Midcoast Symphony Orchestra--Season Program Booklet 2021-22

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The Music Is Back!

MIDCOAST

SYMPHONY ORCHESTRA

A FLEXIBLE WORKSPACE AVAILABLE WHENEVER YOU NEED IT.

THAT’S MUSIC TO YOUR EARS.  Daily, part-time, full-time, and virtual offices  Conference facilities  Full-time reception  Fully furnished  All-inclusive pricing Visit us online to learn more BrunswickBusinessCenter.com

BRUNSWICK BUSINESS CENTER IS A PROUD SPONSOR OF THE MIDCOAST SYMPHONY ORCHESTRA!

2021 - 2022 SEASON ROHAN SMITH MUSIC DIRECTOR A N D C O N D U C TO R


We thank all who make the Midcoast Symphony possible.

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Hildegarde Bird 1935–2021 One of the original members of the MSO, Hilde retired in 2019 after 30 years. She wrote her own music biography for MSO’s website a few years ago: “My violin lessons started at age nine when my brother and I decided our dad, who was our piano teacher with a roaring temper, couldn’t play the violin; so we put our feet down and told him we would like to learn that instrument. I played all through high school in ensembles and sang in the school choir. In college I toured with the glee club, traveling in Military Air Transport (MATS), singing to the Armed Forces in Greenland, the Azores, and Bermuda (USO). We even sang from the cockpit of our plane to a military hospital ship. As an adult, I played in garages in Martha’s Vineyard. Later I played for eight years at the New Mexico School of Mines. I joined faculty and students playing traditional music, as well as show tunes for musical productions, plays and graduations. I am a retired special education teacher. I enjoy dabbling in paint and walking our dog Bosun. I was married to Henry for 58 years, and he came to all of the day concerts. I have also encouraged my five children and nine grandchildren to embrace my love for music, and as a result we have a multitude of family musicians.” According to her family, during her first year at Simmons College, when attending church one Sunday, Hilde drew the attention of a young preacher, seminarian Henry Bird. As he prepared to deliver the sermon, he looked up and saw this lovely young lady seated in one of the pews, and, in his words, “A ray of light shone on this dish…”—his words for a stunning beauty. They were married less than a year later. They had five children: William Brewster, Holloway Lonsdale, Thaddeus Bartholomew, Paul Barnabas, and Anna-Sarah Love. 9


Midcoast Symphony Orchestra

The Midcoast Symphony is a community orchestra founded in 1990. Started as a chamber orchestra, we now have over 80 members on our roster. We continue to grow under the baton of Rohan Smith, bringing top-notch performances to the Orion Center in Topsham and the Gendron Franco Center in Lewiston. Our members are volunteer players: we are teachers, doctors, homemakers, business people, retired people, professional musicians, and a variety of other occupations, and we hail from the midcoast, Lewiston-Auburn, and Portland regions. Our repertoire ranges from Mozart and Haydn to recently written music, and we are excited to connect further with audiences and talented players from our state. In addition to our regular concerts, we have “More with Midcoast,” education and community engagement programs that support our goal to contribute significantly to the cultural life of midcoast and central Maine. The orchestra welcomes membership inquiries from talented musicians and also community members who would like to join our orchestra auxiliary group, FRIENDS of MSO. Please contact us at info @ midcoastsymphony.org or (207) 315-1712.

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A Note on This Year’s Programs We are so very happy to be able to be back making music for our dear Maine communities. We have used the break to think about the repertory we play, and have made an effort to approach our programming from a more inclusive perspective, with pieces by composers beyond the male and European-dominated group which has long formed the core of our repertory. Some of the “new” composers we have added are people with distinguished careers in their own time but who have been largely ignored by the history books for reasons of gender or race, and others are younger and living composers who represent the variety, vitality, and approachability of orchestral composition today. Two of these composers are Mainers—our own cellist, Phil Carlsen (January concert) and now-New Yorker Colin Britt (May concert), who grew up in Lewiston-Auburn.

Friends of MSO – We Appreciate All You Do! The “Friends of MSO” is a group of community members who directly support the activities of the orchestra by helping with such important tasks as mailings, fundraising activities, ushering, tickets, and refreshments. They are valuable advocates for the orchestra within the community and have been responsible for bringing many new audience members to these performances. The time commitment is minimal: usually 1–2 hours the month prior to each concert and any help you can lend with ushering, selling tickets, and helping with the reception at Sunday concerts. Naturally, advocacy for the orchestra is on-going whenever an opportunity arises. MSO is saddened by the passing of Jane MacDonald and Kate Marotto. They were both early members of our Friends group and we will miss them. If you would like to join in this effort or learn more about their activities, please speak to one of the “Friends,” call the orchestra office at (207) 315-1712, or email: info@midcoastsymphony.org. Friends, 2021 – 2022 Nancy Aliberto Posey Barlow Roger Bogart Anne Bogart Andrea Butler Dana Cary Marcia Clayton

Joyce DeVito Richard DeVito Judy Fiterman Marilyn Flynn Clara Forkey David Forkey Olivia Forkey Carol Freeman

Candi Hine Sherry Holt Sarah Irish Judith Johanson Dalton Johnstone Laura Katz Jane Kresser

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Terry Law Jean Leavitt Sharon MacCallum Peggy Mason Hollis McBride Martha McBride Leon Neihouse

Sandie Neihouse Marjorie Platou Lynn Reese Barbara Rondeau Jack Schneider Edna Stoddard Linda Wilson


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A Message from Our Conductor Rohan Smith, Conductor and Music Director

Dear MSO friends, The Midcoast Symphony Orchestra and I are thrilled to be reunited with our musical community through our long-awaited return to in-person concerts! The enforced closing of live performances of music and theater over the last year took away from us all a cherished form of human connection. It has made us realize that what we lost for a time is more meaningful to our lives than we could ever have imagined. I myself now hear music differently, more vividly, and personally than before. This year’s concert season draws from a wide variety of composers and styles. Perhaps music’s greatest and most important power is to tap into our common humanity. It is so important that we hear the music of composers who have been underrepresented, are new, and come from cultures and places beyond those of the staples of the classical domain. Three magnificent works of spiritual affirmation form the backbone of the season. Beethoven’s “Emperor” Concerto, with our esteemed friend and piano soloist George Lopez, opens the season with a burst of optimism. Dvořák’s ever-popular and melodious “New World” Symphony, inspired by the composer’s American sojourn, will brighten the midwinter. Mahler’s epic Fifth Symphony, spanning tragedy to renewal of life, will be conducted by dynamic guest conductor, Jinwook Park. Tania Leon’s “Fanfarria,” a Latin tribute to the Copland “Fanfare,” is the curtain raiser for the season and is followed by “Lyric” by George Walker, the first Black composer to receive the Pulitzer Prize in Music. Other new voices we will hear are Jessie Montgomery, whose “Banner” is a tribute to the national anthem, and Nkieru Okoye, whose “Voices Shouting Out,” was composed in memory of 9/11. Maine composers are represented by MSO cellist Philip Carlsen with “Rowing in Eden,” and Colin Britt with “Storm for Orchestra.” Another MSO favorite, Wayne du Maine, shares the limelight in a program of “Family Classics” in March, not only as the brilliant trumpet soloist we know, but also as piano soloist with Mozart! The orchestra and I look forward to seeing you in person! Warmly, Rohan Smith 13


