Lviv National Philharmonic Orchestra of Ukraine, Jorgensen Center | Mon, Feb 13, 7:30pm

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Monday, February 13, 2023, 7:30 pm University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

LVIV NATIONAL PHILHARMONIC ORCHESTRA OF UKRAINE Theodore Kuchar, conductor Solomiya Ivakhiv, violin

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PROGRAM

Chamber Symphony No. 3 for Flute and String Orchestra Yevhen Stankovich (b. 1942) Violin Concerto No. 1 in G minor, Op. 26 Max Bruch (1838-1920) I. Vorspiel: Allegro moderato II. Adagio III. Finale: Allegro energico Symphony No. 7 in A Major, Op. 92 Ludwig van Beethoven (1770-1827) I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto (trio) IV. Allegro con prio LVIV NATIONAL PHILHARMONIC ORCHESTRA OF UKRAINE Theodore Kuchar, Principal Conductor The Lviv National Philharmonic Orchestra of Ukraine, based in the medieval city of Lviv, was officially established on September 27, 1902 as, on this day, the first concert of the newly formed orchestra took place in the Philharmonic Theater of Count Stanislav Skarbko (presently known as the Ukrainian National Academic Theater of Drama named after Maria Zankovetska). The Principal Conductor of the orchestra was Ludwik Vitezslav Czelianski (1870- 1931). Henryk Jarecki and Henryk MeltzerSzczawinski worked alongside him as conductors of the orchestra.

During the first season, the orchestra performed nearly 115 concerts, the total number of audience members exceeding 115,000. The concert programs featured the symphonies of Ludwig van Beethoven, symphonic works by Felix Mendelssohn, Wolfgang Amadeus Mozart, Franz Schubert, Robert Schumann, Franz Liszt, Antonin Dvorak, Anton Bruckner, Gustav Mahler, Camille Saint-Saëns, & Peter Tchaikovsky. Richard Strauss, Gustav Mahler, Ruggiero Leoncavallo and Mieczyslaw Karlowicz performed as invited conductors with the Lviv Orchestra during its first season.

In 1933, the orchestra became incorporated as the National Philharmonic Orchestra of Ukraine. According to the announcements, the “Inaugural” symphony concert of the newly formed orchestra of National Philharmonic Orchestra of Ukraine took place on November 20, 1933. Adam Soltys

led the orchestra and during the first season he combined the duties as director and artistic director; he remained with the orchestra until 1938. During this period, the orchestra collaborated in performance with prominent composers Maurice Ravel, Bela Bartok, Karol Szymanowski, soloists Anton Rubinstein, Ferruccio Busoni, Wanda Landowska, Leopold Godowski, Jacob Milstein, Eugene Ysaye, Pablo Corvadam – Szymanowska, among many others.

At the time Lviv entered the Soviet regime, the orchestra was led by Isaac Pain. Lviv composer and conductor Mykola Kolessa was also invited to work with the orchestra. During the German occupation in 1941-1944, the Philharmonic did not operate. In the postwar period, the orchestra had to be re-assembled, which was the joint effort of Isaac Pain, Dionysius Khabal, Nestor Hornytsky and Mykola Kolessa. The team resumed work in August 1944. The first concerts featured works by Stanislav Ludkevych, Vasyl Barvinsky, Mykola Lysenko, Stanislav Moniuszko, Camille SaintSaens, Peter Tchaikovsky and Carl Maria von Weber.

During 1953-1957 and later – in 1987-1989 the conductor of the orchestra was Yuriy Lutsiv. From 1964 to 1987, the symphony orchestra was led

by Demyan Pelekhatyi, who worked actively with colleagues Roman Fylypchuk and Ihor Simovych. Since the 1950s , many of the world’s greatest musicians have performed with the orchestra, including Sviatoslav Richter, Heinrich and Stanislav Neuhaus, Emil Gilels, Maria Yudina, David and Igor Oistrakh, Mstislav Rostropovich, Gidon Kremer, Leonid Kogan, Natalia Gutman, Oleksandr Slobodyanyk and Oleh Krysa.

Some of the most famous conductors in classical music, including Kirill Kondrashin, Fuat Mansurov, Nathan Rakhlin, Gennady Rozhdestvensky, Reinhold Gliere, Yevgeni Mravinsky, Nikolae Popescu, Kurt Masur, Saulius Sondeckis, Theodore Kuchar and Mariss Jansons, as well as Ukrainian conductors Stefan Turchak, Fedir Glushchenko, Igor Blazhkov, Roman Kofman, Volodymyr Kozhukhar and Volodymyr Sirenko. After two seasons as the orchestra’s Principal Guest Conductor, Theodore Kuchar was appointed the Principal Conductor of the Lviv National Philharmonic Orchestra of Ukraine in 2022.

The Lviv National Philharmonic Orchestra of Ukraine has toured extensively around the world, to countries including Poland, Italy, Spain, France, Switzerland, Germany, the Netherlands and The People’s Republic of China. During the past several seasons they have completed highly

acclaimed recordings for major international labels including Naxos, Toccata Classics and Brilliant Classics.

