the day of judgment” or “the day of wrath” and is also woven into the last movement of Berlioz’s Symphonie fantastique – as the main theme, taking it through many creative variations and transformations. Totentanz has moments of reverence and transcendence but is also edgy and virtuosic. It essentially features every technique that one could use on a piano. The peaceful moments featuring the Gregorian chant in canonic counterpoint and the ensuing ethereal B Major transformations – this is what I earlier referred to as “the prayer in the middle” – are probably my favorite, and I am very eager to share them with the<br />
  1156. audience.</p>
  1157. <p><strong>Q: What do you hope the audience takes away from the performance?</strong></p>
  1158. <p><strong>A:</strong> This piece speaks to the human nature. Whether someone is a seasoned musician or attends a concert for the first time, everyone can relate to the wide-ranging forms of emotional expression in Totentanz. The nuances and complexity of human emotion are so present in this work, whether it is the most tender and contemplative moment we hold close to our heart, or an explosion of fear, desperation, and even rage.</p>
  1159. <p><strong>Q: A final thought?</strong></p>
  1160. <p><strong>A:</strong> As performing musicians, we travel and perform many different places. To me, there is hardly anything more rewarding than sharing my home stage with friends, colleagues, and students; so, collaborating with Charles Latshaw and the fine FSO musicians this week is a very special occasion. Furthermore, sharing this powerful music with the local audience is such a treat, and I very much look forward to it.</p>
  1161. <p>&nbsp;</p>
  1162. <p><strong>Silvan Negruțiu performs Franz Liszt’s Totentanz with Flagstaff Symphony Orchestra on Friday, October 27th at 7:30pm in Ardrey Memorial Auditorium.</strong></p>
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  1177. <a class="nectar-button jumbo regular accent-color  regular-button"  style="" target="_blank" href="https://nautickets.universitytickets.com/w/event.aspx?id=1813&#038;r=49409c7871bf42b3affe87a102b610ec" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>Click for tickets!</span></a>
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  1187. <item>
  1188. <title>Program Notes &#8211; Fantastique! Ortiz, Liszt, and Berlioz</title>
  1189. <link>https://www.flagstaffsymphony.org/concerts/program-notes-fantastique-ortiz-liszt-and-berlioz/</link>
  1191. <dc:creator><![CDATA[emma]]></dc:creator>
  1192. <pubDate>Tue, 10 Oct 2023 19:32:38 +0000</pubDate>
  1193. <category><![CDATA[Informative]]></category>
  1194. <category><![CDATA[Music]]></category>
  1195. <category><![CDATA[Upcoming Concerts]]></category>
  1196. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26095</guid>
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  1199. <content:encoded><![CDATA[
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  1207. <h3><strong><em>Kauyumari<br />
  1208. </em></strong>Gabriela Ortiz (b. 1964)<br />
  1209. Duration: about 7 minutes</h3>
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  1243. <blockquote>
  1244. <h4>I fell in love with music once I understood that sounds have souls, and it is through them that one may speak of oneself.  -Gabriela Ortiz</h4>
  1245. </blockquote>
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  1263. <p class="p1"><span style="font-size: 16px;">Latin Grammy-nominated Gabriela Ortiz is one of the foremost composers in Mexico today, and one of the most vibrant musicians emerging in the international scene. Her musical language achieves an extraordinary and expressive synthesis of tradition and the avant-garde; combining high art, folk music and jazz in novel, frequently refined and always personal ways. Her compositions are credited for being both entertaining and immediate as well as profound and sophisticated; she achieves a balance between highly organized structure and improvisatory spontaneity.</span></p>
  1264. <h3>About the piece</h3>
  1265. <p>&nbsp;</p>
  1266. <p class="p1"><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Blue-deer.jpeg"><img decoding="async" loading="lazy" class="alignnone wp-image-26099" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Blue-deer-225x300.jpeg" alt="" width="212" height="283" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Blue-deer-225x300.jpeg 225w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Blue-deer.jpeg 750w" sizes="(max-width: 212px) 100vw, 212px" /></a></p>
  1267. <p class="p1">Among the Huichol people of Mexico, <em>Kauyumari</em> means “blue deer.” The blue deer represents a spiritual guide, one that is transformed through an extended pilgrimage into a hallucinogenic cactus called peyote. It allows the Huichol to communicate with their ancestors, do their bidding, and take on their role as guardians of the planet. Each year, these Native Mexicans embark on a symbolic journey to “hunt” the blue deer, making offerings in gratitude for having been granted access to the invisible world, through which they also are able to heal the wounds of the soul.</p>
  1268. <p class="p1">When I received the commission from the Los Angeles Philharmonic to compose a piece that would reflect on our return to the stage following the pandemic, I immediately thought of the blue deer and its power to enter the world of the intangible as akin to a celebration of the reopening of live music. Specifically, I thought of a Huichol melody sung by the De La Cruz family — dedicated to recording ancestral folklore — that I used for the final movement of my piece, <em>Altar de Muertos (Altar of the Dead)</em>, commissioned by the Kronos String Quartet in 1997.</p>
