Tuesday Musical March 12, 28 & April 18 Concerts

Chamber Music Society of Lincoln Center Tuesday, March 12, 2019

Escher String Quartet Thursday, March 28, 2019

For Lenny, a Celebration with Lara Downes Thursday, April 18, 2019

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Up next — Hear tomorrow’s stars 2019 Scholarship Winners Concert

Sunday, May 19, 2:30 p.m.

Faith Lutheran Church, 2726 W. Market St., Akron Hear musical stars of tomorrow when winners of Tuesday Musical’s 2019 Annual Scholarship Competition perform in this free concert and compete for two additional performance scholarships — one for $1,000 and one for $2,000.

The concert and following reception are free and open to the public.

Tuesday Musical’s annual competition provides valuable scholarship support for talented university students embarking on careers as music educators and performers. Each year it draws more than 150 applicants in music education, brass, classical guitar, marimba/classical steel drum, organ, piano, strings, voice, and woodwinds.

Last year’s competition awarded 24 scholarships totaling more than $25,000. Since 1955 and with support from generous donors and volunteers, Tuesday Musical has awarded nearly 550 scholarships ranging from $500 to $2,000.

The results of this year’s competition on March 23 are online at tuesdaymusical.org/education.

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EJ Thomas Performing Arts Hall—The University of Akron Tuesday, March 12, 2019, 7:30 p.m.

The Chamber Music Society of Lincoln Center Wu Han, piano • Alexander Sitkovetsky, violin Arnaud Sussmann, violin • Matthew Lipman, viola Nicholas Canellakis, cello Sergei Rachmaninov Trio élégiaque in G minor for Piano, Violin, and Cello (1873-1943) Wu Han, Sitkovetsky, Canellakis Peter Ilyich Tchaikovsky Souvenir d’un lieu cher for Violin and Piano, Op. 42 (1840-1893) Méditation Scherzo Mélodie Sitkovetsky, Wu Han Sergei Prokofiev Sonata in C major for Two Violins, Op. 56) (1891-1953) Andante cantabile Allegro

Commodo (quasi allegretto)

Allegro con brio Sussmann, Sitkovetsky INTERMISSION

Sergei Ivanovich Taneyev Quintet in G minor for Piano, Two Violins, Viola, (1856-1915) and Cello, Op. 30

Introduzione: Adagio mesto—Allegro patetico

Scherzo: Presto Largo

Finale: Allegro vivace Wu Han, Sussmann, Sitkovetsky, Lipman, Canellakis Wu Han performs on Tuesday Musical’s Three Graces Steinway D Piano this evening.

Caroline Oltmanns, a Steinway Artist and Professor of Piano at Youngstown State University, led our Concert Conversation with tonight’s musicians. Presented at 6:30 p.m. before MainStage concerts, Concert Conversations entertain, educate and engage our audience members. We hope to see you at the next one!

Generous support for this performance and related education/community engagement activities comes from the Kenneth L. Calhoun Charitable Trust, Keybank, Trustee, as well as from other foundations, corporations and individuals.

Among Tuesday Musical’s season supporters:

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The Artists

The Chamber Music Society of Lincoln Center Nicholas Canellakis, cello

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ailed by the New Yorker as a “superb young soloist,” Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation. In the New York Times his playing was praised as “impassioned... the audience seduced by Mr. Canellakis’s rich, alluring tone.”

His recent highlights include his Carnegie Hall concerto debut with the American Symphony Orchestra; concerto appearances with the Albany and New Haven symphonies, Erie Philharmonic, and Pan-European Philharmonia in Greece; and a recital of American cello-piano works presented by the Chamber Music Society of Lincoln Center, with which he performs regularly in Alice Tully Hall and on tour. His 2018-19 season includes solo debuts with the Lansing, Bangor, and Delaware symphony orchestras; Europe and Asia tours with the Chamber Music Society of Lincoln Center, and recitals throughout the United States with his long-time duo collaborator, pianist-composer Michael Brown.

