20240122_Orpheus Chamber Orchestra

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

ORPHEUS CHAMBER ORCHESTRA with Nobuyuki Tsujii, piano

Monday, January 22, 2024 Seven-thirty in the Evening Ruby Diamond Concert Hall

ng i t r o p p u S e Arts th

850-894-8700

www.beethovenandcompany.com 719 North Calhoun Street, Suite E Tallahassee, Florida 32303

Tom Buchanan, owner

PROGRAM Vibran

– New Orpheus Commission –

Piano Concerto No. 1 in E Minor, Op. 11 Allegro maestoso Romance: Larghetto Rondo: Vivace

Nathalie Joachim (b. 1983)

Frédéric Chopin (1810–1849) Orchestrated by Shuying Li*

Nobuyuki Tsujii, piano INTERMISSION Carnaval, Op. 9 Préambule Pierrot Arlequin Valse noble Eusebius Florestan Coquette Réplique Papillons Lettres dansantes Chiarina Chopin Estrella Reconnaissance Pantalon et Colombine Valse allemande Paganini Aveu Promenade Pause Marche des Davidsbündler contre les Philistins

Robert Schumann (1810–1856) Orchestrated by Zachary Wadsworth*

*Commissioned by Orpheus This concert is made possible with the generous support of the Japan Foundation, New York.

Programs are supported by public funds from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs in partnership with the City Council. The 2023-24 Season is supported in part by an award from the National Endowment for the Arts.

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

ABOUT THE ORPHEUS CHAMBER ORCHESTRA

Orpheus Chamber Orchestra is a radical experiment in musical democracy, proving for fifty years what happens when exceptional artists gather with total trust in each other and faith in the creative process. Orpheus began in 1972 when cellist Julian Fifer assembled a group of New York freelancers in their early twenties to play orchestral repertoire as if it were chamber music. In that age of co-ops and communes, the idealistic Orpheans snubbed the “corporate” path of symphony orchestras and learned how to play, plan and promote concerts as a true collective, with leadership roles rotating from the very first performance.

It’s one thing for the four players of a string quartet to lean into the group sound and react spontaneously, but with 20 or 30 musicians together, the complexities and payoffs get magnified exponentially. Within its first decade, Orpheus made Carnegie Hall its home and became a global sensation through its tours of Europe and Asia. Its catalog of recordings for Deutsche Grammophon, Nonesuch and other labels grew to include more that 70 albums that still stand as benchmarks of the chamber orchestra repertoire, including Haydn symphonies, Mozart concertos, and twentieth-century gems by Stravinsky, Schoenberg, Ravel, and Bartók.

The sound of Orpheus is defined by its relationships, and guest artists have always been crucial partners in the process. Orpheus brings the best out of its collaborators, and those bonds deepen over time, as heard in the long arc of music-making with soloists such as Richard Goode and Branford Marsalis, and in the commitment to welcoming nextgeneration artists including Nobuyuki Tsujii and Tine Thing Helseth. Breaking down the barriers of classical repertoire, partnerships with Brad Mehldau, Wayne Shorter, Ravi Shankar, and many others from the sphere of jazz and beyond have redefined what

a chamber orchestra can do. Relationships with composers and dozens of commissions have been another crucial way that Orpheus stretches itself, including a role for Jessie Montgomery as the orchestra’s first ever Artistic Partner. Having proven the power of direct communication and open-mindedness within the ensemble, the only relationship Orpheus has never had any use for is one with a conductor.

At home in New York and in the many concert halls it visits in the U.S. and beyond, Orpheus begins its next fifty years with a renewed commitment to enriching and reflecting the surrounding community. It will continue its groundbreaking work with those living with Alzheimer’s Disease through Orpheus Reflections, and the Orpheus Academy as well as the Orpheus Leadership Institute spread the positive lessons of trust and democracy to young musicians and those in positions of power. Each year, Access Orpheus reaches nearly 2000 public school students in all five boroughs of New York City, bringing music into their communities and welcoming them to Carnegie Hall.