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Underwriters New England Cancer Specialists The Highlands Season Sponsors Bath Savings HM Payson OceanView at Falmouth

Two-Concert Sponsors Lamey Wellehan Shoes Mechanics Savings Bank

Foundations and Grants Harold W. and Mary Louise Shaw Foundation

Single-Concert Sponsors Berman & Simmons Trial Attorneys L.L.Bean

Maine Community Foundation Grant

Media Sponsors Bennett Radio Group WCME Radio

Davenport Trust Fund The Van Winkle Family Charitable Fund

Advertising Sponsors The Cryer The Times Record Sun Journal

Special Thanks Bowdoin College

Artist/Conductor Sponsors Fairfield Inn & Suites, Brunswick The Brunswick Hotel 15


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Our Special Thanks Many individuals have cooperated generously with us to make these live orchestra performances at the Gendron Franco Center and the Orion Performing Arts Center possible. The Midcoast Symphony Orchestra proudly and sincerely thanks them here.

Orion Performing Arts Center Our Special Thanks Judy Lloyd, Coordinator Gendron Franco Center Penny Drumm, Christine Strout, and Joe Strout Mt. Ararat Middle School Megan Hayes Teague, Principal Renovia Marro-Day and Rachel Williams, Music Teachers Friends of MSO Our group of volunteers who support the orchestra with numerous activities and are advocates for audience development. Program Notes Author Mary Hunter MSO Music Librarian Julia O'Brien-Merrill Stage Crew Mike Adair, Ara Dedekian, Chris Hall, Ray Libby, Moira Walden, and Holly Whitehead Recording Technician Trevor Peterson And a special thank you for the widespread and continuous volunteer efforts of our orchestra members.

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Board of Directors and Advisors 2021 - 2022 Board Heather Linkin, President Meghan Metzger, Secretary Mark Solebello, Treasurer Michael Adair Billie Jo Brito Tim Kenlan Meg Lewis Ted Walworth Advisory Committee Julia O'Brien Merrill, Music Librarian Rob Landry, plein air interactive

Ex Officio Rohan Smith, Music Director/Conductor Carol Preston, Executive Director Ray Libby, Manager Cynthia Fabbricatore, Bookkeeper

MIDCOAST SYMPHONY ORCHESTR A P.O. Box 86, Brunswick, Maine 04011 info@MidcoastSymphony.org (207) 315-1712 Executive Director: Carol Preston, cpreston@midcoastsymphony.org Orchestra Manager: Ray Libby, info@midcoastsymphony.org Ticketing: info@midcoastsymphony.org or (207) 846-5738 Friends of MSO: info@midcoastsymphony.org or (207) 315-1712

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Contributors MSO would like to thank those who make our concerts possible with their generous contributions. The list below acknowledges contributions received by October 8, 2021. Donations received after that date will be acknowledged on an insert in the January 2022 program.

Benefactor

Michael Clawar Caroline Cornish Ara Dedekian Patsy Dickinson Pat & Al DiSabatino Rev. Scott & Mrs. Sharon Dow Meg Estapa Judy & Sandy Falconer Virginia & Gerry Flanagan David Fluharty George Gilmore Pam Gormley Paul Greenstone Frank Gross Sally Morrison & Gary Haggard Pauline T. Hannaford Phyllis Hartzler Edward & Helen Hawes Karin & Robert Jackson Judith C. Johanson Catherine Johnson Bruce Erwin Johnson Donna Johnstone Karen Jung Eric Kawamoto Ray & Sue Lagueux Edward & Nancy Langbein Meg Lewis Ray Libby

Anonymous

Patrons Robert Frank Mary Hunter Donald & Carolyn Kanicki Sarah Schaffer & Gerry W. Orem Ann Slocum

Sponsors Cynthia Harkleroad Timothy M. Kenlan Lynn Reese

Donors Mike Adair David Linkin & Vicki Apter Jean Barker Thomas Baumgarte Thomas Bellegarde Jessie Boardman Rachel Boddie Roger Bogart Billie Jo Brito Patricia Brown Linda Brunner Philip Carlsen Frances P. Caswell 20


Heather Linkin Benjamin Lounsbury Robert S. Marshall Martha & Hollis McBride Louis & Margaret Metzger Charitable Fund Meghan & Mike Metzger Chip & Jan Morrison (In Honor of John Teller) Martin Naas Anne Nanovic Niles, Shedlarski and Co Julia O’Brien-Merrill Denise Shannon & Richard Papetti Louise Paquette Aaron Park David & Julie Pease Trevor Peterson Elizabeth Pettigrew Dian K. Petty Joyce Poulin Emily Reese Marjorie Roberson Michele & Rick Rosen (In Honor of Meghan Metzger) Kate & Stephen Rosenfeld Karen Rye Diane Schetky Alicia Scott Richard Sipe Martha & Mitchell Stein Rachel & David Stettler John Teller Philip Carlsen & Jeri Theriault Karen Tilbor Katie Toro-Ferrari Moira Walden 21

Lisa & Joe Walker Ted Walworth

Friends Brooke Barnes Robert Beringer Georgette M. Berube Arthur L. Boulay Stuart & June Carlisle Linda Clement Peter B. Cook Joseph D'Appolito Richard DeVito Garth & Pamela Duff Charles Durfee Denis & Pauline Fortier Marjorie Hart Ann Hartzler Charlotte & Robert Hewson Jonathan Ives Elizabeth A. Messler Pamela Murphy Ed Barrett & Nancy Orr Pitter Patter Robert J. Perry Anita Plourde Carol Preston Barbara Rondeau Alan & Ellen Shaver Laurel Sisson Eileen & Howard Stiles Edna Stoddard Joyce Walworth Marjorie A. Whipple Alison Winslow


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Orchestra Personnel

Viola Heather Linkin, Principal * Rebecca Dreher Meg Estapa* Meg Lewis* Jon Luoma Judy Pagon Aaron Park* Katie Toro-Ferrari* Jeanie Wester