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  1293. <div class="wpb_text_column wpb_content_element " >
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  1295. <h3><strong><em>Totentanz (Dance of the Dead) for piano and orchestra</em></strong><br />
  1296. Franz Liszt (1811-1886)<br />
  1297. Silvan Negruțiu, pianist <a href="https://audienceaccess.co/bio/FORY-63300">(click to read his bio)</a><br />
  1298. Duration: about 16 minutes</h3>
  1299. </div>
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  1332. <h4>A quintessential example of the 19<span class="s1"><sup>th</sup></span> century “romantic,” Franz Liszt was a prolific composer of works that presaged harmonic and structural elements of the next century.  He was also renowned as one of the greatest concert pianists of his time.</h4>
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  1350. <p class="p4">Liszt had a lifelong obsession with death and the hereafter, and the Totentanz (Dance of the Dead) is reflective of that curious fascination.   Totentanz is a set of variations for piano and orchestra and is a paraphrase on the Medieval Gregorian chant “Dies Irae” (Day of Judgement).  Further inspiration came from a famous Italian fresco “Triumph of Death,” viewed by the composer in Pisa where he visited with his current mistress and paramour in 1838.  Ten years later, he had completed sketches for a work for piano and orchestra which was subject to numerous revisions during the 1850’s. It was given its first performance in completed form in 1865 by Liszt’s student Hans von Bulow, to whom it is dedicated.</p>
  1351. <h3>About the Piece</h3>
  1352. <p class="p4">The scoring of Totentanz combines traditional canonic and contrapuntal treatment of the Dies Irae theme with dissonant and percussive passages for the solo piano. These piano passages have been compared in style to examples by 20<span class="s1"><sup>th</sup></span> century composer Bela Bartok, written a century later.  Bartok himself frequently performed the Totentanz as have most contemporary concert pianists.  The subject of death is clearly delineated in the writing for both piano and accompanying orchestra.  Liszt biographer Richard Pohl writes, “Every variation discloses some new character – the earnest man, the flighty youth, the scornful doubter, the prayerful monk, the daring soldier, the tender maiden, the playful child.”</p>
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  1379. <h3 class="p4"><strong><em>Symphonie fantastique</em>, Op. 14</strong><br />
  1380. Hector Berlioz (1803-1869)<br />
  1381. Duration: about 50 minutes in 5 movements</h3>
  1382. <h4 class="p4">Reveries and Passions<br />
  1383. A Ball<br />
  1384. Scene in the Countryside<br />
  1385. March to the Scaffold<br />
  1386. Dream of a Witches’ Sabbath</h4>
  1387. </div>
  1388. </div>
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  1420. <h4>Berlioz was famed for his skills at orchestration, and this work is a fine example of his incomparable instrumental delineations of subjects in what can be called “program music,” or a tale told in music.</h4>
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  1438. <p>Compared with Franz Liszt and Sergei Rachmaninoff, two composers also featured in this Flagstaff Symphony season’s repertoire, Hector Berlioz to an even greater extent fits the image of a 19<span class="s1"><sup>th</sup></span> century “romantic” artist.  As a young boy he received some rudimentary musical training from his father, a distinguished physician who strongly encouraged his son to follow him in that profession.  A copy of Rameau’s “Treatise on Harmony” was discovered by the young Berlioz in the extensive family library, and he began some self-instruction in the principles of harmony and composition.  Family pressure resulted in his pursuit of a degree in medicine, but the young man could not bring himself to follow in his father’s footsteps.</p>
  1439. <p>A permanent move to Paris from his boyhood home in the south of France led to exposure to the world of opera and theatre, as well as much music with which he was still unfamiliar.  He soon enrolled at the Paris Conservatory where he for the first time received a significant musical education.  Upon hearing the Third and Fifth Symphonies of Beethoven for the first time, he declared, “Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.”  Having been cut off from financial support by his family, this was a period of struggle for the young composer.  A fortuitous award of the prestigious Prix de Rome in 1830 allowed him to pursue further musical education and exposure to the arts in Italy, particularly in Florence.  Numerous and usually less than successful love affairs and marital alliances played a significant role in the life and career of Berlioz both in Italy and in Paris.</p>
  1440. <p><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson.png"><img decoding="async" loading="lazy" class="alignnone size-medium wp-image-26107" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson-234x300.png" alt="" width="234" height="300" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson-234x300.png 234w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson-799x1024.png 799w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson-768x985.png 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson-1198x1536.png 1198w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Harriet-Smithson.png 1496w" sizes="(max-width: 234px) 100vw, 234px" /></a></p>
  1441. <p>Harriet Smithson, Irish actress and Berlioz&#8217;s obsession</p>