Always evolving as artists and leaders, the Orpheus musicians carry their legacy forward, counting on their shared artistry and mutual respect to make music and effect change. www.orpheusnyc.org

Orpheus Chamber Orchestra Violin Ronnie Bauch Claire Bourg Abi Fayette Laura Frautschi Emilie-Anne Gendron Liang-Ping How Sami Merdinian Rubén Rengel Miho Saegusa Viola Christof Huebner Paul Laraia Nardo Poy Caeli Smith

Cello Madeline Fayette Melissa Meell James Wilson Double Bass Gregg August Jordan Frazier

Clarinet Alan Kay Bassoon Gina Cuffari Horn Eric Reed

Flute Alex Sopp

Trumpet Louis Hanzlik

Oboe Noah Kay

Timpani/ Percussion Maya Gunji

ABOUT THE FEATURED ARTISTS Described by The Observer as the “definition of virtuosity” Japanese pianist Nobuyuki Tsujii (Nobu), who has been blind from birth, won the joint Gold Medal at the Van Cliburn International Piano Competition in 2009 and has gone on to earn an international reputation for the passion and excitement he brings to his live performances.

Nobu’s 2023/24 season opens with a sold-out appearance at the Royal Albert Hall as part of the BBC Proms with Domingo Hindoyan and Royal Liverpool Philharmonic Orchestra, one of several collaborations with the RLPO this season that will see Nobu perform with them again in Liverpool and on tour in Japan in Spring 2024.

Other upcoming collaborations as concerto soloist include Hong Kong Philharmonic under Vasily Petrenko, Orpheus Chamber Orchestra, Orchestra Sinfonica di Milano Giuseppe Verd, and Macau Symphony Orchestra. As a recitalist, Nobu will also return to the Théâtre des Champs Elysées and the Tsinandali Festival, in addition to numerous solo and concerto appearances across his native Japan including a tour with Klaus Mäkelä conducting Oslo Philharmonic Orchestra.

Earlier seasons have seen Nobu appear in concert with leading orchestras worldwide including Los Angeles Philharmonic at the Hollywood Bowl, Philharmonia Orchestra, NHK Symphony Orchestra, Seattle and Baltimore Symphony Orchestras, Münchner Philharmoniker, Filarmonica della Scala, Sinfonieorchester Basel, and Bilbao Symphony Orchestra. Notable past collaborations also include Philharmonisches Staatsorchester Hamburg under Kent Nagano, The Mariinsky Orchestra under Valery Gergiev, NDR Radiophilharmonie Hannover under Andrew Manze, Royal Philharmonic Orchestra under Vasily Petrenko, and BBC Philharmonic under Juanjo Mena. Nobu’s appearances as a recitalist have included performances at prestigious venues worldwide such as Carnegie Hall’s Stern Auditorium, the Théâtre des Champs-Elysées in Paris, London’s Queen Elizabeth Hall, Wigmore Hall and Royal Albert Hall, the Berlin Philharmonie, Amsterdam Concertgebouw, Vienna’s Musikverein, Liverpool Philharmonic Hall, and Singapore Esplanade.

An exclusive recording artist for Avex Classics International, Nobu’s growing album catalogue encompasses the breadth of the piano concerto repertoire. It currently includes Chopin’s Piano Concerto No. 2 with Vladimir Ashkenazy and Deutsches Symphonie-Orchester Berlin, Grieg’s Piano Concerto and Rachmaninov’s Variations on a theme of Paganini under Vasily Petrenko with Royal Liverpool Philharmonic Orchestra, Rachmaninov’s Piano Concerto No. 2 with Deutsches Symphonie-Orchester Berlin, Tchaikovsky’s Piano Concerto No. 1 with Yutaka Sado and BBC Philharmonic, Beethoven’s Piano Concerto No. 5 with Orpheus Chamber Orchestra. Nobu has also recorded several recital programmes of Chopin, Mozart, Debussy, and Liszt.

A live DVD recording of Nobu’s 2011 Carnegie Hall recital was named DVD of the Month by Gramophone, as was his latest DVD release, Touching the Sound — The Improbable Journey of Nobuyuki Tsujii, a documentary film by Peter Rosen.

