FOOSA Philharmonic
Thomas Loewenheim, conductor

Music of Ecstasy

June 22, 2023 at 8pm
Walt Disney Concert Hall, Los Angeles

 

June 23, 2023 at 8pm
William Saroyan Theatre, Fresno

 

Sequoia

Joan Tower (b. 1938)

 

Le Poème de l’extase, op. 54

Alexander Scriabin (1872-1915)

 

Symphony No. 11 in G minor, op. 103 The Year 1905

Dmitri Shostakovich (1906—1975)

I. The Palace Square
II. The 9th of January
III. Memory Eternal
IV. Tocsin

Welcome

Fresno State President Saúl Jiménez-Sandoval, PhD

from Fresno State President Saúl Jiménez-Sandoval, PhD

As humans, we feel that music fuels our inspiration to reach a deeper understanding of ourselves; it forms part of every stage of our lives and provides us with a sense of belonging that no other art form can provide. Its artistry defies the ordinary, reaches deep into our soul, and connects us to the greater meaning of our lives and to each other.

Hence why music is so important to our youth: the love of music that FOOSA instills in them enables them to visualize a world full of potential, in collaboration with each other.

FOOSA is critical to our region because the majority of the students enrolled are from the Central Valley. Indeed, one of the most important aspects of FOOSA, for the community, is that we include all interested local students, regardless of ability to pay. Young musicians from the Central Valley are exposed to the highest possible musicianship, working with faculty from great music schools and conservatories right in their own backyard. Imagine how our children feel after playing side-by-side with some of the most gifted orchestral musicians in the field. There is no value that can quantify this transformative experience. FOOSA also draws excellent young musicians from around the world to Fresno State. The festival, therefore, builds the local talent of our youth, while it raises the profile of the University and Fresno internationally.

FOOSA’s influence in the future of our Valley is comprehensive: While some of our students will become leading musicians, most of our youth have dreams of becoming engineers, mathematicians, architects, medical doctors, teachers, lawyers, etc. The gift of music, therefore, teaches them to collaborate and be disciplined — this while they learn how to create an art form that nurtures their creativity and analytic skills.

Our deepest gratitude goes to our distinguished and internationally renowned music guests — you give of your time and artistry to our youth because you believe that music is the answer to so many of the world’s challenges. Having such amazing artists here at Fresno State is meaningful beyond words, and your words, interpretive style, and love of music will forge our youth into invested leaders that will empower our communities.

I want to commend Dr. Thomas Loewenheim for his unmatched energy, vision, and passion. We’re all very thankful to have such a gifted artist in our community. I also want to commend the world-renowned artists who join us for this amazing celebration of our humanity.

And to the students, this is the great lesson of FOOSA: you practice and put in all your best effort, and the result is an amazing well-orchestrated performance that fulfills the soul, brings our community together, and celebrates the hope for our future.

To those in the audience: Let’s enjoy the sublime music and show our appreciation for FOOSA through your financial support for its worthy and noble mission.

Dr. Honora Chapman, Dean, College of Arts & Humanities

from Dr. Honora Chapman, Dean, College of Arts & Humanities

Fresno State is very pleased to be collaborating with the Youth Orchestras of Fresno on this 2023 FOOSA Festival. Since its founding in 1911, Fresno State has promoted the study of music as a central part of the liberal arts tradition of fostering students’ artistic and intellectual growth.

As FOOSA’s Artistic Director, Dr. Thomas Loewenheim has worked very hard to bring back the full FOOSA experience with this concert at Walt Disney Concert Hall. We are excited that such talented faculty have come from afar to join our excellent Fresno State Music Department faculty and staff to make this immersive musical academy a success. FOOSA students are truly transformed by learning from such stellar musicians.

Finally, we appreciate the family and friends in the audience who have encouraged these FOOSA students to pursue their passion for music. You are inspiring this next generation of musicians to make our world a more joyful and peaceful place.

Enjoy the performance!

from Carmela Sosa, M.D., President, FOOSA Board of Directors

On behalf of the Youth Orchestras of Fresno, I cannot thank you enough for supporting our youth. Your presence validates their years of hard work and provides them with an audience for whom to joyfully perform.