THEODORE KUCHAR The multiple award-winning conductor Theodore Kuchar is the most recorded conductor of his generation and appears on over 140 compact discs for the Naxos, Brilliant Classics, Ondine, Marco Polo, Toccata Classics and Centaur labels. He was recently appointed Principal Conductor of the Lviv National Philharmonic Orchestra of Ukraine and has served as the Artistic Director and Principal Conductor of two of Europe’s leading orchestras, the National Symphony Orchestra of Ukraine and the Janacek Philharmonic Orchestra (formerly the Czech Radio Orchestra), while also serving as the Principal Conductor of the Slovak Sinfonietta.

In the 2011-12 season he commenced his tenure as the Artistic Director and Principal Conductor of the Orquesta Sinfonica de Venezuela and prior to that served as the Music Director and Principal Conductor of the Queensland Philharmonic Orchestra in Brisbane, Australia. In addition to his conducting activities he has served as the Artistic Director of two of the world’s pre-eminent chamber music festivals, The Australian Festival of Chamber Music (1991-2007) and the Nevada Chamber Music Festival (2003-2018). In September, 2021 he commenced duties as the Artistic Director and Principal Conductor of The Thomas de Hartmann Project, a concert and recording project which BBC Radio 3 recently described as “arguably the most important recording project by a major, yet relatively unknown, composer of this new decade.” The project will be divided between record labels including Pentatone, Toccata Classics and Nimbus and include soloists Joshua Bell and Matt Haimovitz.

Mr. Kuchar’s longest titled affiliation and relationship is with the National Symphony Orchestra of Ukraine, of which he was appointed the Artistic Director and Principal Conductor in 1994. They have appeared together in over 250 performances, in Kyiv and on tour on four continents while their discography totals over 80 compact discs. Most recently, they completed a 44-concert tour of North America under the auspices of Columbia Artists Management in January-March 2017. In September 2018 he commenced a relationship with the National Opera and Ballet of Ukraine - Lviv, directing a new production of Igor Stravinsky’s The Rite of Spring (Vesna Svyashchena) and Pulcinella. In February, 2020 he directed the world premiere of the opera Lys Mykyta by the Ukrainian composer Ivan Nebessniy. With the Lviv National Philharmonic Orchestra of Ukraine, he will undertake a six-week United States Tour during the period January-

February 2023, including performances in New York City’s Carnegie Hall and Washington DC’s Kennedy Center.

Conducting engagements during the 2019-20 season included the major orchestras and opera houses of Ankara, Antalya, Beijing, Buenos Aires (Teatro Colon), Helsingborg, Helsinki, Istanbul, Kharkiv, Kyiv, Odessa and Prague, among others. The opening two months of the 2017-18 season included a three-week residency at The Cleveland Institute of Music where he opened that distinguished institution’s orchestral season and conducted daily masterclasses and seminars for advanced tertiary conductors and instrumentalists and a two-week engagement with the Staatskapelle Weimar in Bayreuth, Dresden and Weimar. Highlights of the past several seasons have included a four-week, 20 concert tour of the USA with the Czech Symphony Orchestra and guest conducting engagements including the BBC Symphony, BBC National Symphony Orchestra of Wales (filling in on one day’s notice to conduct Josef Suk’s epic Asrael Symphony), Berlin Symphony Orchestra, Cape Town Philharmonic Orchestra, Israel Symphony Orchestra, Prague Symphony Orchestra, Munich Philharmonic and the National Symphony Orchestra of Venezuela. Equally committed to musical theatre he has held a special relationship, totaling over 200 performances, with the Finnish National Opera and Ballet. He has collaborated with major artists including James Galway, Jessye Norman, Lynn Harrell, Itzhak Perlman, Yo-Yo Ma, Sarah Chang, Mstislav Rostropovich, Joshua Bell, Joseph Calleja and Frederica von Stade, among others.

Among Mr. Kuchar's numerous accolades include BBC Record of the Year, Australian Broadcasting Corporation Record of the Year, Chamber Music America Record of the Year, Gramophone Magazine's Editor's Choice, the WQXR Record of the Year and a Grammy nomination in the category of Best Instrumental Album of 2013. There have been recent releases of seven new compact discs, devoted to the complete symphonies of Ukrainian Boris Lyatoshynsky and Yevhen Stankovych (National Symphony Orchestra of Ukraine), orchestral works by the Turkish composer Ulvi Camal Erkin (with the Istanbul State Symphony Orchestra).

In March, 2019 the Brilliant Classics label released a 13 cd compilation - Theodore Kuchar - The Complete Edition devoted to the conductor’s complete discography for that label.

During his tenure with the National Symphony Orchestra of Ukraine, Kuchar conducted cycles of the complete symphonies by Beethoven,

Bruckner, Mahler, Mozart, Prokofiev, Schubert and Shostakovich, and led eleven international tours to Asia, Australia, Central Europe and the United Kingdom. Under Mr. Kuchar’s direction, the National Symphony Orchestra of Ukraine became the most frequently recorded orchestra of the former Soviet Union. Between 1994 and 2004 the orchestra recorded over 80 compact discs for the Naxos and Marco Polo labels, including the complete symphonies of Kalinnikov, Lyatoshynsky, Martinu and Prokofiev, as well as major works of Chadwick, Dvorak, Glazunov, Morton Gould, Mozart, Piston, Shchedrin, Shostakovich and Tchaikovsky.

