Saltarello
Anonymous, Arr. Nicole Chamberlain

Five Fantasiestücke
Samuel Coleridge-Taylor, Arr. Robert Rainford

• Serenade
• Humoresque
• Dance

Sarabande Pour le Piano
Claude Debussy, Arr. Shimpei Kojima

Enigma Variations
Edward Elgar, Arr. Mel Orriss

• Theme
• Richard Bader Townshend, an Actor
• William M. Baker, A Fiery Vigorous Country Squire
• Winifred Norbury, Gracious Secretary of the Worcestershire Philharmonic Society
• Nimrod: August Jaeger, Musicologist Musings on Beethoven’s Slow Movements

Divertimento Jazz
Raymond Guiot
I. Nice
II. Le Domain Forget de Charlevoix
III. Javea (Xábia)

Umoja
Valerie Coleman

Cumbia de la Luna
Carmen Marulanda

It Don’t Mean A Thing
Duke Ellington & Irving Mills, Arr. Adrian Wagner

Jazz Suite
Gregory W. Yazinitsky
I. Relaxin’
II. Night Music
III. Southern Exposure

CARINA CELESIA MOORE

Carina loves playing the flute and sharing her passion for music with others. She has performed flute in various east coast ensembles, and currently is a member of FluteSong4, the Camellia City Flute Choir, and the quartet, FLUTES! Carina has served as a substitute in the Sacramento Symphonic Winds, and she performs flute and piano duo concerts in churches, retirement communities, and private parties. She studied flute with Patricia Harper at Connecticut College, and with Tod Brody and Dr. Alice Lenaghan in northern California. In FluteSong4, Carina plays flute and alto flute.

PAT WALTON

In addition to belonging to FluteSong4, currently performing in the Camellia City Flute Choir, and performing in the past as a member of the Bremerton Symphony, Fairfax Virginia Symphony, Merck Symphony (Germany), and with the Flute and Harp chamber ensemble at Fair Oaks’ Slocum House Restaurant, Pat has been a certified flute teacher of the Suzuki Method since 1993. Since minoring in music, Pat has continued her flute study with Sidney Zeitlund (principal, Seattle Symphony), Wallly Mann (principal, National Symphony), and Dr. Alice Lenaghan (principal, Oakland Symphony). An active member of the Suzuki Association of the Americas, Suzuki Music Association of California, Sierra Branch, National Flute Association and an attendee and performer at the National Flute Convention.

IRENE WARSCHAUER

Irene and her husband Dan are retired music teachers who moved to Sacramento from the Midwest in 2009 to be closer to family. Their two grown children and four grandchildren are all actively involved in music. Irene received her MM degree from the Univ. of Wisconsin and has spent her entire adult life as a teacher and performer with various symphony orchestras, wind ensembles, chamber groups and early music consorts. In addition to playing in Flutesong4, she is also in the Camellia City Flute Choir and the Sacramento Flute Club.

ANN DiPASQUALE

Envisioning a life in Music, Ann began offering private flute lessons to neighborhood classmates in ninth grade, and started working as a public-school Music teacher at age 21. She was admitted to the American Federation of Musicians Local 60-471 in 1974, a membership she has maintained since then. Performing professionally as a freelance gig artist on piccolo and flute, she was a member of ensembles including the Hour of Power Orchestra, Pittsburgh Civic Light Opera, Beach Cities Symphony, Keystone Winds, and Benicia Ballet Orchestra. Ann also appears as a guest artist with the Auburn, Folsom Lake, and Solano Symphony Orchestras. In FluteSong4, she plays piccolo, flute, alto flute and bass flute.

ABOUT THE PROGRAM

J.S. Bach’s Sonata for Violin and Keyboard in C minor, BWV 1017 is the fourth of the set of six that Bach composed during his time in Cöthen (1717-23). The structure follows the trendy Italian style of four movements, slow-fast-slow-fast, with the beginning Siciliano violin line being one of Bach’s most famous melodies. The role of the keyboard is more than the filler continuo accompaniment, but particularly the fast movements are filled with the violin and keyboard dancing together through Bach’s brilliant contrapuntal writing. 

Robert Schumann struggled with his position as municipal director in Düsseldorf and perhaps out of frustration of dealing with larger orchestra and chorus, he wrote a number of intimate chamber music pieces for his best instrumentalists starting in the fall of 1851. Sonata No. 1 for Violin and Piano in A minor, Op. 105 was written just in a few days, and R. Schumann claimed that he didn’t like the way it turned out. Even after his young concertmaster Wasielewski and his wife Clara Schumann performed the piece several times, he was not satisfied as they were not able to convey the “brusque tone” he was looking for. The sonata was published in the following year in 1852 and Clara Schumann and Joseph Joachim continued playing it after Robert’s death. Violinist Jelly d’Arányi once claimed she was visited by Robert Schumann’s spirit and then revived his violin concerto. She is also the dedicatee of violin sonatas of Ralph Vaughan Williams and Béla Bartók. Hungarian born violinist d’Arányi was none other than the great-niece of Joseph Joachim (the most distinguished violinist of the 19th century) and she was visited by Maurice Ravel himself in London in the early 1920’s.

After a concert where she had played one of his pieces, Ravel asked her to play him some Gypsy melodies and this went on until 5 in the morning, which was evidently the birth moment of Tzigane. Other than its fame for its virtuosic violin writing, the other striking element to listen for is the timbre of the piano part which was originally written for piano-luthéal, a modified grand piano that could produce lute and harpsichord like sounds, similar to cimbalom (Hungarian instrument that is a hammered dulcimer traceable back to 16th century.