As a pediatrician, I thank you for investing in the future of our youth. There is irrefutable research supporting the impact music has on so many critical functions of the brain — creativity, mathematics, memory. Music positively impacts relationships, aging, memory, as well as emotional wellbeing and overall health — all of which will serve the greater future good.

As a non-musician parent of four musical children, I have seen firsthand the power music has to shape the trajectory of children’s lives. It is a language that strengthens and unites us despite our differences.

With much gratitude, I welcome you to our FOOSA family. Your generosity provides life-changing experiences for many of our students who otherwise would not have access.

So please join us in reveling in the power and beauty of all that music is.

Joan Tower (b. 1938)
Sequoia

Joan Tower

I think most composers would have to admit that they live, to various degrees, in the sound-worlds of other composers both old and new, and that what they consciously or unconsciously take from them enables them to discover what they themselves are interested in. Long ago, I recognized Beethoven as someone bound to enter my work at some point, because for many years I had been intimately involved in both his piano music and chamber music as a pianist. Even though my own music does not sound like Beethoven’s in any obvious way, in it there is a basic idea at work which came from him. This is something I call the “balancing” of musical energies.

In Sequoia, that concept is not only very much present in the score, but it actually led to the title (which is meant in an abstract rather than a pictorial sense). What fascinated me about sequoias, those giant California redwood trees, was the balancing act nature had achieved in giving them such great height.

Cast in three continuous movements (fast, slow, fast), Sequoia opens with a long-held pedalpoint on G with percussion punctuations. Around this central G (finally arrived at in a solo-trumpet note), there begins a fanning-out (first high, then low), on both sides of harmonies symmetrically built up or down from G. This “balancing” of registers like the branching of a tree, continues to develop into more complex settings, as the “branches” start to grow sub-branches. The main pedalpoint (or trunk, to continue the analogy) on G eventually shifts, both downward and upward, thereby creating a larger balancing motion that has a longer-range movement throughout the piece. Because musical gestures are not confined only to registers and harmonies, the balancing principle permeates every facet of Sequoia — most importantly, in the areas of rhythm, tempo, dynamics, pacing, texture and instrumental color. For example, the initial movement’s first two sections (connected by quick, repeated Gs in the muted trumpet) exhibit a balancing of loud dynamics with soft; of heavy and thin sound (a possible parallel: despite the enormous size of sequoias, their “leaves” — literally, needles — are miniscule, the size of thumbnail); of static (one-note) and moving harmony; of many instruments with a few; of middle-low and middle-high registers, and so on. In this score, the pacing is active and energetic, perhaps suggesting (with the exception of occasional solo instrumental passages) the power and grandeur inherent in the sequoia.

— Joan Tower

Alexander Scriabin (1872-1915)
Le Poème de l’extase, op. 54

Alexander Scriabin

Alexander Scriabin held some beliefs that many might consider to be unusual. He believed that being born on Christmas signaled his destiny as a messiah who would redeem mankind. He also had a deep faith that music had the power to change the world.

I don’t mean that in any kind of metaphorical sense.

In 1903, the composer began work on Mysterium, a piece for approximately 2,000 musicians which he believed would, when performed at a specific point he had calculated in the Himalayas, bring about the literal apocalyptic end of the world, after which humanity would be reborn into a higher level of consciousness.

Unfortunately, Scriabin cut himself shaving in 1915 and died of the subsequent infection, having only completed the three-hour “Prefatory Action” of this weeklong work.

While we may never know whether Scriabin’s music possessed the power to end existence as we know it, we can experience his less ambitious magic in Le Poème de l’extase.

The Poem of Ecstasy was composed at the height of Scriabin’s interest in Theosophy. Like many other religious movements that emerged in late-19th-century Europe, Theosophy explored the idea that humans are endowed with mystical and occult abilities which have been secretly hinted at in the world’s great religions. If people can tap into these abilities, they are able to break the bonds of physical life and free their souls for rebirth on a higher plane of existence.