They also recorded the symphonies and orchestral works of Ukraine’s leading contemporary symphonist, Yevhen Stankovych. The recording of Lyatoshynsky’s Symphonies Nos. 2 and 3 was awarded ABC’s “Best International Recording of the Year” in 1994. Their recording of the complete works for violin and orchestra by Walter Piston for the Naxos label was hailed by Gramophone (January 2000) as a “Record of the Year” for 1999. The complete symphonies of Prokofiev, on the Naxos label, are regarded by many critics as the most accomplished cycle available on compact disc.

As an educator and orchestral trainer he has held a longterm relationship with The Cleveland Institute of Music and served as Resident Conductor of the Kent/Blossom Music Festival, the educational institution established by the late George Szell, in cooperation with The Cleveland Orchestra (2003-2012), where he was responsible for the orchestral program while also coaching chamber music and giving masterclasses to violinists and violists. Since 2003, he has devoted himself to annual residencies at The Cleveland Institute of Music, the Simon Bolivar Youth Orchestra, the Canberra School of Music at the Australian National University, the Czech National Academy of Music, the National Academy of Music in Kiev and the Sibelius Academy in Helsinki, among others. In 2006, he developed the annual conductor’s courses in cooperation with the Paris Conservatoire and hosted by the Janacek Philharmonic Orchestra in the Czech Republic. In March, 2012 he served on the faculty of the Conductor’s Guild Workshop hosted by The Cleveland Institute of Music. During the period 1996-2002 he served as Professor and Director of Orchestral Studies at the University of Colorado, Boulder. In 2021 he was appointed as Artistic Director of the inaugural Gustav Meier Memorial Masterclasses, an annual training program for advanced orchestral conductors with the Lviv National Philharmonic Orchestra of Ukraine.

Kuchar remains as strong an advocate of composers of the present day as he does of the great composers of the past. In addition to his recordings

of contemporary works with the NSO of Ukraine, he has also conducted premieres of works by Lukas Foss (the Capriccio for Cello and Orchestra, with Yo-Yo Ma as soloist), Giya Kancheli, Joseph Schwantner, Alfred Schnittke, Peteris Vasks, Osvaldo Golijov and Rodion Shchedrin, among others. He has led numerous operatic productions in centers including Buenos Aires, Caracas, Helsinki, Kyiv, Prague and San Francisco with soloists including Jessye Norman, Frederica von Stade, Joseph Calleja, Jorma Hynninen, Isabel Bayrakdarian and Kelley O’Connor, among others.

Theodore Kuchar graduated from the Cleveland Institute of Music as a student of Robert Vernon, Principal Violist of The Cleveland Orchestra.

He was awarded the Paul Fromm Fellowship from the Boston Symphony Orchestra at the Berkshire Music Center at Tanglewood, subsequently reinvited for the following summer. He continues to devote several periods annually to one of his most serious passions, the performance of chamber music and has been a participant at major international festivals, including Kuhmo, Lockenhaus, the Australian Festival of Chamber Music and the Nevada Chamber Music Festival. His colleagues have included Sergei Babayan, Noah Bendix-Balgley, James Buswell, Martin Chalifour, Sarah Chang, Lynn Harrell, Alexander Ivashkin, Robert Levin, Truls Mork, Irina Schnittke, and Thomas Zehetmair. In 1994, he participated with colleagues Oleh Krysa and Alexander Ivashkin in the world premiere of Penderecki’s String Trio in New York City. He has appeared as violist in recordings on the Naxos label of works by Alfred Schnittke (with Irina Schnittke and Mark Lubotsky – this recording was awarded the BBC’s “CD of the Year” award for 2002), Bohuslav Martinu and Walter Piston. The latter recording was awarded the Chamber Music America/WQXR “Record of the Year” for 2001.

SOLOMIYA IVAKHIV Ukrainian born violinist Solomiya Ivakhiv is a highly celebrated soloist, chamber musician and educator. She has made solo appearances with the Istanbul State Symphony, Charleston Symphony, National Symphony Orchestra of Ukraine, Lviv National Philharmonic of Ukraine, and the Hunan Symphony Orchestra in China, and has performed at such prestigious concert halls as Carnegie Hall, Merkin Concert Hall, CBC Glenn Gould Studio, Curtis Institute Field Concert Hall, Philharmonic Hall in Kyiv, Pickman Hall in Cambridge, and Concertgebouw Mirror Hall.

She has been featured at chamber music festivals worldwide, including Tanglewood, Ottawa Chamberfest, Bach Festival of Philadelphia, Prussia Cove Open Chamber Music, San Jose Chamber Music Society, Newport

and Nevada Chamber Music Festivals, Emerson Quartet Festival, “Contrasts,” “Virtuosi,” and KyivFest, and she is Artistic Director of the Caspian Monday Music Festival in Greensboro, VT. Dr. Ivakhiv’s recordings – Ukraine: Journey to Freedom (NAXOS), Mendelssohn Concertos (Brilliant Classics), Haydn & Hummel Concertos (Centaur Records), and Poems & Rhapsodies (Centaur Records) – have been featured on top charts in iTunes and Spotify, as well as NPR, WRTI, WQXR and radio stations around the globe. A champion of new music, she has premiered works by composers such as David Ludwig, John B. Hedges, David Dzubay, Bohdan Kryvopust, Yevhen Stankovych, and Oleksandr Shchetynsky. Her next album, to be released by Naxos in 2023 with pianist Steven Beck, will feature the music of Ukrainian composers Myroslav Skoryk, Viktor Kosenko, and Serhiy Bortkevych.