He is a regular guest artist at many of the world’s leading music festivals, including Santa Fe, Ravinia, Music@Menlo, Bard, La Jolla, Bridgehampton, Hong Kong, Moab, Music in the Vineyards, and Saratoga Springs. He was recently named artistic director of Chamber Music Sedona. An alumnus of The Bowers Program (formerly CMS Two), Mr. Canellakis is a 8

graduate of the Curtis Institute of Music and New England Conservatory. Filmmaking and acting are special interests of his. He has produced, directed, and starred in several short films and music videos.

Matthew Lipman, viola

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merican violist Matthew Lipman has been hailed by the New York Times for his “rich tone and elegant phrasing.” The recipient of a 2015 Avery Fisher Career Grant, he has appeared as soloist with the Minnesota Orchestra, Illinois Philharmonic, Grand Rapids Symphony, Wisconsin Chamber Orchestra, Juilliard Orchestra, Ars Viva Symphony, and Montgomery Symphony, with CMS in Alice Tully Hall, and in recital at the WQXR Greene Space in New York City and the Phillips Collection in Washington, D.C. His debut solo album Ascent was released

by Cedille Records, coinciding with a Lincoln Center recital debut in fall 2018. His recording of Mozart’s Sinfonia Concertante with violinist Rachel Barton Pine and the Academy of St Martin in the Fields topped the Billboard charts. He was featured on WFMT Chicago’s list of “30 Under 30” of the world’s top classical musicians and has been profiled by The Strad and BBC Music magazines. He performs regularly at the Music@ Menlo, Marlboro, Ravinia, Bridgehampton, Seattle, Cleveland, and White Nights festivals.

A top prizewinner of the Primrose, Tertis, Washington, Johansen, and Stulberg International

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Viola Competitions, he received bachelor’s and master’s degrees from The Juilliard School as a student of Heidi Castleman, and was further mentored by Tabea Zimmermann at the Kronberg Academy.

A native of Chicago and an alumnus of The Bowers Program (formerly CMS Two), Mr. Lipman is on faculty at Stony Brook University and performs on a fine 1700 Matteo Goffriller viola loaned through the generous efforts of the RBP Foundation.

Alexander Sitkovetsky, violin

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iolinist Alexander Sitkovetsky was praised

by Gramophone magazine for “his confident, entirely natural musicianship.”

The 2018-19 season finds him performing with the Residentie Orkest The Hague, Anhaltische Philharmonie Dessau, Camerata Zurich, Anima Musicae Chamber Orchestra, and return to the London Philharmonic Orchestra, Camerata Salzburg, Arctic Philharmonic, and the Welsh National Opera Orchestra.

In past seasons he has performed with the Yomiuri Nippon Symphony Orchestra, Royal Philharmonic Orchestra, Australian Chamber

Orchestra, Munich Chamber Orchestra, Konzerthaus Orchester Berlin, Royal Northern Sinfonia, New York Chamber Players, BBC Scottish Symphony Orchestra, Tokyo Symphony Orchestra, Moscow Symphony Orchestra, and Orquesta Filarmónica de Bolivia. His critically acclaimed CPO recording of Andrzej Panufnik’s Violin Concerto with the Konzerthaus Orchester Berlin won an ICMA Special Achievement Award.

He was awarded first prize at the Trio di Trieste Duo Competition alongside pianist Wu Qian. He is an alum of The Bowers Program (formerly CMS Two), and in 2016 received the Lincoln Center Emerging Artist Award. He is a founding member of the Sitkovetsky Piano Trio, with whom he has won various prizes including the Mecklenburg Vorpommern Kammermusik Prize. He has also played in a string quartet project with Julia Fischer since 2012, meeting once a year to perform in some of Europe’s most prestigious venues.

Mr. Sitkovetsky was born in Moscow and moved to the United Kingdom to study at the Menuhin School at the age of eight. Lord Menuhin was his inspiration throughout his school years and they performed together on several occasions.

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The Artists Arnaud Sussmann, violin

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inner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura, and profound musicianship.

Minnesota’s Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you’ll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener.”

A thrilling young musician capturing the attention of classical critics and audiences around the world, he has appeared on tour in Israel and in concert at Lincoln Center’s Alice Tully Hall, the White Nights Festival in Saint Petersburg, the Dresden Music Festival in Germany, and the Phillips Collection in Washington, DC. He has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art, and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Moritzburg, Caramoor, Music@Menlo, La Jolla SummerFest, Mainly Mozart, Seattle Chamber Music, Bridgehampton, and the Moab Music festivals.