The Poem of Ecstasy portrays the journey of a soul attempting to ascend into this higher consciousness. In his program note for the piece’s premiere, he explained the philosophy underlying the music:

The Poem of Ecstasy is the Joy of Liberated Action. The Cosmos, i.e., Spirit, is Eternal Creation without External Motivation, a Divine Play of Worlds. The Creative Spirit, i.e., the Universe at Play, is not conscious of the Absoluteness of its creativeness, having subordinated itself to a Finality and made creativity a means toward an end. The stronger the pulse beat of life and the more rapid the precipitation of rhythms, the more clearly the awareness comes to the Spirit that it is consubstantial with creativity itself. When the Spirit has attained the supreme culmination of its activity and has been torn away from the embraces of teleology and relativity, when it has exhausted completely its substance and its liberated active energy, the Time of Ecstasy shall arrive.

— Chris Myers

Copyright © 2023. Used by permission of argylearts.com. Unauthorized distribution or reproduction prohibited.

Dmitri Shostakovich (1906-1975)
Symphony No. 11 in G minor, op. 103 The Year 1905

Dmitri Shostakovich

Early on January 22, 1905 (January 9 on the Julian calendar then used in Russia), thousands of men, women, and children began a slow march through St. Petersburg to the Winter Palace. The march was not a rebellious act — the crowd even sang “God Save the Tsar” as they marched. Their goal was simply to peacefully petition the Tsar for better working conditions.

Unfortunately for the marchers, he wasn’t home when they arrived. Confusion grew as people continued to gather, and nervous troops began firing into the crowd. Over a thousand people were killed by soldiers on what would be known as Bloody Sunday.

One of the men who survived the massacre at the Winter Palace was Dmitri Boleslavovich Shostakovich. His son, born the following year, would grow up listening to his father tell tales of that day and the failed Revolution of 1905.

50 years later, this boy, also named Dmitri, was an internationally renowned composer, but his reputation had only recently been rehabilitated after condemnation by Stalinist authorities in 1948. Although it wouldn’t be completed until 1957, his new symphony honoring the heroes of the Revolution quickly became the composer’s greatest popular success since his 1941 Leningrad Symphony, earning him the Lenin Prize in 1958.

Shostakovich’s Symphony No. 11 The Year 1905 is an almost cinematic work, often described as a “film score without a film.” Enhancing the score’s vivid narrative is the inclusion of nearly a dozen 19th- and 20th-century revolutionary songs which would have been well-known to Soviet audiences — unlike anything Shostakovich had done in his previous works.

The piece is composed in the traditional four-movement symphonic structure, each with a title explicitly describing the story to be told. We begin at morning in “The Palace Square.” Though things seem calm and peaceful, an undercurrent of foreboding segues into “The 9th of January”. Gunfire erupts from the snare drums, explosions from the bass drums and timpani, marches and fanfares from the trumpets, and violent glissandos in the low brass conjure the horrors of which Shostakovich had so frequently heard his father tell tales.

As the chaos subsides, the revolutionary march “You Fell As Victims” serves as the basis of “Memory Eternal” — a heartfelt lament for those lost in the struggle.

The finale is labeled as a “Tocsin” (alarm bell) and invokes three revolutionary folk songs: “Whirlwind of Danger,” “Rage, Tyrants,” and “Sparks”. As with much of Shostakovich’s music, the interpretation of this warning is left ambiguous. Though it might easily be explained as foreshadowing the eventual success of the Revolution of 1917, Shostakovich had a penchant for transparently ironic but plausibly deniable criticism of the Soviet government. Concluding a tribute symphony with an alarm is a curious choice, especially if the symphony is composed as Soviet troops brutally repress an uprising in Hungary that bears a striking resemblance to the Revolution of 1905. Whether this tocsin was sounded in honor of the past or as a warning of the future is for you to decide.

— Chris Myers

Copyright © 2023. Used by permission of argylearts.com. Unauthorized distribution or reproduction prohibited.

