Dobson Symphony Orchestra

Bounty Hunter from "Advent Rising Suite" (2005)..................Tallarico/Lopez

Advent Rising, which was originally written as a movie, is the best-selling first in an epic trilogy of games, making its Bounty Hunter theme instantly recognizable to gamers everywhere. The story is presented in a stunning cinematic format that delivers an unprecedented variety of game-play experiences. The original soundtrack, available online, is recorded by a Hollywood orchestra and the Mormon Tabernacle Choir!

From beginning to end, one can feel the convulsive attacks of absolute gaming giddiness. Dual weapon handling, epic action sequences, lush environments, incredible character designs, superhuman powers and a versatile control scheme all come alive in this great arrangement by Victor Lopez.

Suite from the Ballet "The Sleeping Beauty" (1890)............P. I. Tchaikovsky

V. Valse

The premiere of The Sleeping Beauty, in January 1890, was a great success, and it was an immediate hit
with the press and the public. Tchaikovsky himself thought it one of his best works, a "dancing symphony"
about fate and life woven from an old tale of a princess who pricks her finger on a poisonous thorn and is
put under a hundred-year spell to be awakened by a handsome prince. The lovely Waltz comes from the
glittering ball for Princess Aurora in Act II. If this waltz sounds familiar, perhaps you've heard it while
strolling through Disneyland.

Czardas (1904)............................................................................. Vittorio Monti

Czardas, Hungarian for tavern or inn, is a traditional Hungarian folk dance. It originates back to the 18^th century Hungarian vertunkos, which were used as a recruiting dance by the Hungarian army. Czardas is characterized by a variation in tempo: it starts out slowly and ends in a very fast tempo. The use of harmonics (extremely high pitches) also gives the piece a unique sound and a challenge to the soloist The dancers are both male and female, with the women dressed in traditional wide skirts, usually colored red, which form a distinctive shape when they whirl.

Jennifer Truong started playing the violin in fourth grade and has loved it ever since. She has participated in many honor orchestras throughout the years, including the Southwest All Region Orchestra, Arizona All State Orchestra, The Phoenix Youth Symphony, and the Intertochen Philharmonic. Next year, she plans to attend Arizona State University, with majors in International Business and Economics, and will continue to further her love for music in the ASU Symphony.

Star Trek Through the Years (1996)......................................arr. Calvin Custer

Theme from "Star Trek" • Theme from Star Trek: Deep Space Nine

Star Trek - The Inner Light • Theme from Star Trek Generations

Star Trek: Voyager • Star Trek - The Motion Picture

This medley, from the many years of Star Trek's existence, will boldly go where no medley has gone before. From its lush, lyrical melodies, to its brassy fanfares, this well-scored arrangement is sure to be a hit for any true Trekie".

The Planets, Suite for Large Orchestra (1916)..........-..................Gustav Holst

IV. Jupiter, Bringer of Jollity

The Planets, composed for orchestra between 1914 and 1916, is a suite of seven tone poems, each describing the planets from Mars to Neptune; Earth was excluded and Pluto hadn't been discovered yet. At a time when Hoist was finding large-scale composition difficult due to demands on his time, his friend Clifford Bax talked to him about astrology. (Note: Jupiter is written for an expanded wind section: 2 flutes, 2 piccolos, 3 oboes, 1 english horn, 3 bassoons, 1 contra-bassoon, 3 clarinets, bass clarinet 6 horns, 4 trumpets, 3 trombones, 1 euphonium, 1 tuba, 6 timpani, and percussion.) The clearly defined character of each planet suggested the contrasting moods of a work that was unlike anything he had yet written.

Hoist had meant Jupiter, the Bringer of Jollity to be "buoyant hopeful and joyous." It has been suggested that this movement might serve as an overture for an English country festival on a great green meadow, where all men are friends. The horns usher in each of five themes, like the competing guilds in a pageant. The introduction is a genial, syncopated dance, expressing Holst’s love of English folk tradition. In striking contrast the middle section belongs to Holst’s 'other life' of school-singing and Morley College festivities. It is nearly always associated with the hymn I vow to thee my country, owing to the fact that Holst used it as a setting for these words years later. The frivolity of the games soon returns with a conclusion in scales and arpeggios.