Since 2010, Dr. Ivakhiv has served as Artistic Director of Music at the Institute (MATI) Concert Series in New York City, where her primary focus is to introduce audiences to Ukrainian classical music. At MATI, Dr. Ivakhiv presents programs featuring Ukrainian women composers, young Ukrainians, and newly commissioned works, as well as children’s events, book presentations, and a recent concert at Carnegie Hall celebrating MATI’s 25th anniversary.

A dedicated educator, Dr. Ivakhiv has led master classes and coached chamber music at Yale, Columbia, Penn State, University of Hartford Hartt School of Music, Boston Conservatory, Curtis SummerFest, University of Maryland, Bard College Prep, SUNY – Fredonia Universities, Oberlin, Guangzhou and Hunan Conservatories in China, and regularly collaborates with high schools in outreach programs throughout the United States.

Dr. Ivakhiv’s performances have been featured on NPR’s Performance Today, and her “crystal clear and noble sound” (Culture and Life, Ukraine) make her “[one of the] major artists of our time” (Fanfare Magazine).

She was recently named Honored (Merited) Artist of Ukraine, her native country’s highest cultural honor. She holds degrees from Curtis Institute of Music and Stony Brook University, and is Associate Professor of Violin and Viola and Head of Strings at UConn.

Since the Russian invasion of Ukraine, Dr. Ivakhiv has been very active in organizing and performing benefit concerts to help displaced Ukrainian musicians, wounded civilians, and the “Tikva” orphanage in Odesa. She encourages tonight’s audience to support the Lisa Batiashvili Foundation “Relief Fund for Ukrainian Musicians.”

Monday, February 13, 2023, 7:30 pm

Jorgensen Center for the Performing Arts

Lviv National Philharmonic Orchestra of Ukraine with Maestro Theodore Kuchar, Solomiya Ivahkiv, violin PROGRAM NOTES Chamber Symphony No. 3 for Flute and String Orchestra Yevhen Stankovych (Born September 19, 1942 in Svalyava, Zakarpattia Oblast, Ukraine) The music of Yevhen Stankovych, a Ukrainian composer of orchestral, chamber, choral works, and film music has been performed widely in Europe and Asia.

Stankovych completed music studies in cello at the Uzhhorod State Music School (now Zador Uzhhorod Music College). From 1962 to 1963, he studied composition under Stanislav Lyudkevych and Adam Soltys at the M. V. Lysenko Lviv State Conservatory and then at the P. I. Tchaikovsky National Music Academy of Ukraine in Kyiv, where he studied composition with Boris Lyatoshinsky from 1965 to 1968 and Myroslav Skoryk from 1968 to 1970. He completed his studies in 1970 and presented the polystylistic Symphony as his diploma work.

Among the awards Stankovych has received are the Taras Shevchenko National Prize from the government of Ukraine in 1977 for Symphony No. 3, “I Strengthen Myself'” and Chamber Symphony No. 3’s selection at the UNESCO International Rostrum of Composers in Paris in 1985, where it was lauded as one of the 10 best works of the year.

Stankovych has been a Professor in the Department of Composition at the P. I. Tchaikovsky National Music Academy of Ukraine (Kyiv Conservatory) since 1976 and also was an editor at the Kyiv publisher Muzychna Ukraina from 1970 to 1976. From 2004 to 2010, Stankovych was the Chairman of the National Union of Composers of Ukraine.

Stankovych’s individualistic music encompasses the breadth of many moods, and his works reveal the diversity of the composer’s spiritual world. Chamber Symphony for flute and strings, composed in 1983, is particularly complicated in its use of an overarching structure. It opens in a meditative mood, but soon the flute initiates a vigorous and lively dance-like movement. The music travels quickly through various moods and demands virtuosic fluttertongued phrases with natural legato from the soloist. What the composer calls the music’s “sudden moments of visionary peace” occasion beautiful playing from the flutist in passages of intense feeling and virtuosity. The work, with its continuous thematic and dramatic developments, includes modal episodes.

The composer has written his own note: “The Chamber Symphony No. 3 is a stark and obsessive work, using a very small nucleus of very clearly defined ideas to create a structure of awesome power and emotional depth. The three basic ideas are: 1) a simple rhythmic motive/progression introduced by the orchestra, 2) contrasted descending chromatic motive that is like a sigh, introduced by the flute and integrated into long improvisatory recitatives and developed obsessively to reach great intensity, 3) sudden islands of ethereal, spiritual melody played by the orchestra. Throughout there is a sense of foreboding, darkness and despair, interspersed by sudden moments of visionary peace, ending with...no conclusion.”

In an introductory note to a recording of Chamber Symphony No. 3, the featured flute soloist, Wissam Boustany, who sees this work as “dark and severe” also remarked: “This music carries with it a dream: that mankind can one day reach beyond make-believe

boundaries imposed by ourselves . . . be free to see and exploit the endless possibility that life is when unrestricted and unconditional love are the heart of who we are.”