Meet the Conductor

Conductor Thomas Loewenheim

Thomas Loewenheim is a modern renaissance man: a unique musician who enjoys an international career, combining cello performance, conducting, and teaching at the highest levels. He has toured North America, Europe, the Middle East, and the Far East, performing with orchestras, giving recitals, and playing chamber music, and has been broadcast over the national radio networks in Austria, Canada, Israel, and the United States.

Loewenheim is currently Professor of Cello and Director of Orchestras at the California State University, Fresno, and the Music Director and conductor of the Youth Orchestras of Fresno. Recently he received the Fresno State Provost's Award for Excellence in Teaching (2016), the California Music Educators Association John Swain College/University Educator Award (2015), the Ella Odorfer Educator of the Year Horizon Award from the Fresno Arts Council (2012), the Fresno State Provost's Award for Promising New Faculty (2011), and Special Recognition from the Honor Society of Phi Kappa Phi for his service to the university and the community (2011). Previously he taught at the Indiana University String Academy and the Memorial University of Newfoundland (MUN), and served as music director and conductor of the Musical Arts Youth Orchestra (MAYO) in south-central Indiana.

As a conductor, Loewenheim has earned a reputation for getting the most out of any orchestra, whether coming in for a single performance or festival week, as at the Hong Kong International School Choral and Orchestra Festival, or building an orchestra over a period of years, as at MUN or for MAYO. He founded the iMAYO festival in Bloomington, Indiana, and was a co-founder of the international Tuckamore chamber music festival in St. John’s, Newfoundland.

Through his own performing, working with some of the great musicians of our day, and his cumulative experience as a teacher, Loewenheim has synthesized an approach to teaching and conducting which produces a technical confidence that rapidly enables music-making at a sophisticated level. He is currently demonstrating this approach in his master classes around the world.

Loewenheim is also an active researcher, who has been rediscovering lost masterpieces, then performing and editing them. He has been the dedicatee of a number of cello works, most unaccompanied.

Loewenheim earned a doctorate in cello performance from the renowned Jacobs School of Music at Indiana University, where he studied with Janos Starker and Tsuyoshi Tsutsumi, and was mentored in conducting by David Effron. He received a master’s degree from the University of Michigan under Erling Blöndal Bengtsson and a bachelor’s degree from the Rubin Academy for Music and Dance in Jerusalem. He also took part in master classes with Yo-Yo Ma, Mischa Maisky, Antonio Meneses, Arto Noras, Aldo Parisot, William Pleeth, and Menahem Pressler, among others. He plays a Jean Baptiste Vuillaume cello, made in 1848.

FOOSA Philharmonic

Thomas Loewenheim, conductor

VIOLIN I

Limor Toren-Immerman concertmaster
Qing Li
Jackson Snead
Cansu Ozyurek
Víctor Mártir
Chanin Jung
Trinity Her
Claire Lee
Brianna Ingber
Sandra Burgos
Beatriz Castillo
Yijin Li
Alexander Han
Emmanuel Loewenheim
Hanna Choi
Nyanza Williams
Yuliya Hess

VIOLIN II

Francisco Cabán principal
Sharan Leventhal
Darien Marquez Rivera
Christopher Clark
Hana Snead
Diego Irizarry
Gianni Rivas
Paula Irizarry
Cecilia Enriquez
Christopher Han
Gael Mayorga Merlo
Alice Feng
Alex Torres
Malena Moreno

VIOLA

Adriana Linares principal
Misha Galaganov
Matthew Smoke
Melissa McGlumphy
Andrew Vasquez
Quinten Hallum
Nolan Prochnau
Colson Demsey
Christian Segura
Myla Demsey
Linda Tejeda
Idil Asci

CELLO

Jonathan Ruck principal
Sonja Kraus
Emma Hill
Keegan Bamford
Shayne Baldwin
Jose Quinones
Elton Chong
Dalton Morris
Karla Romani
Alexander Kim
Amy Nguyen
Natalie Han
Aranza Partida
Sean Enriquez
Luis Cerrillos
Daniel Lien
Estevan Islas
Christian Moore