  1442. <p class="p4">At a performance of Shakespeare’s Hamlet at the Odeon Theatre in Paris in 1827, Berlioz became infatuated with the young Irish actress Harriet Smithson, whom he relentlessly pursued and eventually married (the marriage only lasted three years).  During his relentless pursuit of Miss Smithson, Berlioz discovered that she had become engaged to a rival suitor.  The <em>Symphonie fantastique</em>, originally intended as a love offering, was recast as an expression of love gone wrong.</p>
  1443. <h3></h3>
  1444. <p><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Geiger.png"><img decoding="async" loading="lazy" class="alignnone size-medium wp-image-26109" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Geiger-277x300.png" alt="" width="277" height="300" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Geiger-277x300.png 277w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Geiger-945x1024.png 945w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Geiger-768x832.png 768w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/Geiger.png 1368w" sizes="(max-width: 277px) 100vw, 277px" /></a></p>
  1445. <p>&#8220;A Concert in the Year 1846,&#8221; a satirical print by Andreas Geiger depicting Hector Berlioz conducting his <em>Symphonie fantastique</em></p>
  1446. <h3 class="p4"><em><strong>Program Notes (written by Berlioz in 1845):</strong></em></h3>
  1447. <p class="p6"><strong>Part One: Reveries, Passions</strong>—The author imagines that a young musician, afflicted with that moral disease that a celebrated writer [Chateaubriand] calls ‘the surge of passions,’ sees for the first time a woman who embodies all the charms of the ideal being of whom he has dreamed, and he falls hopelessly in love with her. Through a bizarre trick of fancy, the beloved image always appears in the mind&#8217;s eye of the artist linked to a musical thought whose character, passionate but also noble and reticent, he finds similar to the one he attributes to his beloved.</p>
  1448. <p class="p6">The melodic image and its human model pursue him incessantly like a double <em>idée fixe</em>. This is the reason for the constant appearance, in every movement of the symphony, of the melody that begins the first allegro. The passage from this state of melancholic reverie, interrupted by a few fits of unmotivated joy, to one of delirious passion, with its movements of fury and jealousy, its return of tenderness, its tears, its religious consolation—all this is the subject of the first movement.</p>
  1449. <p class="p6"><strong>Part Two: A Ball</strong>—The artist finds himself in the most varied situations—in the midst of THE TUMULT OF A FESTIVE PARTY, in the peaceful contemplation of the beauties of nature; but wherever he is, in the city, in the country, the beloved image appears before him and troubles his soul.</p>
  1450. <p class="p6"><strong>Part Three: Scene in the Countryside</strong>—Finding himself in the country at evening, he hears in the distance two shepherds piping a <em>ranz des vaches</em> in dialogue [a <em>ranz des vaches</em> is a tune sung or played by a Swiss herdsman]. This pastoral duet, the scenery, the quiet rustling of the trees gently disturbed by the wind, certain hopes he has recently found reason to entertain—all these come together in giving his heart an unaccustomed calm, and in giving a brighter color to his ideas. He reflects upon his isolation; he hopes that soon he will no longer be alone. . . . But what if she were deceiving him! . . . This mixture of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the ADAGIO. At the end, one of the shepherds again takes up the <em>ranz des vaches</em>; the other no longer replies. . . . The distant sound of thunder . . . solitude . . . silence.</p>
  1451. <p class="p6"><strong>Part Four: March to the Scaffold</strong>—Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing HIS OWN EXECUTION. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the <em>idée fixe</em> reappear like a final thought of love interrupted by the fatal blow.</p>
  1452. <p class="p9"><strong>Part Five: Dream of a Witches&#8217; Sabbath</strong>—He sees himself at the sabbath, in the midst of a frightful assembly of ghosts, sorcerers, monsters of every kind, all come together for his funeral. Strange noises, groans, outbursts of laughter, distant cries which other cries seem to answer. The beloved melody appears again, but it has lost its noble and shy character; now it is no more than the tune of an vulgar dance, trivial and grotesque: it is she, come to join the sabbath. . . . A roar of joy at her arrival. . . . She takes part in the diabolical orgy. . . . Funeral knell, burlesque parody of the DIES IRAE, SABBATH ROUND-DANCE. The sabbath round and the Dies irae combined.</p>
  1453. </div>
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  1470. <h3>Mark your calendars for Friday, October 27th at 7:30pm in Ardrey Auditorium!</h3>
  1471. <h4><em>This concert is sponsored by: Ted Bowell and Anne-Marie Malotki</em></h4>
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  1495. <a class="nectar-button jumbo regular accent-color  regular-button"  style="" target="_blank" href="https://audienceaccess.co/show/FORY-9118" data-color-override="false" data-hover-color-override="false" data-hover-text-color-override="#fff"><span>View the Digital Program</span></a>
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  1500. ]]></content:encoded>
  1504. </item>
  1505. <item>
  1506. <title>Fall &#8211; a time to turn inward</title>
  1507. <link>https://www.flagstaffsymphony.org/informative/fall-a-time-to-turn-inward/</link>
  1509. <dc:creator><![CDATA[emma]]></dc:creator>
  1510. <pubDate>Thu, 05 Oct 2023 21:37:21 +0000</pubDate>
  1511. <category><![CDATA[Informative]]></category>
  1512. <guid isPermaLink="false">https://www.flagstaffsymphony.org/?p=26081</guid>
  1513.  