Mr. Sussmann has performed with many of

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today’s leading artists, including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenasi, Wu Han, David Finckel, Jan Vogler, and members of the Emerson String Quartet. An alumnus of The Bowers Program (formerly CMS Two), he regularly appears with CMS in New York and on tour, including performances at London’s Wigmore Hall.

Wu Han, piano

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ianist Wu Han ranks among the most influential classical musicians in the world today. Leading an unusually multifaceted artistic career, she has risen to international prominence as a concert performer, artistic director, recording artist, educator, and cultural entrepreneur.

A recipient of Musical America’s Musician of the Year award, she appears annually at the world’s most prestigious concert series and venues, as both soloist and chamber musician.

She tours extensively with cellist David Finckel, in trios with Philip Setzer, and in a quartet with Daniel Hope and Paul Neubauer. Together with David Finckel, she serves as co-artistic director of the Chamber Music Society of Lincoln Center

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and founding co-artistic director of Music@ Menlo, the San Francisco Bay Area’s premier summer chamber music festival and institute.

In East Asia, she serves as founding co-artistic director of Chamber Music Today, an annual festival in Seoul. Wolf Trap Foundation for the Performing Arts recently appointed Wu Han artistic advisor for Chamber Music at the Barns.

Her wide-ranging musical activities include the launch of ArtistLed, classical music’s first musician-directed and Internet-based recording company. BBC Music Magazine saluted the label’s 20th anniversary with a cover CD featuring David Finckel and Wu Han. This new recording was released on the ArtistLed label in fall 2018.

Through a multitude of educational initiatives, including directing the LG Chamber Music School in Seoul under the auspices of CMS, she has received universal praise for her passionate commitment to nurturing the artistic growth of countless young artists.

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Program Notes Sergei Rachmaninov Trio élégiaque in G minor for Piano, Violin, and Cello

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achmaninov entered the Moscow Conservatory in 1888 to study piano with Alexander Siloti and composition with Taneyev and Arensky. He was a brilliant student. At the age of 19, he wrote the Prelude in C-sharp minor, which carried his name to music lovers around the world (and became so frequently requested that he grew to loath the piece). He graduated from the piano curriculum in 1891 with a gold medal for excellence, and finished his studies as a composer the following year, upon which occasion the faculty unanimously voted to place his name on the Conservatory’s Roll of Honor.

With a view toward gaining some notoriety in the Moscow musical world even before he left the Conservatory in the spring of 1892, Rachmaninov took part in a series of public

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performances in January, the most important of which was his own recital on January 30. He enlisted the participation of violinist David Krein and cellist Anatoly Brandukov for the event, and supplemented his own solo performances of works by Chopin, Tchaikovsky, Liszt, Godard, and Tausig by composing a Romance for cello and piano and a Trio élégiaque in G minor for all three instruments.

The trio, as befits its author and its purpose, assigns the leading role to the piano. The work’s single, expansive sonata-form movement opens with murmuring string figures (“lugubrious” instructs the score) that serve as background for the piano’s melancholy main theme. After the strings are allowed their turns at the theme, the music becomes more active as it leads to the subsidiary subject, whose block chords and harmonic progressions give it a slightly ecclesiastical feeling.

The development section (“Appassionato”) relies mainly on the first theme for its material. A busy climax and a brief silence serve as the gateway to the full recapitulation of the exposition’s themes.

The principal theme is recalled one final time in the coda, which is marked to be played in the manner of a funeral march.

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Find your focus.

School of Music

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Peter Ilyich Tchaikovsky Souvenir d’un lieu cher for Violin and Piano, Op. 42

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fter his disastrous marriage in the summer of 1877, Tchaikovsky fled from Moscow to his brother Modeste in St. Petersburg and, early the next year, went on to Clarens on Switzerland’s Lake Geneva. There he heard a performance of Lalo’s colorful Symphonie espagnole that inspired him to write his own violin concerto.