Program Notes by Susan Halpern, 2022 Violin Concerto No. 1 in G Minor, op. 26 Max Bruch (Born January 6, 1838 in Germany; died there October 2, 1920) Bruch was a talented and respected composer whose musical style was firmly in the camp of his contemporary, Johannes Brahms. Not for him the extravagant and progressive orientation of Wagner, Liszt, and their popular followers. Rather, like Brahms he composed in the more conservative tradition of Schubert, Schumann, Mendelssohn, and their admirers. He was a precocious musician, composing from an early age, and displaying through his long career a remarkable gift for lyricism and the ability to craft a melodic line. Active in many genres—operas, symphonies, choral music, chamber music, and song—he is best known for his immensely popular first violin concerto. He wrote two others, as well, but they did not achieve any lasting success. He came to rue the popularity of the first, hoping musicians would perform more frequently his many other fine compositions, but alas! To be sure, a few of his other compositions garnered renown, though, including the Scottish Fantasy for violin and orchestra and the Kol nidrei for violoncello and orchestra. The reception of the majority of his compositions suffered to some degree owing to his living in the shadow of Brahms; the lack of appeal to British audiences (before and during WWI) of his often German-themed works; and the mistaken assumption by Germans in the 1930s that he was Jewish. To top it off, his dyed-in-the-wool romanticism was old hat by the time of his death in 1920. History is often not kind.

The first violin concerto has its origins very early on, in 1857, when Bruch was a student and only nineteen years old. He deemed it finished in 1865, when he was serving as court music director in Koblenz. It received its first performance a year later.

But, it was clear that much revision needed to be done, and for that he sought the advice of the preëminent concert violinist of the time, the great Joseph Joachim (Brahms did likewise with his violin concerto, later). Joachim gave the première of the revised version in 1868, and, of course, the concerto went on to lasting popularity. Unfortunately, Bruch received only a pittance for his efforts, owing to a variety of reasons, basically being more or less swindled out of his autograph copy of the score. It finally ended up in the Morgan Library in New York City only a few decades ago.

The overall form of the work is a bit unusual, for the first movement is somewhat short, and serves rather like a prelude or introduction to the slow second movement. So, rather than a robust, significant first movement as is usual in solo concertos, Bruch was happy with an abbreviated Vorspiel, or prelude. It nevertheless does have two main themes, both firmly reminding us of Bruch’s legendary gift for melody. In the beginning, one hears a brief idea in the woodwinds, followed immediately by a brief, rather pensive, cadenza-like reflection from the soloist. All that repeats, and then the full orchestra starts the affair in earnest. Two main ideas follow: an emphatic, memorable first theme (which, it must be admitted sounds very much like Dvorák), and a much more tender, lyrical second one. Don’t bother to look forward to a typical exploration, or development, of the ideas, for after a robust diversion, very quickly we hear the woodwind introduction from the very beginning of this “prelude,” and it seems like there’s a premature recapitulation.

After revisiting the two brief cadenzas of the opening, and an answer from the full orchestra, the movement quickly glides via a sustained low note in the violins to the meat of the concerto: the extensive slow movement.

And a lovely one it is, accounting, no doubt, for much of the concerto’s timeless appeal. Bruch composed a wealth of music, much of it first rate in every regard, yet he takes his place in musical history for this concerto, and this movement, to be sure.

Here, his gift for soaring, lyric romantic melodies is supreme. In

the last movement, the soloist enters after a brief introduction with the dramatic main theme, with its memorable multiple stops.

The second theme comes quickly—another winsome example of Bruch’s innate lyricism—heard first in soaring iteration in the full orchestra, taken up quickly by the soloist. And just as quickly, the development begins working through both ideas. Bruch was not one to “pad” his compositions, and the scintillating conclusion of this timeless work comes without delay. Bruch may have bitterly rued the popularity of this work at the expense of most of the others of his many worthwhile compositions, but a hundred years on, he no doubt would have welcomed the apparent immortality of just one of them.

Program Notes William E. Runyan 2015.

Symphony No. 7 in A Major, op. 92 Ludwig van Beethoven (Born December 17, 1770 in Germany; died March 26, 1827 in Austria) This work is simply a gem, and while certainly well known, deserves to be even better appreciated by concert audiences.

Beethoven himself famously said that it was one of his best works.

And, unlike so many works of genius that initially were pearls cast before swine, everybody knew on the spot that this work was great. It is commonplace, of course, for scholars to think of Beethoven’s musical life in three great periods—the last being the time of compositions that “challenge” comprehension and appreciation. The fecund middle period, roughly the first decade of the nineteenth century, is the time of dozens of the magnificent works that came to define the composer and establish his eternal reputation, and his seventh symphony stands pretty much near the end of that time.

Written mostly during 1811 and finished by early 1812, it is without doubt a complete reflection of the happy times and optimistic personal attitude of the composer at that time in his life—both professionally and personally. The beloved “Pastoral” symphony

was finished in 1808, and he then busied himself with important works, among them, the “Emperor” piano concerto and the music for Egmont. Sketches for both the seventh and the eighth symphonies were all part of his activity during this time.

He had already suffered health problems by early 1811, and traveled to the spa in the Bohemian town of Teplice, where work on the symphonies went on during that summer. Both symphonies were finished the next year, and together they more or less demark the end of an era. From that time on, until the end of his life in 1827, Beethoven the man, and his musical works underwent significant changes. His health underwent further deterioration, with debilitating family squabbles and failures in personal relationships all contributing to the change. While there were great works still to be written, the flow of inspiration was lessened, his social isolation increased, and the style of his composition took on a new, abstract quality.