(listed alphabetically)

Violin I Carol Preston, Concertmaster Talia Audley Jessie Boardman* Jeanne DiFranco Mary Hunter* Meghan Metzger* Sally Morrison* Julia O’Brien-Merrill* Trevor Peterson* Emily Reese* Rick Seeley

Cello Patsy Dickinson, Co-principal * Karen Jung, Co-principal * Philip Carlsen* Joanie Glenn Dan Leeman Daniel Levine Martha Stein* Rachel Stettler* Lisa Walker* Holly Whitehead Alex Wong Laura Zitske

Violin II Caroline Cornish, Co-principal * Eric Kawamoto, Co-principal * Ara Dedekian* Karen Levine Egee Judy Falconer* Robert Frank* Cathy Johnson Sylvia Kraemer Kate Rosenfeld* Denise Shannon* Moira Walden*

Double Bass Paul Greenstone, Co-principal * Sally Johnstone, Co-principal* Michael Adair* Thomas Baumgarte* Anne Nanovic* David Simms 24


Trumpet Timothy Kenlan, Principal * Gerry Flanagan* Martin Naas*

Flute/Piccolo Linda Brunner, Co-principal * Sandy Kauffman, Co-principal Sally Gundersen Alicia Scott*

Trombone Bruce Theriault, Principal * Jeff Ertman* Chris Hall

Oboe/English Horn Billie Jo Brito, Co-principal* Kristen Fox, Co-principal Sarah Dow-Shedlarski* John Teller*

Tuba Douglas Ertman

Clarinet Rachel Boddie, Co-principal * Carol Furman, Co-principal Ray Libby*

Percussion Quinn Gormley, Principal * KJ Gormley Timpani Durell Bissinger

Bassoon Frank Gross, Co-principal * David Joseph, Co-principal Lara Bailey Eliza Madden Ted Walworth*

Harp Suki Flanagan* Piano Joyce Moulton

Horn Carolyn Kanicki, Principal * Beth Almquist* Cynthia Harkleroad* Matt Pollack Sarah Rodgers

musician is sponsored * This by one or more persons or organizations through a “Chair Sponsorship” fund raising effort.

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More with Midcoast Our Education and Community Engagement Events Free Events during Saturday's concert intermission at Gendron Franco Center and prior to the concert on Sundays at Orion Performing Arts Center

Sunday, October 24, 2021 1:30 – 2:00 p.m. • A Chat with the Maestro Rohan Smith, MSO Conductor & Music Director MSO’s engaging leader will share his thoughts about the music on today’s program.

Sunday, January 16, 2022 1:30 – 2:00 p.m. • Maine Musicmakers Anne McKee, Violinist; Philip Carlsen, Composer; Denise Shannon, Discussion Host Our Judith Elser Concerto Competition winner and violin soloist will join the composer of “Rowing in Eden” in an enlightening conversation led by and MSO’s own Denise Shannon. Both the soloist and composer are featured on the concert this day.

Sunday, March 20, 2022 1:30 – 2:00 p.m. • Youth Performers To be announced.

Sunday, May 22, 2022 1:30 – 2:00 p.m. • Meet the Music Dr. Mary Hunter, Bowdoin Professor of Music Emerita You’ll enjoy today’s concert music even more after learning more from our music historian.

At Gendron Franco Center, Saturdays, January 15, March 19, May 21, 2022 Enjoy your intermission with the sound of local youth musicians. More with Midcoast is supported by donations from businesses, individuals, and grants.

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Judith Elser Concerto Competition Finals April 8, 2022 • 7:00 p.m. Gendron Franco Center, Lewiston Five talented finalists, all music majors currently attending a Maine college or university, will perform for judges and community members in a competition to become the guest soloist with MSO in the October 2022 concerts. The winner and runner-up will be announced that evening, and the winner will also be awarded $1000 from the Judith Elser Fund. The event is free and open to the public. There is more information on MSO’s website.

Judith Elser

(1940 – 2015)

This competition honors the memory of Judy Elser, a long-time music teacher who played cello in the MSO for many years, served on the board, and left a generous bequest to the orchestra when she died. We are grateful for all she gave to the orchestra, and know that she would be thrilled to witness the personal growth and success her gift has made possible for our young entrants and winner.

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Please consider

MIDCOAST SYMPHONY ORCHESTRA as a part of your legacy

MSO provides its members with unique music-making opportunities and its audiences with high-quality concerts at reasonable prices. We are committed to reaching out to people beyond our immediate audience to share our enthusiasm for music. None of this can happen without predictable support. A legacy donation from you can offer this kind of resource, and we would be most honored if you would consider it. For more information please contact Executive Director Carol Preston at info@midcoastsymphony.org.

MSO is a 501(c)(3) non-profit organization.

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Rohan Smith Conductor and Music Director Conductor and violinist Rohan Smith is in his 18th the MSO to critical acclaim in performances of the major symphonic repertoire of all eras to the present time. In recent seasons, Smith and MSO have performed Mahler’s First and Fourth Symphonies; Bartók’s Concerto for Orchestra ; Beethoven’s Eroica, Fifth, Sixth, and Seventh Symphonies; Brahms’s First and Second Symphonies; Berlioz’s Symphonie Fantastique ; Debussy’s Nocturnes ; Stravinsky’s Petrouchka, and Ravel’s Daphnis and Chloe Suite No. 2. In May 2006, MSO under Smith was one of 65 orchestras across America to perform the newly commissioned “Made in America” by Joan Tower. In May 2015, Smith led Midcoast Symphony, the Oratorio Chorale and Vox Nova in two memorable performances of the Verdi Requiem. Rohan Smith is Director of Orchestral and Chamber Music at Phillips Exeter Academy in New Hampshire, where he conducts the Symphony Orchestra and the Chamber Orchestra. Smith has conducted the PEA Chamber Orchestra on cultural exchange, service, and outreach tours to Vietnam, Hong Kong, Quebec, England, New York, and the Coachella Valley, California, performing there for children of immigrant farm workers. As an orchestral violinist in New York, Rohan Smith performed regularly with the American Symphony Orchestra, the New Jersey Symphony Orchestra, the American Composers Orchestra, the New Orchestra of Westchester, and on Broadway. He has performed under conductors James Levine, Kurt Masur, Andrew Davis, Kyrill Kondrashin, Dennis Russell Davies, Mark Elder, Kurt Sanderling, and Charles Mackerras. As an orchestral violinist he has been privileged to perform with many distinguished artists such as Jessye Norman, Itzhak Perlman, Thomas Hampson, Marilyn Horne, Pinchas Zuckerman, Midori, Kathleen Battle, Andre Watts, Garrick Ohlson, Billy Taylor, and Frank Sinatra. 37