Work on the piece went quickly, but he was dissatisfied with his original slow movement, which he called Méditation, and discarded it in favor of the lovely Canzonetta that occupies the center of the finished Concerto. The Méditation lay unused until Tchaikovsky was invited by his benefactress, Nadezhda von Meck, to visit her estate at Brailov in the Ukraine in June while she was spending the summer in Moscow. In

appreciation of Mme. von Meck’s hospitality, Tchaikovsky wrote for her a little set of three violin and piano pieces, his only original works for that chamber combination, which he collectively titled Souvenir d’un lieu cher — Remembrance of a Dear Place. Two of the movements, an elfin Scherzo and a tender Mélodie, were composed at Brailov, but the first, Méditation, was the piece he had left over from his sketches for the Violin Concerto.

He gave the manuscript to one of the household servants when he left for Moscow on June 11, and Mme. von Meck received the Souvenir d’un lieu cher upon her return to Brailov.

Sergei Prokofiev Sonata in C major for Two Violins, Op. 56

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rokofiev spent most of the 1920s in Paris, imbibing the bracing modernities of Stravinsky, Honegger, Poulenc, Milhaud and the other members of Les Six, and devoting himself exclusively to instrumental and orchestral composition; it was the longest period of his life that did not yield an opera or vocal work.

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Program Notes By 1932, he had grown eager to return home to Russia, where he would have to hide his avant garde candle under a very tightly controlled “music for the masses” bushel, so his last works in Paris — Sonata for Two Violins (Op. 56), Symphonic Song (Op. 57), and Cello Concerto (Op. 58) — form a sort of farewell to the modernism that had been a prominent strain in his creative personality since his days at the St. Petersburg Conservatory.

Early in his career, Prokofiev classified his music into four distinct styles: classical or neoclassical; modern; toccata or motoric; and lyrical.

The last three idioms figure in the Sonata for Two Violins: the harmonic language of the work is modern and plangently chromatic; the first and third movements are lyrical, the first haunting and introspective, the third flowing and dance-like; the second and fourth movements, brilliant and steely, are motoric, though the finale relaxes as the sonata nears its end for a sweet echo of the main theme of the opening movement.

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Sergei Ivanovich Taneyev Quintet in G minor for Piano, Two Violins, Viola, and Cello, Op. 30

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ergei Taneyev, one of the most prodigiously talented musicians of late Imperial Russia, was born in 1856 in the Vladimir district, 100 miles northeast of Moscow, into the family of a cultured and affluent civil servant. (An uncle, Alexander Sergeyevich Taneyev, born six years earlier in St. Petersburg, gained some fame as a composer in the Russian nationalist vein.)

Sergei had his first piano lessons at age five, and entered the Moscow Conservatory before his tenth birthday; he studied piano there with Nikolai Rubinstein and composition with Peter Tchaikovsky, whose steadfast friend, trusted confidant, and respected critic he became. (Taneyev gave the Moscow premiere of Tchaikovsky’s Piano Concerto No. 1 in December 1875).

Upon his graduation in May 1875, Taneyev became the first student to win gold medals in both performance and composition from the school,

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and when Tchaikovsky resigned from the faculty in 1878, Taneyev, age 22, took his place teaching harmony and orchestration. He soon added piano and composition instruction to his duties, and in 1885, he became the conservatory’s director.

He resigned as director in 1889 to give more time to composition, but continued to teach counterpoint until 1905, when he left in protest over the repressive discipline meted out to the students involved in disturbances at the school sparked by the revolutionary movement then sweeping Russia. He withdrew into a reclusive existence in a primitive house in the distant suburbs of Moscow, receiving students and friends (who ignored the sign claiming “Sergei Ivanovich is not at home” to find, usually, a warm welcome), composing, and writing a treatise on counterpoint that still serves as an important text on the subject in Russia’s music schools.

He was elected to honorary membership in the Russian Musical Society in 1913, but confessed to being embarrassed by the fuss attendant upon his installation ceremony. In April 1915, Taneyev stood in the rain at the funeral of his former student Alexander Scriabin, contracted pneumonia, and died of a heart attack on June 6.