Nobu’s international tours are supported by All Nippon Airways (ANA) and he gratefully acknowledges their assistance.

Nathalie Joachim is a Grammy-nominated performer and composer. The Haitian-American artist is hailed for being “a fresh and invigorating cross-cultural voice” (The Nation).

Her creative practice centers an authentic commitment to storytelling and human connectivity while advocating for social change and cultural awareness, gaining her the reputation of being “powerful and unpretentious” (The New York Times).

Joachim is co-founder of the critically acclaimed duo Flutronix and has performed and recorded with an impressive range of today’s most exciting artists and ensembles, including Gabriel Kahane, Miguel Zenón, the International Contemporary Ensemble, and the contemporary chamber ensemble Eighth Blackbird with whom she held tenure as flautist for many years. As a composer, Joachim is regularly commissioned to write for instrumental and vocal ensembles, dance and interdisciplinary theater, often highlighting her unique electroacoustic style. Recent commissions include new works for St. Louis Symphony, Yale University’s Schwarzman Center, Sō Percussion, Roomful of Teeth, and Imani Winds; and forthcoming are new works for Orpheus Chamber Orchestra and the Spoleto Festival USA. Joachim’s Fanm d’Ayiti, an evening-length work for flute, voice, string quartet and electronics that celebrates and explores her personal Haitian heritage, received a GRAMMY nomination for Best World Music Album. The highly anticipated release of her sophomore album, Ki moun ou ye – an intimate examination of ancestral connection and self – is slated for release in 2024.

As an active educator, Joachim is devoted to supporting creative pedagogy with intention. She is Assistant Professor of Composition at Princeton University and has held faculty positions at The Hartt School at The University of Hartford, the Bang on a Can Summer Festival, the Perlman Music Program and the Gabriela Lena Frank Creative Academy of Music. She has also served as a mentor for The Juilliard School’s BluePrint Fellowship with National Sawdust, Luna Composition Lab, and the Banff Centre for Arts and Creativity. Her youth music education workshops focused on creative collaboration and igniting the spirit of composition in young people have led to innovative educational initiatives, including the 2020 release of Transformation, an album co-created with students at New York City’s Special Music School High School and the Kaufman Music Center.

Joachim is a United States Artist Fellow and currently serves as an Artistic Partner with Oregon Symphony. She is an alumnus of The Juilliard School and The New School.

Zachary Wadsworth is a composer of “fresh, deeply felt and strikingly original” music (Washington Post), with regular performances and premieres around the world. His compositions have been heard at the Kennedy Center, the Lincoln Center, and Tokyo’s Takinogawa Hall, and they have been performed by such ensembles as the choir of Westminster Abbey, the Yale Philharmonia, the Swedish Chamber Choir, the Buffalo Philharmonic Orchestra, and the Richmond Symphony. As the 2012-13 fellow of the Douglas Moore Foundation for American Opera, Wadsworth was in residence at the Metropolitan Opera and the Santa Fe Opera. 2014 marked his Carnegie Hall debut, and 2015 marked his debut at the National Opera Center.

Winner of an international competition chaired by James MacMillan, Wadsworth’s anthem Out of the South Cometh the Whirlwind was performed at Westminster Abbey in the presence of Queen Elizabeth II. Other recent honors include awards from the American Academy of Arts and Letters, ASCAP, and the American Composers Forum.

Wadsworth’s music is widely broadcast and distributed, with recent publications by Novello, G. Schirmer, and E.C. Schirmer, and airings on NPR, BBC, and CBC. Wadsworth earned graduate degrees from Cornell University (DMA) and Yale University (MM), and is an honors graduate of the Eastman School of Music (BM).

Originally from Richmond, Virginia, Wadsworth (b. 1983) is now Assistant Professor of Music at Williams College. He previously taught at the Interlochen Center for the Arts and the University of Calgary in Alberta, Canada.