Smith performed with the Austro-Hungarian Haydn Orchestra under Adam Fischer for many years, including frequently at Haydn’s summer residence at the Esterhazy palace near Eisenstadt, and in festivals throughout Europe, Japan, and Taiwan. In 1991 and 1995, he participated in the Mahler Festspiel in Kassel, Germany, with members of the Vienna Philharmonic, Berlin Philharmonic, and Concertgebeouw orchestra under the batons of Adam Fischer and Manfred Honeck. Smith performs regularly with members of America’s leading orchestras in the “Music for Life” benefit concerts at Carnegie Hall, to bring attention to the humanitarian needs of refugees in Syria, Darfor, and HIV-infected children in Africa. As a chamber musician, Smith has performed at the Kowmung Music Festival in Australia, the Cervantino Festival in Mexico, the Toronto International Chamber Music Festival, and Klangfrühling Schlaining in Austria. Smith was a member of the contemporary music group Terra Australis from 1986 to 1989 and performed with them as soloist at the 1988 Aspen Music Festival in Andrew Ford’s Chamber Concerto No. 3: In Constant Flight. He recorded several of Ford’s works on the CD Icarus, which was named one of the best 10 CDs by The Sydney Morning Herald in 2001. Rohan Smith is a graduate of Manhattan School of Music. He studied violin with Robert Pikler, Zinaida Gilels, Szymon Goldberg, and Burton Kaplan, and conducting with Michael Charry, Adam Fischer, and Kenneth Kiesler.

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Welcome Back! Saturday, October 23, 2021 7:00 p.m. Gendron Franco Center, Lewiston

Sunday, October 24, 2021 2:30 p.m. Orion Performing Arts Center, Topsham

Fanfarria Lyric for Strings Pines of Rome The Pines of Villa Borghese

Tania León (1943- )

George Walker (1922-2018)

Ottorino Respighi (1879-1936)

Pines Near a Catacomb The Pines of the Janiculum The Pines of the Appian Way

Intermission __________________________________________ Piano Concerto No. 5, in E Flat Major, Op. 73, “Emperor” Allegro Ludwig van Beethoven

(1770-1827)

Adagio un poco moto Rondo. Allegro

George Lopez, Pianist

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Program Notes

Welcome Back!

Fanfarria, Tania León Appropriately to a joyful re-beginning, we start with a fanfare for brass and percussion. Tania León emigrated to the United States from Cuba on a Freedom Flight in 1967. Starting as a founding member of the Dance Theater of Harlem, she has made a stellar career in this country as a pianist, conductor, and composer, and counts as a central figure in American music of the later twentieth and early twenty-first centuries. “Fanfarria” was written in 2000 as a commission for the Centennial Celebrations for Aaron Copland, as an homage to his well-known “Fanfare for the Common Man” (1942). As the original program for that concert remarks, this piece offers a “sonically effervescent display of colors and bursts of pyrotechnical chordal sequences echoed by bursts of percussive responses.”

Lyric for Strings, George Walker Equally appropriate to this moment, but offered as an acknowledgment of the human cost of the pandemic, we offer George Walker’s sombre “Lyric.” Like Samuel Barber’s more famous “Adagio” (1936), “Lyric” was originally written as the slow movement of a string quartet (1946), then adapted to string orchestra. Like the Barber, it features material that moves mostly by step (from one note to the one next to it), and an overall arc from soft to loud and back again. Walker, the first African-American composer to win a Pulitzer Prize for music, taught at Rutgers University from 1969–1992, and received many prestigious awards, fellowships, and commissions from major symphony orchestras. Much of Walker’s music is in a fairly astringent modernist idiom, but “Lyric” is in a more romantic, expressive style.

Pines of Rome, Ottorino Respighi Originally a violinist and orchestral violist, Ottorino Respighi briefly studied composition in St. Petersburg with Rimsky Korsakov, a master of orchestral color. Respighi eventually settled in Rome making his reputation with works describing his adopted city, and with orchestrations and adaptations of early music. 42


The famous conductor Arturo Toscanini championed his music, and it remains enormously popular with both audiences and players. Pines of Rome combines Respighi’s interests in both Rome and history, since the pine groves he depicts all go back either to the Renaissance or to ancient times. It includes four “scenes,” which proceed from one to the next without breaks. The speedy “The Pines of the Villa Borghese” uses a lot of “noise” from percussion and brass to suggest the bustling city of which the Villa Borghese commands a view. The “Pines Near a Catacomb” suggests the creepiness of these underground graves with the very low strings at the beginning. The largely stepwise and repetitive tunes are also somewhat reminiscent of Gregorian chant, reminding the listener of the early history of the Church in Rome. “The Pines of the Janiculum” evokes a romantic night (ending with a recording of nightingale song) in the gardens on this Roman hill. This segues directly into the depiction of marching Roman Legions on the ancient Appian Way. The marching rhythm in basses and timpani continues throughout the movement as the music over it gets increasingly loud and martial, culminating with a gong stroke as the legions arrive directly in front of the viewer/listener. Mussolini was a great admirer of Respighi’s music, but although Respighi was more musically conservative than some of his colleagues, he made no public statements about calibrating his style to appeal to the fascist regime.

Piano Concerto No. 5, Op. 73, “Emperor,” Ludwig van Beethoven This is the last of Beethoven’s piano concertos and the only one he did not perform himself at the premiere, due to his increasing deafness. Although it was written in 1809, it was not performed in public at all until 1811 because of Napoleon’s violent incursions into Beethoven’s hometown of Vienna. It was not performed in Vienna itself until 1812, when Carl Czerny, Beethoven’s pupil, admirer, and author of hundreds of finger-twisting etudes, brought it to a Viennese audience. The only thing we know for certain about the work’s nickname, “The Emperor” is that it does not stem from Beethoven himself. Critics have often linked the nickname to its expressive grandeur and large scale, which, while pointing out certain aspects of the work, may also direct attention away from its more intimate sounds and moments. 43