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The G minor Piano Quintet of 1910-11 opens with a somber introduction that contains the work’s thematic seeds. A trilled chord, a freshening of the tempo, and the presentation of the agitated main theme mark the start of the movement’s sonata form; the tender subsidiary subject, in a brighter key, is largely entrusted to the piano. The development works a variety of treatments upon the exposition’s ideas, from dramatic to ruminative, before a full recapitulation of the earlier themes and a fiery coda round out the movement. The Scherzo takes as the materials for its outer sections a march-like theme and a mercurial strain in scintillating rhythms; a lyrical, rhapsodic central episode provides formal contrast and expressive balance.

The Largo revives the old Baroque technique of passacaglia by draping a continuous flow of music across a constantly repeating scalar phrase, most often heard descending in the bass, though occasionally inverted. The Finale comprises two large structural paragraphs: the first is tense and tightly compressed; the second, which recalls themes from the first movement, is expansive and optimistic, and brings the quintet to a jubilant close.

— ©2019 Dr. Richard E. Rodda

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EJ Thomas Performing Arts Hall—The University of Akron Thursday, March 28, 2019, 7:30 p.m.

Escher String Quartet Adam Barnett-Hart, violin Danbi Um, violin Pierrre Lapointe, viola Brook Speltz, cello Wolfgang Amadeus Mozart String Quartet No. 23 n F major, K. 590 1756-1791 Allegro moderato Andante

Menuetto: Allegretto Allegro INTERMISSION Andrew Norman ESCHER b. 1979 World Premiere Ludwig van Beethoven String Quartet No. 14 in C-sharp minor, Op. 131 1770-1827 Adagio ma non troppo e molto espressivo

Allegro molto vivace

Allegro moderator

Andante ma non troppo e molto cantabile Presto

Adagio quasi un poco andante Allegro Tonight we are announcing the creation of a nationally significant new program to help Tuesday Musical support future commissions of new music, premieres in Akron, and opportunities for students to learn from and be inspired by talented composers.

Composer and pianist James Wilding, a faculty member at The University of Akron, led our Concert Conversation with tonight’s musicians. Presented at 6:30 p.m. before MainStage concerts, Concert Conversations entertain, educate and engage our audience members. The conversations have been supported this season, in part, by the Laura R. and Lucian Q. Moffitt Foundation.

Generous support for this performance and related education/community engagement activities comes from the Charles E. & Mabel M. Ritchie Memorial Foundation, the Mary Schiller Myers Lecture Series at The University of Akron and the Beatrice K. McDowell Family Fund, as well as from other foundations, corporations and individuals listed elsewhere in this program.

Among Tuesday Musical’s season supporters:

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The Artists

SARAH SKINNER

The Escher String Quartet

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he Escher String Quartet has received acclaim for its expressive, nuanced performances that combine unusual textural clarity with a rich, blended sound.

A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall. In its home town of New York City, the ensemble serves as season artists of The Chamber Music Society of Lincoln Center, where it has presented the complete Zemlinsky Quartets Cycle as well as being one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets.

Within months of its inception in 2005, the quartet came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be quartet-in-residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Programme on Shelter Island, NY. The quartet has since collaborated with artists including David Finckel, Leon Fleischer, Wu Han, Lynn Harrell, Cho Liang Lin, Joshua Bell, Paul Watkins and David Shifrin, as well as jazz saxophonist Joshua Redman, vocalist Kurt Elling, legendary Latin artist Paquito D’Rivera and Grammy award-winning guitarist Jason Vieaux. In 2013, the quartet became one of the very few chamber ensembles to be awarded the 18

prestigious Avery Fisher Career Grant.

The Escher Quartet has made a distinctive impression throughout Europe, performing at venues such as Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Kings Place, Tel Aviv Museum of Art, Slovenian Philharmonic Hall, Auditorium du Louvre and Les Grand Interprètes series in Geneva.

With a strong collaborative approach, the group has appeared at festivals such as Heidelberg Spring Festival, Incontri in Terra di Siena Festival, Dublin’s Great Music in Irish Houses, Risør Chamber Music Festival in Norway, Hong Kong International Chamber Music Festival and Perth International Arts Festival in Australia.