So, the uplifting joy and vigor of Symphony No. 7 is a turning point. Beethoven conducted the première himself—contemporary accounts entertainingly describe his energetic and exaggerated gesticulations on the podium. And in the orchestra were some of the luminaries of the musical scene. It must have been an inspiring concert, indeed. The audience is on record for its enthusiastic response to this vivacious composition. No wonder, for there are few works by Beethoven so spurred by rhythmic inspiration and drive. Wagner has been endlessly excoriated for the banal comment that the work is “an apotheosis of the dance.” While it may have been a ham-fisted comment—neither Beethoven, nor few others have alluded to any dances in the work—but there is more than a grain of truth in the comment.

After a few dynamic chords the first movement opens with a long, slow introduction that is a perfect example of Beethoven’s skill at artfully creating an atmosphere of expectation out of nothing much more than a few scales, sustained chords, and some melodic fragments. As it ends it seems to fragment into just a few repeated

notes peeking out from octave to octave. And then there coyly appears a murmur of the simple rhythmic figure around which the first movement proper is built. A multiplicity of themes inhabit this driving, happy affair—all built in typical Beethoven fashion out of that little dotted rhythm.

The second movement is a special one—even for Beethoven. The first audience immediately recognized its inherent appeal, and forced its encore, right then. It consists of a “theme” that undergoes a series of variations—or, rather more strictly, is repeated with new and attractive elements added with each repetition, while retaining all that which was added. And it’s not really a theme in the melodic sense at all, rather just a basic chord progression in a constantly repeated simple rhythm. Here again, is ample evidence of Beethoven’s consummate skill at conjuring up magic out of the simplest of elements. There is a new tune in the middle, in the major mode—still with the simple rhythm of the beginning. The material of the opening returns, with some development added, and it all ends as it began.

A driving and dynamic scherzo can be expected next, and the composer certainly delivers one—quite a long one, at that—in an extended form that Beethoven liked. This movement possesses all of the impetus and rhythmic verve of the first movement, and again reaffirms the composer’s optimism. The last movement, if it is possible, trumps everything so far. It jumps right in with an intensity and jubilant ferocity rare even in Beethoven. Thumping, swinging, hammering—it relentlessly drives ahead, spurred by the timpani and the horns. If ever there was one movement from Beethoven’s nine symphonies that reminds us of his epochal innovation of rhythm as a fundamental element in musical composition, this is it. It doesn’t take long, dashing to a headlong conclusion that is nothing less than breathtaking.

Program Notes William E. Runyan 2015.

JAZZ AT LINCOLN CENTER: SONGS WE LOVE Fri, Feb 24, 8 pm

Songs We Love begins with the early blues and jazz of the 1920s and ends in the early 1950s, exploring the music of Ella Fitzgerald, Frank Sinatra, Judy Garland, and more!

TICKETS ON SALE NOW! Media Sponsors: Connecticut Magazine, New England Public Media, Lite 100.5 WRCH

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Call to Action Earlier this month, Governor Lamont presented a two-year state budget proposal to the General Assembly for fiscal years ’24 and ’25. “Unfortunately, the appropriations proposed for UConn and UConn Health fall far short of what is necessary to adequately fund the university, carry out our critical public health mission most effectively, and fully cover the sizable costs the state seeks to pass along to us,” stated UConn President Radenka Maric in a recent letter in UConn Today (Feb 8, 2023).

“A preliminary review of the numbers indicates that if enacted as proposed, the governor’s budget would leave the university with a shortfall of $159.6 million next year and $197.1 million the following year compared to the budget requests made by UConn and UConn Health” President Maric continued. “The budget will be negotiated over the next several months; the leadership team at the university and our Board of Trustees and the Board of Directors at UConn Health will join our committed alumni and supporters to advocate for the state funding that is so critical to the success of our students, patients, and the entire State of Connecticut.”

We, like many departments on the Storrs campus, have concerns about the impact of the proposed cuts on our programming here at Jorgensen Center for the Performing Arts. If you share our concerns, we encourage you to contact your local legislator and voice your support in opposition to this significant budget cut to the University.

Scan QR code below for a link to the following: “Proposed State Budget: Impact on UConn & UConn Health A message from President Maric regarding the proposed state budget” UConn Today, Feb 8, 2023

Scan QR code below for a list of local legislators:

PHAETON PIANO TRIO Thu, Mar 2, 7:30 pm

Music of Haydn, Schumann and Beethoven.

Lenard Chamber Music Event

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Pavel Haas Quartet Sat, Mar 11, 8 pm

Music of Haydn, Martinu and Korngold.

Lenard Chamber Music Event

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CoSt ★rs

Jorgensen Center for the Performing Arts

2022 - 2023 Co-Chairs: Lin Klein & Jane Moskowitz $500 per person, $1,000 per couple Elena Sevilla & Paul Aho Mona & Greg Anderson Marianne Barton Deborah Walsh Bellingham In Memory of Dr. Bruce A. Bellingham Honey & Harry Birkenruth Ruth Buczynski Carol Colombo In Memory of Paul Colombo Anne D’Alleva Madison & Bob Day Susan & John DeWolf Pamela Diggle Stan & Sandy Hale

Judy & Peter Halvorson Patricia Hempel Shareen Hertel & Donald Swinton Jan Huber Tina & Bryan Huey Blair T. Johnson & Blanche Serban Lynn & Harry Johnson Janet & George Jones Lin & Waldo Klein James Knox Ann Kouatly Becky & Scott Lehmann

Jean & John Lenard Gene Likens & Leola Spilbor Margarethe & Matthew Mashikian Antonia Moran Jane & Robert Moskowitz Constance & Rodney Rock Nancy & John Silander Beverly Sims & William Okeson Anne & Winthrop Smith Maurice Thompson Karen Zimmer Susan Zito

Join the CoStars, Jorgensen’s Active Volunteers!