Program Notes

Welcome Back! continued Although Beethoven often wrote beautiful and memorable tunes, one of his most significant characteristics as a composer was his ability to take the simplest or most compact material and work with it so that it forms the basis of an entire movement. The first movement of his Fifth Symphony, which was finished just a year before he wrote this concerto, is probably the most famous example, as the “da-da-da-DA” motif serves as the fundamental building block of the entire 15-minute movement. Beethoven’s techniques include chopping up a short tune so that bits of it appear separately and in different configurations across a movement. In the first movement of today’s concerto he does this with the tune that the orchestra plays after the opening piano introduction. He also extends simple, even banal, material, so that it takes on an elevated character. For example, at the very beginning of the concerto, the big chords played by the orchestra are just a standard chord progression (made up of of the “power chords” of rock music), but the piano’s long rhapsodic “improvisations” in between give these ordinary chords an extraordinary grandeur. The rest of the movement combines play with motifs (bits of tune) and piano rhapsodizing in always surprising ways. The second movement makes up for the first’s relative lack of big tunes with a stunningly gorgeous melody played first by the orchestra alone, then eventually by the piano, and then by the orchestra again with piano filigree around it. I would be astonished if Leonard Bernstein did not have this in mind when he wrote the song “Somewhere” for West Side Story. The last movement is a robust rondo (a form where the main tune keeps coming back, with contrasting “episodes” in between). ©Mary Hunter 2021

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George Lopez Piano Soloist George Lopez, pianist, has been featured across the globe as recitalist, soloist with orchestra, and collaborator. He received critical acclaim for his interpretation of Bach’s Goldberg Variations at the Concertgebouw in Amsterdam and performed the complete Beethoven Piano Concertos in two concert seasons. He was invited by The International Holland Music Sessions on a world tour where he performed in Paris, London, Cologne, New York’s Weill Recital Hall at Carnegie Hall, and Los Angeles where he was hailed by the Los Angeles Times for his “. . . musical perspective, continuity, and kaleidoscopic colors.” He performed Gershwin’s Rhapsody in Blue to a capacity crowd with the New Hampshire Music Festival Orchestra and has performed recitals in Switzerland and Italy. He premiered a piano concerto written for him by Romeo Melloni, which he recorded with the Czech Philharmonic Chamber Orchestra, with Maestro Paul Polivnick. In addition to the New Hampshire Symphony, Mr. Lopez has appeared with the Granite State Symphony Orchestra, the Midcoast Symphony Orchestra of Maine, the Fort Smith Symphony, and the Southwest Florida Symphony in Ft. Myers. His chamber music collaborations include the Emerson String Quartet, the Rainier Quartet, the Ying Quartet, the Incanto Ensemble, and the Aurea Ensemble, along with members of some of the top orchestras in the country. He performed with cellist Emmanuel Feldman in Boston’s Jordan Hall in a world premiere of Jan Swafford’s In Time of War for cello and piano. Mr. Lopez is an advocate for music education and a popular lecturer on the arts in New England, has had active studios throughout New England at premiere schools, and has given lectures for the European Piano Teachers Association in Amsterdam. Born in Brooklyn, New York, and raised in Belize to Mayan parents, he started playing the piano at the fairly late age of 11. Upon returning to the U.S., he won 45


Program Notes

George Lopez continued

his first orchestral competition at 14 in Texas and later was awarded a full scholarship to The Hartt School of Music. After graduating with honors, he went to Paris on a Franco-American study grant and received a unanimous First Prize for the Diplome supérieur. He completed his Masters Degree cum laude in Amsterdam. Now he is the Beckwith Artist in Residence at Bowdoin College. He has also taken up the baton as conductor of the Bowdoin College Symphony Orchestra, an all-student ensemble, which performs full symphonic programs each semester. His "Music in the Museum" series at Bowdoin has consistently sold out to audiences who enjoy his creative and engaging lecture recitals on the relationship of music to art and ideas.

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A New World Saturday, January 15, 2022 7:00 p.m. Gendron Franco Center, Lewiston

Sunday, January 16, 2022 2:30 p.m. Orion Performing Arts Center, Topsham

Voices Shouting Out

Nkeiru Okoye

(1972– )

Rowing in Eden

Philip Carlsen

(1951 – )

Violin Concerto

Johannes Brahms

Allegro non troppo

(1833–1897)

Anne McKee, Violinist Judith Elser Competition Winner Intermission––––––––––––––––––––––––––––––––––––––––––––––– Symphony No. 9 in E Minor, Op. 95, “From the New World” Adagio—Allegro Molto Largo Scherzo, Molto Vivace Allegro con fuoco

Antonín Dvořák (1841–1909)

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Program Notes

A New World

Voices Shouting Out, Nkeiru Okoye Nkeiru Okoye is an American composer who has just (2021) been awarded a Guggenheim fellowship in composition. She has degrees from Oberlin College Conservatory and Rutgers University, and has been closely involved with the Detroit Symphony Orchestra. ”Voices Shouting Out” is her best-known orchestral work. Written in 2002 for the Virginia Symphony as an artistic response to 9/11, it is not a sombre reflection, but rather, in her own words, “a march to acknowledge those fighting on behalf of our safety and yet a sparkling celebration of life for those who continue living.” The various American “voices” we hear are determined, jazzy, sweet, and rooted in folk-like music.

Rowing in Eden, Philip Carlsen The composer writes: “‘Rowing in Eden,’ written in 1992 for the Portland [Maine] Symphony, is a piece that attempts to evoke, in purely musical language, the astonishing outpouring of love and desire from Emily Dickinson in her poem “Wild Nights.” Wild Nights—Wild Nights! Were I with thee Wild Nights should be Our luxury! Futile—the Winds— To a Heart in port— Done with the Compass— Done with the Chart! Rowing in Eden— Ah, the Sea! Might I but moor—Tonight— In Thee! My musical metaphors for Dickinson’s ecstatic words include driving triplet rhythms that suggest the relentless surge of the sea, as well as lush harmonies that may bring to mind the flamboyant classic scores for Hollywood and Broadway romances. Other 50


influences include Debussy’s tone poem “La Mer,” the great love music in Ravel’s “Daphnis and Chloe” and Olivier Messiaen’s “Turangalila Symphony.” There is also a striking allusion to the “New World” symphony, which, just like this weekend’s MSO concerts, also concluded that long-ago Portland program. Near the end of “Rowing in Eden,” the English horn commences spinning out a dreamy tune, beginning very deliberately with the same notes as Dvořák’s famous “Going Home” theme. Here it becomes Dickinson’s “Heart in port,” a mooring place of peace and refuge.”

Violin Concerto: Allegro non troppo, Johannes Brahms Brahms wrote four concertos—two for piano, one for violin, and a “double” concerto for violin and cello. With the exception of the first piano concerto, which he wrote for himself, he had specific performers in mind for all of them. The violin concerto (1878) was written not only for, but in collaboration with, Joseph Joachim, one of the most notable violinists of the late nineteenth century and a composer himself. Joachim advised Brahms on matters both compositional and violinistic, and wrote the cadenza (the long solo passage towards the end of the movement) himself, using bits of the first half that Brahms had used less extensively in the second half. His initial reaction to Brahms’s first draft was: “most of it is playable, much of it violinistically quite original; but whether it will be enjoyable to play in an overheated hall, I cannot confirm unless I play through the whole piece.” This was, after all, an age when male musicians wore warm woolen suits and tight cravats even in the middle of summer. It is a fearsomely difficult work, written, as one early conductor quipped “Against the violin, not for it.” It includes material that ranges from the martial to the menacing, through the sweet and waltz-like. The violin plays all the main ideas in the movement, but spends much of the time offering elaborate decorations and passionate rhapsodizing while the orchestra plays the main material.