  1514. <description><![CDATA[The fall equinox has transpired! Spring is about expansion and taking action, while Fall is a time to turn inward. It is a time to...]]></description>
  1515. <content:encoded><![CDATA[<h3 style="text-align: center;" data-pm-slice="1 1 []"><a href="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/autumn-flagstaff.jpg"><img decoding="async" loading="lazy" class="alignnone wp-image-26089" src="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/autumn-flagstaff.jpg" alt="" width="697" height="464" srcset="https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/autumn-flagstaff.jpg 509w, https://www.flagstaffsymphony.org/wp-content/uploads/2023/10/autumn-flagstaff-300x200.jpg 300w" sizes="(max-width: 697px) 100vw, 697px" /></a></h3>
  1516. <h3 style="text-align: center;" data-pm-slice="1 1 []">The fall equinox has transpired!</h3>
  1517. <p style="text-align: center;" data-pm-slice="1 1 []"><strong>Spring is about expansion and taking action, while Fall is a time to turn inward. It is a time to slow down, be with our inner self, and have more time to contemplate. Here are a few ways to embrace the transition:</strong></p>
  1518. <h3 style="text-align: center;" data-pm-slice="1 1 []">Connection</h3>
  1519. <p style="text-align: center;">During the fall season, connection becomes important for various reasons. Firstly, fall is when people tend to spend more time indoors due to cooler weather. This makes it crucial to maintain connections with family, friends, and loved ones to combat feelings of isolation and loneliness. Fall is a time for celebration and gathering, with holidays such as Thanksgiving and Halloween. Connection with others during these festivities fosters a sense of community and shared experiences, enhancing the joy and meaning of these celebrations.</p>
  1520. <h3 style="text-align: center;">Explore art and music.</h3>
  1521. <p style="text-align: center;">Fall is a season that often evokes a sense of introspection and reflection. Engaging with art and music can provide a creative outlet for expressing and processing these emotions, allowing individuals to explore their inner thoughts and feelings. Plus, engaging with art and music during fall can be a form of relaxation and stress relief. The soothing melodies, captivating visuals, and creative expressions can provide a much-needed escape from the demands of daily life, promoting mental well-being and rejuvenation.</p>
  1522. <h3 style="text-align: center;">Take time for healing and contemplation.</h3>
  1523. <p style="text-align: center;">Fall is a season of transition and change. As nature undergoes its transformation, shedding leaves and preparing for winter, it serves as a reminder for individuals to reflect on their own lives and embrace personal growth. The symbolism of letting go and embracing change during fall can inspire healing and self-reflection. Additionally, fall brings a shift in energy and pace. The cooler weather and shorter days encourage people to slow down and spend more time indoors. This change in routine provides an opportunity for introspection and self-care. Engaging in activities such as meditation, journaling, or simply enjoying quiet moments can promote healing and inner peace.</p>
  1524. <h3 style="text-align: center;">Rest</h3>
  1525. <p style="text-align: center;">Fall follows the energetic and active summer season. As the weather cools down and the days become shorter, our bodies naturally tend to slow down and seek a period of rest and rejuvenation. Fall is often characterized by cozy and comforting activities. It is a time for warm beverages, snuggling up with a good book, indoor concerts, and leisurely walks amidst the colorful foliage. These activities promote relaxation and provide an opportunity to unwind from the busyness of life.</p>
  1526. <h3 style="text-align: center;">The FSO wishes you a happy, healthy, and restful fall!</h3>
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