Praised as “a real talent” (The Seattle Times) with “vivid, dramatic” (San Francisco Chronicle) and “enjoyable” (Gramophone Magazine) scores, and “an incredible span of compositional tool box” (American Record Guide), Shuying Li is an award-winning composer who began her musical education in her native China. In her sophomore year at the Shanghai Conservatory of Music, she won a scholarship to continue her undergraduate studies at The Hartt School in Connecticut. She holds doctoral and master’s degrees from the University of Michigan and is a research faculty member at the Shanghai Conservatory of Music. A passionate educator, Shuying has taught and directed the Composition/Music Theory Program at Gonzaga University. She joined the faculty at California State University, Sacramento in fall 2022.

NOTES ON THE PROGRAM Joachim: Vibran Whether composing, playing flute, singing, teaching, producing electronic music or telling stories, Nathalie Joachim is thriving as a musician unbounded. Born in Brooklyn and educated at Juilliard and The New School, Joachim is a consummate New Yorker, and yet she is equally connected to her family’s roots in Haiti, generating inspiration and source material for her most ambitious projects. She made her name as half of the electro-pop flute duo Flutronix, and at the same time she earned a place in the lineup of Eighth Blackbird, one of the country’s premier contemporary music ensembles. She’s a recording artist whose Grammy nomination in 2020 fell outside of the classical sphere, in the “world music” category; now she is the one defining the classical sphere for the next generation as a professor of composition at Princeton University.

In writing this new work for Orpheus, Joachim has leaned into her own immersive understanding of how to make music pop in small ensemble settings. After a “warm and gentle” opening section, Vibran snaps into a “punchy and fun” groove powered by a vibraphone pattern that Joachim describes as “almost absurd in its happiness,” punctuated by kicks on a pedal bass drum. In a final section that Joachim calls “transcendent and clear-eyed,” music related to the sweet opening section returns, transformed by lingering throbs of rhythmic vitality.

Orpheus Insight: Orpheus originally invited me to write a piece around the theme of Carnival, a festive event celebrated throughout the Caribbean diaspora. Carnival represents freedom of creative, artistic, and spiritual expression among a people whose freedoms are still suppressed. To interpolate the entirety of its colorful kinetic energy wrapped around beautiful autonomous Black bodies that hold everything from joy to deep generational sorrow in one piece of music was an impossible task. Instead, I attempted to capture a suspended moment in time, asking myself, “what might just one second of the glorious feeling of Carnival sound like if we could slow it down and zoom in on it?” Vibran, the word for “vibrant” in Haitian Creole, captures the warm and sublime yet overwhelming sensation of this moment through my own imagination. It is meant to sound like a single moment that fleetingly connects you to a tiny piece of happiness shared by our ancestors. – Nathalie Joachim, composer Chopin: Piano Concerto No. 1 in E Minor Chopin, at the age of 20, was at a crossroads. A child prodigy on the piano, he had been a published composer since the age of seven; while still in high school in Warsaw, he wrote the music that soon led his peer Schumann to declare him “a genius.” It was clear that Chopin’s talents were bound to take him beyond the small scene in his native

Poland (as confirmed by his first concert appearances in Vienna), and so he embarked on the most obvious path available to him and started composing showpieces to play with orchestras.

The problem was that Chopin, a finely-nuanced pianist and an extraordinarily sensitive person, didn’t mesh with the razzle-dazzle that was expected of composer/performers on the touring circuit in that era. Testing that traditional path, he wrote two piano concertos that he performed himself at splashy concerts in Warsaw, composed and premiered in the opposite order from how they were published. When he soon left Warsaw for what was meant to be his first European tour, he ended up lingering in Vienna, and eventually he settled in Paris. Finding his niche in the salons of the upper crust, Chopin forged a whole new kind of career as a pianist, where he rarely performed for the general public. After the twin concertos of 1830, he only followed up with one Polonaise for piano and orchestra completed the next year, and then for the rest of his musical life he managed to avoid doing anything that extroverted again.

In that context, the Piano Concerto No. 1 is like a portal into an alternate universe, showcasing a young Chopin on a grand stage who grabs all the attention with convincing swagger, from the first fortissimo entrance right through the closing krakowiak that borrows its vigorous rhythms from a Polish folk dance. The only pitfall of this concerto (and its sibling) is the orchestration, which seems optimized to make the orchestra disappear into the background.