The current season sees another extensive European tour, including debuts at Musik und Kunstfreunde Heidelberg, de Singel Antwerp, Budapest’s kamara.hu festival and Bath Mozartfest. Alongside its growing success in Europe, the Escher Quartet continues to flourish in its home country, performing at Alice Tully Hall in New York, Kennedy Center in Washington DC, Chamber Music San Francisco, and the Ravinia, Caramoor and Music@Menlo festivals.

Currently a quartet-in-residence at Southern Methodist University in Dallas, Texas, and Tuesday Musical in Akron, Ohio, the quartet fervently supports the education of young musicians and has given master classes at institutions such as the Royal Academy of Music in London and Campos do Jordão Music Festival in Brazil.

In autumn 2016, the quartet released the third tuesdaymusical.org ■ 330.761.3460

tuesday musical 2018 | 2019

and final volume of the complete Mendelssohn Quartets on the BIS label. The set has been received with the highest critical acclaim: Volume II was listed in the Top 10 CDs of 2016 by The Guardian and hailed for its “sheer finesse”

by Gramophone, while Volume III was nominated for a BBC Music Magazine Award.

The quartet has also recorded the complete Zemlinsky String Quartets in two volumes, released on the Naxos label in 2013 and 2014 respectively, to accolades including five stars in The Guardian with “Classical CD of the Year,” a recommendation in The Strad, “Recording of the Month” on MusicWeb International, and a nomination for a BBC Music Magazine Award.

The Escher Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.

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Andrew Norman, composer

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ndrew Norman is a Los Angeles-based composer of orchestral, chamber, and vocal music.

Recently praised as “the leading American composer of his generation” by the Los Angeles Times, “one of the most gifted and respected composers of his generation” by The New York Times, and the “master of a uniquely dazzling and mercurial style” by The New Yorker, Andrew is fast becoming one of the most sought-after voices in American classical music.

Andrew’s work draws on an eclectic mix of sounds and performance practices, and is deeply influenced by his training as a pianist and violist as well as his lifelong love of architecture.

Andrew is increasingly interested in story telling in music, and specifically in the ways non-linear, narrative-scrambling techniques from movies and video games might intersect with traditional symphonic forms.

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The Artists His distinctive voice has been cited in The New York Times for its “daring juxtapositions and dazzling colors,” in The Boston Globe for its “staggering imagination,” and in the Los Angeles Times for its “audacious” spirit.

Andrew’s symphonic works have been performed by leading ensembles worldwide, including the Berlin, Los Angeles and New York Philharmonics, the Philadelphia and Minnesota Orchestras, the London, BBC, Saint Louis, Seattle, San Francisco, and Melbourne Symphonies, the Orpheus, Saint Paul, and Los Angeles Chamber Orchestras, the Tonhalle Orchester, the Royal Concertgebouw Orchestra, the Orchestre National de France, the Ensemble Intercontemporain, and many others. Andrew’s music has been championed by some of the classical music’s eminent conductors, including John Adams, Marin Alsop, Gustavo Dudamel, Simon Rattle, and David Robertson.

In recent seasons, Andrew’s chamber music has been featured at the Bang on a Can Marathon, Chamber Music Society of Lincoln Center, Wordless Music Series, CONTACT! series, Ojai Festival, MATA Festival, Tanglewood Festival

of Contemporary Music, Green Umbrella series, and the Aspen Music Festival.

In May 2010, the Berlin Philharmonic’s Scharoun Ensemble presented a portrait concert of Andrew’s music titled Melting Architecture.

Andrew was recently named Musical America’s 2017 Composer of the Year. He is the recipient of the Jacob Druckman Prize in 2004, ASCAP’s Nissim and Leo Kaplan prizes in 2005, the Rome Prize in 2006, the Berlin Prize in 2009 and a Guggenheim Fellowship in 2016. He joined the roster of Young Concert Artists as composer-inresidence in 2008 and held the title “Komponist für Heidelberg” for the 2010-2011 season.

Andrew has served as composer-in-residence with the Boston Modern Orchestra Project, Opera Philadelphia, the Los Angeles Chamber Orchestra, and the Utah Symphony.