BASS

Bruce Bransby principal
Antonio Sarzi
Cade Peckham
Frank Buma
Daniel Rogers
Jana White

FLUTE & PICCOLO

Mihoko Watanabe principal
Luke Blancas (piccolo)
Lucia Cuellar-Ysaguirre
Tamara Deichert
Madison Hoyt
Jessica Piso (piccolo)
Jeri Taylor (piccolo)

OBOE & English Horn

Rong-Huey Liu principal
Erick Aguilon
Joseph Hille
Stephanie Marquez (English horn)
Adelle Rodkey

CLARINET & Bass Clarinet

Guy Yehuda principal
Elias Gilbert
David Gonzalez (bass clarinet)
Jacob Jaskolski
Sunil Kim (bass clarinet)
Gavyn Tapp

BASSOON & Contrabassoon

Catherine Marchese principal
Amelie Brittsan
Haley Riley
Christopher Sosa (contrabassoon)
Joshua Van Heusen

HORN

Lanette Lopez-Compton principal
Davian Barba
Alexander Fanetti
Raquel Hernandez
Kailyn Isobe
Gadiel Ocasio Román
Nathan Page
Annie Smith
Silvestre Vasquez

TRUMPET

Joe Burgstaller principal
Harmon Byerly
Gage Ellis
Jose Antonio Guevara
Kieran McNamara
Todd Oehler
Paul Reid
Alexander Strawn

TROMBONE

Luis Fred principal
Jeremy Fielder
Julio Moreno
Elijah Van Camp-Goh
Almaris Vazquez-Rivera
John Joseph Whitehouse

BASS TROMBONE

Harrison Cloninger

TUBA

Gabriel Baez

PERCUSSION

Matt Darling principal
Tyler Golding
Allie Jimenez
Jo Maluyao
Esteban Oroz
Landon Peckham

Celesta/Piano/Organ

Hatem Nadim principal

HARP

Laura Porter principal
Cassandra Huang
Natalie Samuelson
Carter Williams

faculty musicians in bold

About FOOSA

FOOSA began in the summer of 2013 as the Fresno Opera & Orchestra Summer Academy. Founded by Artistic Director Thomas Loewenheim and Executive Director Julia Copeland, FOOSA is a partnership between Fresno State and the Youth Orchestras of Fresno.

Our two-week summer intensive attracts serious young players who want to commit themselves to a rigorous program of orchestra rehearsals, lessons, master classes, individual practice, and plentiful performance opportunities. The FOOSA Philharmonic is a pre-professional orchestra that allows advanced musicians of college and high school age to enjoy a side-by-side performance experience with our outstanding faculty members. The FOOSA Half-Day Program is designed for younger and/or less advanced players, appropriate for elementary through high school students who play violin, viola, cello, double bass, harp, or percussion.

FOOSA is committed to providing scholarships to deserving young musicians and free concert tickets to communities it serves. To make a tax-deductible donation in support of FOOSA’s mission, click here:

FOOSA/Youth Orchestra of Fresno Board of Directors

Carmela Sosa, M.D. President
Issma Clark Vice President
Karen Hau Secretary
Julie Han Treasurer
Dee Lacy, M.D. Past President
Trish Fronda
Isaac Fregoso
JoAnn Hallum
Sergio La Porta, Ph.D.
Marta Obler, M.D.
Jerry Palladino
Derrick Peckham
Kristy Sun, Ph.D.
Kathryn Whitehouse
Thomas Loewenheim Artistic Director
Dan Schwartz Interim Executive Director

California State University, Fresno

Saúl Jiménez-Sandoval, Ph.D. President
Xuanning Fu, Ph.D. Provost and Vice President for Academic Affairs

College of Arts and Humanities

Honora Chapman, Ph.D. Associate Dean, College of Arts and Humanities

Fresno State Alumni Association

Peter Robertson, Ed.D. Director of Alumni Connections, Fresno State Alumni Association

Program design by Chris Myers (www.argylearts.com)

FOOSA Sponsors

FOOSA is able to provide incredible free performances like tonight’s concert due to the generosity of our donors and sponsors.