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“She was not pursuing her career at the time and (was) highly qualified. Hence, ideal prerequisites for a challenging task!” Michel writes in an email explaining why she enlisted Garell to help launch the program. Recalled Garell, “In the beginning, we didn’t know how it would pan out. We had such an overwhelming response, not just from the kids, but from the community.”. Garell’s rewards have come not just from the program’s success, but from watching children become mature, confident performers. “To see those kids develop was so gratifying. It just blew me away. Parents have told me, ‘If it hadn’t been for ‘Lamorinda Idol,’ my child would never have found their voice.’ “.
When Garell learned she was to be recognized as Citizen of the Year, she said she was shocked, “I was flattered because all of the folks who’ve received the award before me have been involved with the community for decades,” she said, With 15 years actively supporting the local schools and the arts community, Garell said she’s learned the definition of “citizen” by observing those around her, “Everyone is genuinely interested in making life better, A pointe ballet shoes for beginners citizen is somebody who is actively involved in the community setting.” She credits her mother — the first person she called after receiving news of the award — with providing the best example of engaged, civic participation, “My mother taught me always to care about what was going on, She was interested politically, in the environment, in other parts of the world, She was worried about saving the world, I don’t have interest to that extent, but I have it,” Garell said..
Titled “Music from the Heart of Europe,” the program offered a dazzling array of works based on a variety of sources. The two-hour performance included music by eight composers, mixing well-known names such as Bach, Biber, Telemann and Muffat with a group of lesser-known lights that included Johann Schein, Johann Heinrich Schmelzer, Johann Pisendel and Joseph Umstatt. If the names were often unfamiliar, the results were mostly arresting; Wednesday’s performance, which marked the period instrument orchestra’s first appearance in Livermore, repeats Thursday at Stanford’s Bing Concert Hall, Friday at the SF Jazz Center in San Francisco and Saturday and Sunday at First Congregational Church in Berkeley.
With music director Nicholas McGegan in New York this week (he conducted Handel’s “Samson” at Lincoln Center on Tuesday), the orchestra was left in the capable hands of frequent Philharmonia Baroque concertmaster Elizabeth Blumenstock, Serving as leader, first violinist and congenial host, she explained how, from the 17th century on, dance forms throughout Europe began to be heard and adapted in new and unusual ways from nation to nation, composer to composer, From Muffat’s “Nobilis Juventus” (Noble Youth), which tips its hat to the English, French, Dutch, Spanish and Italians, to Telemann’s lavish suite, “Les Nations,” which takes the audience to far-flung sites in Turkey and Russia, the program made an pointe ballet shoes for beginners intriguing progress through time and place..
The first half’s works alternated between suites and sonatas, all in the 17th-century style. Muffat’s vivacious suite came first, with Blumenstock leading a sprightly, energized performance from the first violin position. The beguiling themes and quick rhythmic shifts of Schmelzer’s four-part “La Pastorella” — which incorporates a series of gavottes from England, France, and Germany, among other countries — brought the set to a whirling finish. In between, there were lovely performances of sonatas by Schmelzer and Biber — the former’s gently insinuating Sonata III from “Sacro-profanum Concentus Musicus,” and the latter’s simply gorgeous Sonata IX from the “Sonatae tam aris quam aulis servientes.” The Philharmonia players applied themselves to this music with verve and alert focus, and the sound bloomed in a performance of radiant color and texture.
After intermission, it was on to the 18th century, Bach’s six-part “Ricercar” from “The Musical Offering” was this set’s attractive centerpiece; here, the orchestra’s players melded in an exquisitely poised performance that emphasized the work’s rich sonorities and contrapuntal shifts, Still, Bach wasn’t the only charmer in this half of the program, Umstatt’s Concerto for Violin, Strings and Continuo in A major was a highlight, with Blumenstock bringing crisp tone and considerable agility to the solo violin part, Pisendel’s Sonata for Orchestra in C minor made a vibrant introduction to the Bach, As always, the orchestra’s individual players — the strings led by Blumenstock, William Skeen on viola da gamba, Paul Hale on cello, Kristin Zoernig on double bass, David Tayler on theorbo, Hanneke van Proosdij pointe ballet shoes for beginners on organ and Charles Sherman on harpsichord — contributed mightily..
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