Dr. Robert Halseth, music
professor at Sacramento State University and Sandra Noriega
"First Women of Percussion"
Elayne Jones, first woman to graduate in percussion from Julliard pictured with Sandra Noriega
Blazing a successful musical career path as a percussionist, Sandra Noriega, a CSUEB alumna, experienced a resurgence of the polio virus from childhood and forced to take a slightly different path.
"Post-Polio Syndrome may have won the battle with performing as a professional timpanist - but it hasn't won the war," according to Noriega.
Noriega is making waves around the world as she steps in front of orchestras as well as helping other women find success in percussion, a field where men have historically set the beat.
A charter member of Classical Musicians with Disabilities, Noriega is invited to participate in the inaugural season of The D Major International Music Festival, in Kiev, Ukraine this fall.
“It would be an honor to have Ms. Noriega guest conduct some selections at either of the two orchestral concerts,” says Vivian Conejero, D.A.
Conejero is the Music Director, Artistic Director, and Executive Director for the D Major International Music Festival in Keiv.
According to Conejero, the festival is not a “disability festival,” but is open to all qualified and interested participants.
“Noriega will conduct several works in the inaugural concerts at the festival,” says Conejero.
Born in Puerto Rico in 1955, Noriega contracted polio shortly afterward.
The first evidence of the muscle paralyzing disease, in the form of post-polio syndrome returned during her performance, with the Redwood Symphony in 1988, while performing the Milhaud, Percussion Concerto.
“As I was nearing the last measures of the piece, I looked up at my left hand and was shocked to see that it was shaking – but the weirdest thing was that I could not feel it shaking! This was the first evidence of the Post-Polio Syndrome, the additional stages that affect polios after 35 - 40 years of the initial onset,” says Noriega.
Noriega was a SF Conservatory of Music rising star as the first woman to graduate with a Bachelor of Music degree in Percussion Performance under the instruction of Barry Jekowsky in 1983.
According to June Bonacich, music teacher, composer and alumni of San Francisco Conservatory of Music, “Sandra conducted a piece of mine that I composed for women's orchestra, women's chorus and power tools,” says Bonacich.
“The title of the piece is “Fanfare for Tradeswomen,” and is dedicated to women in non-traditional trades like, carpenters, electricians, etc.
I owe the success of the piece to Sandra's preparation and skillful conducting.”
As a percussionist working primarily with tympani – kettle drums, Noriega became CSUEast Bay’s first woman to earn a master’s degree in Percussion Performance in 1985, under Artie Storch, who continues to serves as Lecturer in Percussion.
“I first met Sandra Noriega in 1984, when she was finishing her Master’s degree in Percussion at Cal State, Hayward. At that time, she impressed me as a bright, competent player. Helping her prepare for her recital was rewarding for both of us,” says Storch.
As the tenured Principal Timpanist with the legendary Women’s Philharmonic from 1980 to 2004, Noriega recorded four CDs with works by women composers on the Koch International label.
While her struggle to continue performing increased each season, Noriega succeeded believing the PPS had won the battle.
“Bummer, I thought I was headed to NY to attempt becoming one of the 1st woman to graduate with a PhD. in Percussion from Juilliard,” says Noriega. “No way, but I did continue to perform with the Women's Philharmonic up until it dissolved in 2004,” says Noriega.
Eventually, Noriega realized she had always wanted to conduct.
“Conducting is mostly a right-armed affair, so, at the crazy age of 51, I auditioned at Sac State in 2006 for their post masters program and won,” says Noriega.
“Noriega often pushes to tackle pieces even seasoned conductors find difficult,” says Dr. Robert Halseth, music professor at Sacramento State University.
Noriega, was Co-Director of Oakland Public Conservatory of Music, the nation’s first public music conservatory until June 2011. She is also Artistic Director of the Oakland Public Conservatory of Music’s Symphony Orchestra, now in it’s 3rd season and Director of Educational Programs.
The orchestra is known to perform works by ethnically under-represented composers, female composers, living composers and standard repertoire.
“For the past 2 years, I have been playing in the Oakland Public Conservatory Community Orchestra under the direction of Sandra Noriega. I have been very impressed with Ms. Noriega’s musicality, conducting skills, and ability to work with a group of this nature. The orchestra’s membership is multi-generational and multi-cultural, and comprises skill levels ranging from students and amateurs to professionals like myself.
Ms. Noriega relates well to this diverse group of people. She is always patient and good-humored, without compromising her insistence on high musical standards.
She has an extremely clear beat. This is particularly important when working with musicians of various levels of performance skills, and makes good use of limited rehearsal time,” says Yehudit Lieberman, Assistant Principal Second Violin for the San Francisco Ballet Orchestra, now retired.
The Orchestra has continued to improve under her direction and her programming mixes standard repertoire with seldom-heard pieces by minority and women composers," according to Lieberman.
“The opportunity to play these pieces is one of the factors that draws me to the orchestra,” says Lieberman.
Victoria Theodore, pianist for Stevie Wonder says, “I have worked with Sandra both in rehearsal and in concert. Her dedication and passion for music is clear and admirable. She works hard to create an amazing musical experience both for her musical cohorts on stage and for the audience. And her joyful spirit is infectious.”
Noriega also served as Assistant Director of Community Women’s Orchestra from 2010 to August, 2011, one of only three Women’s Orchestras in the US.
According to Noriega, “Inspiring someone else to go for their dreams, to go with what resonates within, despite the exterior circumstances surrounding their life, I've gained everything."
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