Symphony No. 9, “From the New World,” Antonin Dvořák This symphony was written in 1893, close to the the beginning of Dvořák’s two-year visit to America. He had been hired to teach at the National Conservatory in New York, partly because his works were enormously popular on this side of the Atlantic, and 51


Program Notes

A New World

continued

partly because, as a Czech nationalist composer he was thought to be someone who could help American musicians (who suffered from a bad case of Germanophilia and a lack of national self-confidence) develop something like a national style. Dvořák was entirely aware of this responsibility, writing: The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short, a national style of music! This will certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have plenty of encouragement to do so. Partly in preparation for this symphony, and partly out of interest, Dvořák had Henry Thacker Burleigh, an African-American student at the National Conservatory, sing him some songs, and he corresponded with music critic Henry Krehbiel about Native American music, though it seems highly unlikely that he actually heard any. Despite this research, though, the “New World” symphony uses no originally American melodies; the famously folk-like tunes are all Dvořák’s own inventions, written “in the style of” the music he researched. In fact the musical means he used to evoke America are pretty much the same means he and other composers used to evoke English, Czech, Chinese, Hungarian, and other folk music: namely, the five-note pentatonic scale (best understood by playing just the black notes on the piano), or seven-note scales like major and minor, but with the halfsteps in different places. Also, drone (the same bass note played for a really long time, like the bagpipe uses) and syncopation (offbeat rhythms)—both used here—are part of the vocabulary used to suggest deeply rural and “exotic” cultures. Scholars argue about whether the New World Symphony is more “Czech” or more “American,” but the real point is that it deviates from the Germanic standards of the late nineteenth century in a way that allowed listeners of the time to imagine a variety of different cultures. Whether we hear American-ness in it or not, it is a deservedly popular work, traversing a spectrum of moods, deploying orchestral color with great imagination, and offering the world some unforgettable melodies. ©Mary Hunter 2021

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Anne McKee Violin Soloist

Anne McKee is a dedicated Maine violinist. She grew up in Hallowell and currently studies violin with Lydia Forbes and Eva Gruesser. Anne graduated from Bowdoin College in 2020 where she was four-year concertmaster of the Bowdoin Orchestra, first violinist of an advanced quartet, and honor soloist, performing Brahms Violin Concerto with the orchestra. She has taken masterclasses with Sergiu Schwartz, Steve Keckskemethy, Alexi Kenney, Stefan Jackiw, Alexander Romanul, and David Ying, among others. Most recently, Ms. McKee won first prize at Midcoast Symphony Orchestra’s Judith Elser Concerto Competition and Bay Chamber’s Jean and Harvey Picker Senior Prize. Anne is drawn to connections between music and community. She currently lives on the island of Islesboro, where she serves as a community development fellow through the Island Institute. In addition to projects involving food sustainability and youth programs, Anne weaves music into her work, teaching eighteen violin lessons a week (free of charge) and frequently performing for community events. Anne is so grateful to play with the MSO and hopes you enjoy the performance.

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DaPonte String Quartet

30th Season

Coming this season: Beethoven: String Quartet Op. 74

Schubert:

Death and the Maiden

Maine’s 200th: The Music of Early Maine

Reinaldo Moya:

Bartók:

Beethoven:

Chapter One

String Quartet No. 1

String Quartet Op. 18 No. 1

Danielpour:

String Quartet No. 8

For complete season concert schedule and tickets, please visit:

DaPonte.org 55


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Family Classics Saturday, March 19, 2022 7:00 p.m. Gendron Franco Center, Lewiston

Sunday, March 20, 2022 2:30 p.m. Orion Performing Arts Center, Topsham The Star-Spangled Banner

Francis Scott Key & John Stafford Smith

(1779–1843, 1750–1836)

Banner

Jessie Montgomery

(1981– )

Hornpipe from Water Music Light Cavalry Overture Trumpet Concerto in E Flat Major Allegro Andante Allegro

George Frideric Handel (1685–1759)

Franz von Suppé (1819–1895)

Franz Joseph Haydn (1732–1809)

Wayne J. du Maine, Trumpeter

Intermission–––––––––––––––––––––––––––––––––––––––––––– Piano Concerto No. 21 in C Major, K. 467 Wolfgang Amadeus Mozart (1756–1791)

Allegro Maestoso

Wayne J. du Maine, Pianist

Peer Gynt Suite No. 1, Op. 46 Anitra’s Dance

Edvard Grieg (1843–1907)

In the Hall of the Mountain King

Star and Stripes Forever

John Philip Sousa (1854–1932)

Underwriters: New England Cancer Specialists, The Highlands Season Sponsors: Bath Savings, HM Payson, OceanView at Falmouth Concert Sponsor: L.L.Bean

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Program Notes

Family Classics Most of the music of this concert, in which beloved musician Wayne J. du Maine does a virtuoso doubling as soloist on both trumpet and piano, needs little introduction, consisting, as it does, of patriotic songs and classical favorites. These concert notes are brief because both Rohan Smith and Wayne du Maine will add more information from the podium during the concert. Francis Scott Key’s 1814 authorship of the words of the national anthem is well known. The tune to which we sing it was, like“My Country ’Tis of Thee,” an already popular British song repurposed to fit Key’s words. There is, of course, some irony in this. There are innumerable sets of variations or reworkings of this music, including Jimi Hendrix’s 1969 anti-war Woodstock guitar solo. Jessie Montgomery’s “Banner” takes the tune apart in a different way from Hendrix, and with less anti-establishment intent. Although we clearly hear phrases of the hymn from time to time, it is mostly used as germinal material for a colorful piece that embeds this famous tune in a context of American styles from folk idioms to Copland-esque to something more like Broadway and film scores. Most of the remainder of the concert consists of more traditionally classical music. Franz von Suppé was a theatre and operetta composer in Vienna for much of the nineteenth century. His “Light Cavalry Overture” was written to open his operetta “The Light Cavalry,” whose plot involves the arrival of a band of hussars into a rural village. Trumpet concertos were not hugely common in the late eighteenth century. But Joseph Haydn wrote one in 1796 for his friend Anton Weidinger, who played the keyed trumpet, an instrument that used keys something like those on a saxophone to get the full chromatic range of notes, which Haydn, of course, took advantage of. Mozart wrote many of his piano concertos for himself to play, often in outdoor concerts in Vienna. This one, written in 1785, features a kind of tip-toe march as its main idea, and is famous for its prominent and inventive use of the wind instruments. Grieg’s music for Henrik Ibsen’s play Peer Gynt (first performed in 1876) was distilled into two suites, and the two movements we will play today are among the best known. 58