The CoStars is a special group of volunteers who generously donate not only $500 per person, but also their talent and time. The invaluable CoStars support Jorgensen through community advocacy by creative fund-raising activities, and by hosting pre- and post-concert receptions that often feature world-class luminaries. The CoStars have been instrumental in the purchase of the new portable chamber stage and acoustical shell, a new Steinway Model D Concert Grand Piano, funding the JOY! Conservatory Program, the installation of the exterior Jorgensen message center, the renovation of the Jorgensen Gallery, and continued support of Jorgensen programming. By becoming a CoStar, you’ll join with other vibrant, thoughtful and devoted arts lovers who have made Jorgensen’s success a priority.

CoStars receive an honorary membership in the Jorgensen Circle of Friends at the Producers Circle level. Benefits include early ticket ordering privileges for one full year from the date of enrollment; reserved lower-level parking in the North Garage, providing a speedier exit after each Jorgensen event; and recognition in the Jorgensen playbill.

As a Special Thank You... An Invitation to the CoStars CoStar members receive an exclusive invitation to attend the Annual Sneak Peek hosted by Jorgensen Director Rodney Rock. This party offers attendees an exciting preview of the coming season – prior to the public announcement. Join the CoStars and be the first to know what’s new!

If you are interested in becoming a CoStar, please contact Rodney Rock at 860-486-1983, or by e-mail at rodney.rock@uconn.edu.

Jorgensen

Circle of Friends 2022-2023 Become a Friend of Jorgensen!

We invite you to join Jorgensen’s Circle of Friends, a group of generous arts supporters who over the years have made vital contributions to Jorgensen’s special projects, commissioned works, and interior restorations. Your membership in the Circle of Friends entitles you to early ticket ordering privileges for one full year from the date of your enrollment; you will be recognized in the Jorgensen Playbill; and if you contribute at the Directors or Producers Circle levels, you will enjoy reserved parking in the North Campus Parking Garage for each Jorgensen performance you attend.

Please consider making your tax-deductible donation and become a Circle of Friends member today. Simply call 860-486-4226 for more information.

Jorgensen Center for the Performing Arts gratefully acknowledges the support of its Friends.

Producers Circle $500/person $1,000 & above/couple Elena Sevilla & Paul Aho* Mona & Greg Anderson* Marianne Barton* Deborah Walsh Bellingham* In Memory of Dr. Bruce A. Bellingham* Honey & Harry Birkenruth* Ruth Buczynski* Carol Colombo* In Memory of Paul Colombo* Michael E. Cucka Anne D’Alleva* Madison & Bob Day* Mr. Paul D’Italia Susan & John DeWolf* Ms. Joan N. Gionfriddo In Memory of Elaine D. Neiswanger, Robert Neiswanger, & Thomas Neiswanger Stan & Sandy Hale* Judy & Peter Halvorson* Patricia Hempel*

Shareen Hertel & Donald Swinton* Jan Huber* Tina & Bryan Huey* Blair T. Johnson & Blanche Serban* Lynn & Harry Johnson* Janet & George Jones* Lin & Waldo Klein* James Knox* Ann Kouatly* Becky & Scott Lehmann* Jean & John Lenard* Gene Likens & Leola Spilbor* Margarethe & Matthew Mashikian* Antonia Moran* Jane & Robert Moskowitz* Craig & Karen Nass Barbara Rhein & Stan Shaw Constance & Rodney Rock* Nancy & John Silander* Beverly Sims & William Okeson* Anne & Winthrop Smith* Maurice Thompson* Karen Zimmer* Susan Zito*

*Members of the Jorgensen CoStars Directors Circle $250/person, $500/couple Lynn & Marjorie Brown Kenneth A. Doeg Mona & Todd Friedland In honor of Jane Moskowitz Mr. David Johnson David & Carol Jordan Maureen Kohler & John Zavokjancik Tom Martin & Susan Spiggle Carl Nawrocki Mr. & Ms. Steven & Barbara Rogers Cheryl A. & Mark J. Roy Bonnie Ryan Ms. Nancy Swiacki Keith Wilson & Marjorie Hayes Artists Circle $125/person, $250/couple Patricia Anderson

Mr. & Mrs. Bennett & Linda Brockman Dr. & Mrs. Steven & Elaine Cohen Maryellen Donnelly & James Krall M. Kevin & Jeanne Fahey Mrs. Alice Hale Betty & Kenneth Hanson Rob & Mary Hoskin Ms. Cathy Jameson & Ms. Renee Fournier Ms. Mary Lacek & Mr. Neil Aldin Mr. & Mrs. Gerald Leibowitz Len Oberg Daryl & Paul Ramsey Mrs. Kristin Santini Susan Stoppelman Harriet Walker Patrons Circle $50/person, $100/couple Anonymous Cynthia & Roger Adams Robert Bittner Dorothy Blocker Susan & John Boland