Pianos have gotten louder since Chopin’s day, and orchestras have been brought back out of the expectation that they would be entirely subservient concerto accompanists. With all due respect to Chopin, his concertos deserve more evenly balanced orchestrations than the originals, and Orpheus has been on the case. For a previous collaboration with Nobuyuki Tsujii, the orchestra commissioned the young Chinese-American composer Shuying Li to re-orchestrate the Piano Concerto No. 2. Now she has given a similar facelift to the Piano Concerto No. 1, keeping its bone structure intact by preserving the string and timpani parts as written, but using the individual woodwinds to create more contrast and separation.

Schumann: Carnaval, Op. 9 Having emerged from the first of the crippling bouts of depression that cycled through his entire adult life, Schumann was finding his rhythm again as a 24-year-old music critic, journal editor, and aspiring composer in the idyllic college town of Leipzig, Germany. Like so many twenty-something idealists, he and his friends obsessed over grandiose ideas about life and art; in Schumann’s case, as a bookseller’s son who almost chose to pursue poetry, he was particularly well-read and dedicated in his philosophical pursuits, and those ideas became integral to his music.

An animating force for Schumann in those years was assembling his very own “League of David” that would, like the biblical King David, conquer the Philistines who were holding back high art. He was doing his part through his writings and compositions that were starting to get noticed more and more, and in that period he could even enjoy the satisfaction of being engaged—not to the real love of his life, the piano prodigy Clara Wieck (with whom he shared a first kiss later that year, sparking a nine-year courtship), but to one perfectly lovely Ernestine from the town of Asch.

This hopeful period in the life of young Schumann was the backdrop for his most ambitious piano piece yet attempted, Carnaval. He had already explored similar territory four years earlier in Papillons from 1831, a series of short piano movements meant to convey aspects of a masked ball from a novel by his very favorite writer, Jean Paul. Schumann went deeper in Carnaval by populating the 21 sections with all sorts of “guests” at this ball, including his League of David friends and his current and future fiancées (Italianized as Estrella and Chiarina). It takes two characters to personify Schumann himself: Florestan represents his passionate and gregarious side, contrasted against the pensive Eusebius. At the end, a final rumble pits the whole gang against the blockheads of the world, as represented by a stuffy old tune that ballet lovers might recognize as the “Grandfather’s Dance” from the party scene in Tchaikovsky’s The Nutcracker. Underpinning all of it is a musical code, built off of the four notes that correspond to Ernestine’s hometown of Asch. (In the German system of note names, Es is what we call E-flat, and H is our B-natural.)

Even Schumann’s biggest boosters considered Carnaval barely playable on the piano.

Keyboard virtuosos have worked out the technical challenges, but it is still a herculean task for any one person to bring this grand party to life, making the score a perfect candidate for something that has become an Orpheus specialty of late: refracting a piano solo into a riot of instrumental color. For this project, Orpheus turned to the composer and pianist Zachary Wadsworth, who leaned into color combinations with the single winds and small string sections that Schumann never would have considered based on the orchestration practices of his day, but that he would surely appreciate now as a snapshot of Carnaval at its most exuberant.

Notes on the program by Aaron Grad © 2023 Aaron Grad

Photo credits Orpheus Chamber Orchestra © Neda Navaee Nobuyuki Tsujii © Giorgia Bertazzi Nathalie Joachim photo by Josué Azor Zachary Wadsworth photo by Jason S Lee Shuying Li photo by Jiyang-Chen

2023–2024 CONCERT SEASON FALL November 19, 2023 Elijah Felix Mendelssohn

UNITY 17 January 28, 2024 Sounds of Cinema Celebrating Tallahassee’s Bicentennial

SPRING April 28, 2024 Lord Nelson Mass Joseph Haydn

TICKETS: TCCHORUS.ORG OR 850-597-0603 All performances in Ruby Diamond Concert Hall, Florida State University Funded in part by

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