John Philip Sousa’s classic “Stars and Stripes Forever” (1896) is an irresistible showpiece for either band or orchestra. Both versions feature the piccolos in a virtuoso solo, followed by the brass standing up for a celebratory ending. ©Mary Hunter 2021

Wayne J. du Maine Trumpet and Piano Soloist A native of St. Louis, MO, Wayne J. du Maine has been performing successfully in the New York City area for over thirty years. As a trumpeter, Wayne has performed and recorded with such ensembles as the New York Philharmonic, Orpheus Chamber Orchestra, and Orchestra of St. Luke’s. He currently holds the principal chair with the Brooklyn Philharmonic and the American Composers Orchestra. Mr. du Maine has also led the Hartford Symphony, Brooklyn Philharmonic, and Westchester Philharmonic as conductor of educational concerts. As a trumpet soloist, he has performed numerous concerti with the Concordia Orchestra as well as orchestras from Pittsburgh, Cincinnati, St. Louis, Jacksonville, Springfield (MA), and Midcoast (ME). As a longtime member of the Manhattan Brass, Wayne has presented and created numerous educational outreach programs for K­-12 students in the five boroughs, CT, NJ, and PA. He enjoyed his 20 years as a faculty member of Juilliard’s Music Advancement Program, where he led the trumpet ensemble and was founder, music director, and conductor of the MAP Orchestra. He has also taught at Columbia University, Princeton University, Bar Harbor Brass Week, and the Bowdoin Music Festival. Wayne is currently the Director of Bands at the Elisabeth Morrow School in Englewood, NJ, where he leads the Jazz Ensemble, Concert Bands, Jazz Quintet, Rock Band, and Trumpet Ensemble. Mr. du Maine dedicates his summers to performing at music festivals. This began back in the late 1980s, when he spent three summers with the Tangle-

59


Program Notes

Wayne J. du Maine

continued

wood Music Center Orchestra performing as principal trumpet under Leonard Bernstein and Seiji Ozawa. He has since performed at festivals including Spoleto Aspen, Vermont Mozart, Manchester (VT), Berkshire Choral, Bard, and, most recently, the prestigious Marlboro Music Festival. He has also been contracted to play many Broadway shows like Titanic, Music Man, Man of La Mancha, and The King and I. He has served as associate conductor for Fiddler on the Roof, the Lincoln Center production of South Pacific, and The Scottsboro Boys. A major highlight of his career was having the opportunity to perform with Prince at his Paisley Park home in Chanhassen, MN. Mr. du Maine can be heard on Prince’s Newpower Soul recording. Mr. du Maine holds degrees from the Juilliard School where he received the Peter Mennin and William Schuman Awards for outstanding excellence. He has been an associate musician with the Metropolitan Opera for 26 years. As a member of ensembles such as Absolute, Xenakis, and Orpheus, he has toured five continents. Wayne is entering his fifth year as Program Director of Brass Studies at New York University. He is currently the Music Director of NYU Orchestras.

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Conductors Galore Saturday, May 21, 2022 7:00 p.m. Gendron Franco Center, Lewiston

Sunday, May 22, 2022 2:30 p.m. Orion Performing Arts Center, Topsham

Overture to The Marriage of Figaro

Wolfgang Amadeus Mozart

Rohan Smith, Conductor

(1756–1791)

“Pas de deux” from The Nutcracker Suite, Op.71 Pyotr Ilyich Tchaikovsky (1840–1893)

MSO’s “Conduct the Orchestra” Winner, Conductor Storm

Colin Britt (1985– )

Rohan Smith, Conductor

Intermission——————————————————————— Symphony No. 5

Gustav Mahler

Trauermarsch Stürmisch bewegt, mit größter Vehemenz Scherzo Adagietto Rondo finale

Jinwook Park, Conductor Underwriters: New England Cancer Specialists, The Highlands Season Sponsors: Bath Savings, HM Payson, OceanView at Falmouth Concert Sponsor: Mechanics Savings Bank

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(1860–1911)


Program Notes

Conductors Galore

Overture to The Marriage of Figaro, Wolfgang Amadeus Mozart In the nineteenth century, opera overtures typically included at least some of the tunes that the audience would hear later sung by the main characters; they were like movie trailers in that respect. Eighteenth-century overtures almost never worked that way, though Mozart began to offer teasers in his overtures for both Don Giovanni (1787) and Cosi fan tutte (1791). The Marriage of Figaro, written in 1785, two years before Don Giovanni, follows the older model of a piece not thematically linked to its opera, and quite self-sufficient. The opera is a virtuoso display of comic misunderstandings, split-second timings, and bad intentions foiled by cleverness and good-heartedness. The overture can easily be heard as embodying these qualities in general, though no specific events in the opera can be linked to any particular passages of the music.

Storm, Colin Britt The composer writes: I wrote "Storm" in 2006 while I was an undergraduate composition major at the Hartt School. I was looking to write a programmatic orchestral piece, and something about the natural drama of a thunderstorm inspired me to compose this work. The piece begins with the calm before the storm: a solo clarinet plays mysteriously over a transparent cloud of string harmonics. The harp and percussion signal the first drops of rain, which gradually spread to the piano, followed by a flute solo. As winds pick up, the horns and strings have an ascending motif, which is passed on to the upper woodwinds. After a brief lull in the storm (portrayed by the oboe), the storm hits in full force; the woodwinds and upper strings play a swirling line while the brass and low strings depict swelling wind and thuder. Finally the storm is over, and the piece returns once more to an eerie calm.”

“Pas de Deux” from The Nutcracker Suite, Pyotr Ilyich Tchaikovsky This couple-dance is usually performed by the Sugar Plum Fairy and her cavalier, the Prince de Coqueluche. The music features the harp in an accompanying role, 64


and a gradually growing orchestra which moves from a sweet tune in the cellos to a grand, full-orchestra apotheosis.