Andrew’s 30-minute string trio The Companion Guide to Rome was named a finalist for the 2012 Pulitzer Prize in Music, and his largescale orchestral work Play was named one of NPR’s top 50 albums of 2015, nominated for a 2016 Grammy in the Best Contemporary Classical Composition category, recently won

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tuesday musical 2018 | 2019

the Grawemeyer Award for Music Composition, and was described in The New York Times as a “breathtaking masterpiece,” “a stunning achievement,” and “a revolution in music.”

His most recent orchestral work, Sustain, was lauded as “a new American masterpiece” by The New Yorker, ”sublime” by The New York Times, and “a near out-of-body acoustic experience that sounds like, and feels like, the future we want” in the Los Angeles Times.

Andrew is a committed educator who enjoys helping people of all ages explore and create music. He has written pieces to be performed by and for the young, and has held educational residencies with various institutions across the country. He recently completed a children’s opera, A Trip to the Moon, which combines

professional musicians with amateur and untrained community members of all ages.

Andrew joined the faculty of the USC Thornton School of Music in 2013, and serves as the director of the L.A. Phil’s Composer Fellowship Program for high school composers.

In addition to tonight’s work for Escher String Quartet, with Tuesday Musical as the lead commissioner Andrew recently finished two piano concertos — Suspend for Emanual Ax and Split for Jeffrey Kahane — as well as a percussion concerto, Switch, for Colin Currie.

Upcoming projects include collaborations with Jeremy Denk, Jennifer Koh, Johannes Moser, yMusic, Leila Josefowicz, and the San Francisco Symphony.

Schott Music publishes Andrew’s works.

Get on Board!

Saturday March 23, 2019

From Sea to Shining Sea Saturday May 18, 2019

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Program Notes Wolfgang Amadeus Mozart String Quartet in F major, K. 590

appoggiaturas should be played squarely on the beat.

The finale, a high-speed, vivacious frolic, unstintingly gives all four players flashy passages that test even the most secure techniques. Cast in a combined rondo and sonata form, this irresistible, appealing movement has intricate fugal and contrapuntal sections, unexpected pauses and silences, harmonic surprises, and even a brief imitation of a bagpipe, making it a brilliant cap to Mozart’s tragically short string quartet-writing career.

— Melvin Berger

T

he F Major is Mozart’s last quartet, written in June 1790, a year-and-a-half before his death. The 10th of his mature quartets, it is actually the 23rd that he wrote.

The opening theme of the quartet can be simply described as an ascending arpeggio followed by a descending scale. Yet Mozart immediately transforms this basic material, changing the dynamics, the individual notes, and the scoring, thereby affecting a metamorphosis of the character it originally presented.

To start the second theme, the cello moves up Andrew Norman in a broken chord from its very lowest note over ESCHER two octaves to the new lyrical melody. The first theme returns to end the exposition. A concise Tuesday Musical co-commission, world premiere development section leads to the recapitulation, his new work by Andrew Norman is which is little changed from the exposition. The receiving its world premiere tonight. coda starts just like the development but quickly Following this evening, when our Akron winds down to a delightfully attractive, witty audience is able to hear the work for the first ending. time, it will be performed by the Escher Quartet Alfred Einstein, the noted Mozart scholar, says at the Chamber Music Society of Lincoln Center of the Allegretto: “One of the most sensitive in New York, Wigmore Hall in London, the Palm movements in the whole literature of chamber Beach Chamber Music Society in Florida, and at music, it seems to mingle the bliss and sorrow of the Aspen Music Festival in Colorado. a farewell to life. How beautiful life has been! How Over 131 years, Tuesday Musical has become sad! How brief!” known for artistic excellence and for bringing The basis of this movement is not so much the world’s best classical musicians to our a melody as a rhythm, a plain, rhythmic figure community. played at the outset by the entire quartet.