Carol & Carl Brolin Irene & Richard Brown Ms. Joyce Donohoo Lorraine Gallup Richard & Karin James Col. & Dr. Leonard & Judith Kaplan Art Kirschenbaum & Cheryl Pomerantz Dr. & Mrs. Uwe & Helen Koehn Yves & Carol Kraus Robin Lubatkin Donna Matulis Rev. Donald Miller Pamela Paine Judith Rhodes Jacqueline Seide Paul & Annette Shapiro Adeline Theis Susanna Thomas George Thompson Aaron Tumel Dr. & Mrs. Joel Zuckerbraun Critics Circle $25/person, $50/couple Anonymous Ms. Kathleen Donahue Mrs. Audrey Gough Dr. & Mrs. Ed & Susan Grace

John H. Mayer & Irwin M. Krieger Mr. & Mrs. Joseph Linonis Wesley & Mary Lord Joseph & Nancy Madar Stan & Sue McMillen Linda Pelletier Mr. & Mrs. Ettore & Laura Raccagni Sari & James Rosokoff John & Marilyn Shirley Dr. Jay S. Shivers Mrs. Pamela Sutkaitis Director’s Fund Paul Aho & Elena Sevilla Mona & Greg Anderson Honey & Harry Birkenruth Diane & Joseph Briody Carol Colombo Paula & Keith Enderle David & Marilyn Foster Mr. Thomas French Lin & Waldo Klein Fund Jane & Robert Moskowitz In honor of Linda K. Klein, PhD & Rodney D. Rock NICABM Jennifer Person Mr. Allen Schmied & Ms. Tina Polttila-Schmied Nancy & John Silander Ms. Joanne Sousa In Memory of John P. Sousa

Endowed Sponsorship Program The Endowed Sponsorship Program provides individuals and families with the opportunity to support Jorgensen by sponsoring any concert or other program. Benefits to Endowed Sponsors will include name recognition in the Jorgensen playbill, additional recognition in the community through press releases provided by the University, and an opportunity to visit with the guest artist.

Sponsorship could be a means of celebrating a special holiday or anniversary, or of dedicating an event to a loved one. Most importantly, by contributing to the cost of current programs, sponsors would help ensure that the Jorgensen Center for the Performing Arts will continue to present wonderful music and other programs in the future.

Your gift would benefit not only Jorgensen, but also the community at large.

Patrons interested in sponsoring an event should contact Rodney Rock at 860-486-1983 or rodney.rock@uconn.edu for further information.

Jorgensen Outreach for Youth Funded through private contributions as well as corporate support, JOY! provides school-age children, many from economically disadvantaged backgrounds, with access to live performances and special enrichment programs. Now in its 15th season, the JOY! Conservatory program offers instrumental and vocal students in grades 9-12 the opportunity for a rigorous course of study including private lessons, ensemble rehearsals and coaching, and basic musicianship courses. For more information, contact Jorgensen director Rodney Rock at 860-486-1983.

Corporate / Foundation Sponsors SBM Charitable Foundation Diamond / $1000+ Honey & Harry Birkenruth Carol Colombo Nancy & John Silander Mrs. Nora Stevens Ruby / $300+ Becky & Scott Lehmann The University of Connecticut League, Inc.

Sapphire / $100+ Dorothy Blocker Margaret Dillon & Larry Bowman Shingo Goto Carol & David Jordan James Knox Carl Nawrocki Peter Polomski Joanne Sousa

Pearl / up to $99 Mr. Paul D’Italia Irwin Krieger & John Mayer Robin Lubatkin Pamela Paine Bonnie Ryan Marti & Tom Smith Dale Swett Joanne Todd Ilene Whitacre

Lenard Chamber Music Endowment Fund The Lenard Chamber Series is made possible through the generosity of longtime patrons Jean and John Lenard and the Lenard Chamber Music Endowment.

Thanks to the generous philanthropy of patrons Jean and John Lenard, chamber music, one of the hallmarks and most dearly loved elements of the programming at Jorgensen, is secure well into the future. Also thanks to the Lenard Endowment, UConn students, non-UConn students, and area youth are invited to attend all chamber music events for free.

Please join this giving community and make your contribution today.

To make a gift, contact Jorgensen Director Rodney Rock at rodney.rock@uconn.edu or 860-486-1983, or visit jorgensen.uconn.edu/online/article/lenard-endowment.

Jean & John Lenard Elena Sevilla & Paul Aho Greg & Mona Anderson Deborah Walsh Bellingham Ruth Buczynski Carol Colombo Anne D’Alleva Kenneth Doeg Judy & Peter Halvorson Patricia Hempel

George & Janet Jones Carol & David Jordan Lin & Waldo Klein James Knox June & Henry Krisch Becky & Scott Lehmann Shoshana Levinson & Chris Crossgrove Julia J. & Carl W. Lindquist, MD

Joan and Austin McGuigan Jane & Robert Moskowitz Lauren & Eric Prause Donald Shankweiler & Ruth Garrett Millikan John & Nancy Silander Beverly Sims & William Okeson Kenneth & Janet Slavett Marilyn & Arthur Wright

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