Symphony No. 5, Gustav Mahler Unlike some composers, who spread their talents across many genres, Mahler was primarily a symphonist. The other genre in which he specialized was songs, often with orchestral accompaniments. Despite being a renowned opera conductor he (again, unusually) had apparently no interest in writing operas: indeed, the human drama that opera offers composers is found in spades in Mahler’s nine (or ten depending on how you count) symphonies. Like his first, fourth, sixth, seventh, and ninth symphonies, the fifth is written for orchestra without voices (the second, third, and eighth include chorus, and the fourth includes a soprano solo in its last movement). Also, like his other purely instrumental symphonies (with the possible exception of the first), the fifth avoids an explicit “program” (story or sequence of images). Nonetheless, the music of this work—as of Mahler’s style in general—is highly suggestive of emotional states and gestures. Taken as a whole, these do not tell a coherent story, exactly, but they do give the strong impression of one or several human protagonists having a series of intense experiences. Mahler achieves this in several ways. First of all, the flow of the music through time seems to mirror subjective experience in being simultaneously very vivid and extremely capricious. The vividness is achieved by his extraordinarily colorful use of the orchestra, by the use of extreme dynamics (both terribly loud and very soft), and by his constant deployment of musical models (funeral march, waltz, song, etc.) that are entirely familiar to us, and yet appear always somewhat askew— either actively distorted or just not quite as we would normally expect. This combination of familiarity and strangeness can work a bit like a dream and, like a dream, remain in our consciousness long after the music has stopped. The capriciousness is achieved by Mahler’s incessant use of disruptions—completely new musical ideas that just barge into whatever happens to be prevailing at a given moment. Sometimes that disruption seems to signal a move from a public point of view to something painfully intimate (or vice versa). 65


Program Notes

Conductors Galore continued

For example, the first movement of the symphony (entitled “Funeral March”) opens with a solo trumpet fanfare—a public gesture if ever there was one. The funeral seems to be a mass occasion. The strings join in the fanfare rhythm briefly before the brass takes over again. But then, in a kind of “jump cut” experience, the listener is suddenly transported to a private moment of desolation played mostly by the strings; the public venue seems to have melted away. This in turn transforms (more like a panning shot) into the opening fanfare, which is again abruptly interrupted by private desolation. This sequence is blasted away by a section that Mahler marked “wild”—hysterical waves of sound in the high winds and strings, and the trumpet fanfare audible above it all. This comes as a complete shock, but also (dreamlike) as a logical combination of the public fanfare and the intensity of the desolation we’ve already heard. I’ve used film terminology in part because it’s part of our modern experience, and I think it helps us hear the kinds of moves Mahler makes to get from one “scene” to another. We don’t know whether Mahler ever watched a silent film, though it was theoretically possible. But along with Northern European artistic explorations of painful emotions (think Munch’s famous “Scream” painting from 1893) and operatic explorations of the fraught interfaces between public and private (think Verdi’s Otello or Don Carlo ), all of which Mahler would have known, the sensibilities that produced the jerky surrealism of early film were part of Mahler’s mental world and do, I think, help us make sense of his hugely long and sometimes overwhelming works. The second and third movements of the Fifth Symphony feature similar cuts and transformations to the first. The fourth movement, designated “Adagietto” (“little Adagio”) by contrast, sustains a mood of timeless introspection—sometimes wistful, sometimes passionate—for its whole ten-to-eleven minute length. Like the other movements, its basic material is of a familiar, even banal, type—in this case a sentimental parlor song. But Mahler uses the slow tempo and churning dynamics to stretch and re-form the material (much as Munch does with a human face in “The Scream”) so that it seems to express something simultaneously alien and deeply (if not comfortably) familiar. The last movement is also “about” music, but (at least to my ears) in a less psychologically intense way. It opens with a self-consciously naive, country-like tune, which Mahler turns into a kind of fugue (something like a round—think “Row, Row, Row 66


Your Boat”). The mix of folk-like and clever is an old musical joke—Haydn and Beethoven were masters at it. Then Mahler introduces much faster material, beginning in the double basses; this also turns into a fugue, sounding almost Bach-like. This kind of fugue was common in the last movements of nineteenthcentury symphonies, but it usually came close to the end of the movement, not right at the beginning. (And this play with counterpoint goes on through the whole movement.) One might regard the references to earlier symphonic fugues as a joke, if a rather heavy-handed one. However, I think that in the context of this symphony, it’s part of the overall pattern of manipulating familiar material to create an experience of simultaneous familiarity and distance: a story both about music “itself” and about emotional life—at least as it was figured in turn-of-the-century Europe and as that continues to resonate today. ©Mary Hunter 2021

Jinwook Park

Guest Conductor Conductor and violinist Jinwook Park enjoys a versatile career as a music director, performer, and educator. Noted for his enthusiastic and nuanced performances, he is the founder and the music director of Haffner Sinfonietta, and the former music director of Philharmonia Boston. He is also the founder and music director of the Nine Valley Music Festival, a summer festival in Korea. As a violinist, Mr. Park engages in chamber music and solo recitals and has performed with several orchestras as a soloist and member in South Korea and the United States. Also an accomplished violin teacher, he has a private studio in the Boston area and served as a teaching assistant at the Aspen Music Festival under Kurt Sassmannshaus, a violin pedagogue at the Cincinnati College-Conservatory of Music. Envisioning a way to transform and combine the classical music tradition with an educational component and emphasis on social change, Mr. Park created Haffner Sinfonietta in 2008. A passionate advocate of cultural exchange, he has been recognized for his work in bridging Korean and American communities with the 67


Program Notes

Jinwook Park continued

Philharmonia Boston and the Boston Korean Chorus. Recently, he led benefit concerts in an effort to help bring awareness to Syrian and North Korean refugees. Born in South Korea, Mr. Park received his Bachelor of Music from Busan National University and then moved to the United States to pursue his graduate studies. He received a Master of Music degree in violin performance at the Boston Conservatory as a full scholarship student of David Kim, concertmaster of the Philadelphia Orchestra, and during that time he was invited by the Jamaican government to perform in Kingston. He further continued his Doctor of Musical Arts studies at Boston University. Currently Mr. Park is a member of the Colby College faculty and serves as the Music Director of the Colby Symphony Orchestra, as well as teaching violin and viola. With his passion and commitment to educational outreach, Mr. Park also serves as the Music Director of the Kennebec Valley Youth Symphony Orchestra, providing music and music education to the Central Maine community.

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Special Event: 70’s Extravaganza

Classical Night Fever! Featuring

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Not Included in Season Ticket Purchase

All songs arranged by Terry White

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(Program Subject to Change)

7:00 p.m. Gendron Franco Center Lewiston

Also Sprach Zarathustra Get Down Tonight September

Sunday, June 5, 2022

Ain’t No Stoppin’ Us Now

2:30 p.m. Orion Performing Arts Center Topsham

Love’s Theme/Can’t Get Enough of Your Love 70's TV Themes Medley Heaven Must Be Missing an Angel

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