Now we are developing an additional focus: The opening of the Menuetto — ­ and, even artistic significance. We are commissioning new more, the central trio — is rich in the use of music, presenting premiere performances for our appoggiaturas, quick ornamental notes that are community, and supporting the work of talented played just before main notes. While there are composers through a new residency program. those who dispute whether appoggiaturas should ■ Our first commission was in 2015, when be played before the beat (so the main note is Tuesday Musical co-commissioned Markon the beat) or on the beat (delaying the main Turnage to compose a work EASTERN OHIO &Anthony WESTERN PENNSYLVANIA Barbara Krauss to note), most experts now agree FOR thatNORTH Mozart’s FOR NORTH EASTERN OHIO & WESTERN PENNSYLVANIA Barbara Krauss

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celebrate the Emerson String Quartet’s 40th anniversary. Emerson performed the world premiere for the opening concert of our 201617 season. They went on to perform “Shroud” for audiences around the globe, including at Lincoln Center in NYC and Wigmore Hall in London — but Akron heard it first and Tuesday Musical will be credited whenever and wherever the work is performed.

■ To open the 2017-18 season and celebrate Tuesday Musical’s 130th anniversary, we commissioned James Wilding to compose “Homeland Portraits” for the Escher String Quartet. Born in South Africa, Wilding is now a faculty member at The University of Akron School of Music.

■ This season, we are closing our MainStage series with tonight’s world premiere by Andrew Norman. This puts us in stellar company: Andrew recently finished piano concertos for Emanuel Ax and Jeffrey Kahane; upcoming projects including a symphony for the Los Angeles Philharmonic and collaborations with Jeremy Denk, Jennifer Koh, the Berlin Philharmonic and London Symphony.

■ In tandem with all of our commissions, we bring the composers to Akron to talk about their work and share their creative skills and inspirations with students and concert audiences.

Tonight we are announcing a nationally significant new program to help support future commissions of new music, premieres in Akron, and opportunities for students to learn from and be inspired by talented composers.

Ludwig van Beethoven Quartet in C-sharp minor for Strings, Op. 131

B

eethoven once confided to friend Karl Holz that, while each of his 16 quartets was unique, “each in its way,” his favorite was the C sharp minor, Op. 131. When Schubert heard the piece, Holz reported that “He fell into such a state of excitement and enthusiasm that we were all frightened for him.” Down to our own day many people, musicians as well as listeners, consider it the greatest quartet ever written.

Lasting close to 40 minutes, the quartet is divided into seven sections that are played without pause, creating a completely organic,

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Program Notes well-integrated whole. The burden for projecting this underlying unity rests with the performers, who must maintain the proper relationships of tempo and mood for the work to flow smoothly from beginning to end.

Beethoven began to work on Op. 131 late in 1825, after he had completed the three-quartet commission (Opp. 127, 130, 132) for Prince Galitzin, and presented it to the publisher on July 12 of the next year.

Beethoven’s flippant note on the score — “Put together from pilferings from this and that” — caused the publisher great concern, and the composer had to assure the publisher that the music was completely original, and his remark was only a joke. In retrospect it now seems that his comment may have referred to the seven separate movements making up a unified work.

The quartet was dedicated to Baron Joseph von Stutterheim, Field Marshal, in gratitude for accepting Beethoven’s nephew Karl into the baron’s regiment. Scholars believe that the first hearing was at a private concert in Vienna in December 1826, but that the initial public performance did not take place until 1835, long after Beethoven’s death.

The very slow introductory Adagio, which

Richard Wagner observed “reveals the most melancholy sentiment in music,” is basically a fugue, followed by four episodes and a coda, all based on the sober melody originally stated by the first violin. More than sorrowful or pitying, the music is contemplative and serene, surmounting personal despair and sadness. The section ends with a quiet rising C sharp octave leap, which finds an echo in the ascending E octave leap that opens the second section.

The fast second movement sails forth, cheery and open-faced, with none of the profundity or expressivity of the first movement. Even the thematic material contributes no striking contrasts to create dramatic tension: the same kind of warm, good spirits prevail throughout.

Performers traditionally use the two soft isolated chords at the end of the movement to set the tempo for the two loud answering chords that start the Allegro moderato.

The short movement that follows, only 11 measures long, is in effect a recitative, a rhythmically free introduction to the Andante that follows without pause.

The fourth movement is an expansive theme and variations that provides the pivotal central focus of the entire quartet. The syncopated theme, which

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Wagner called the “incarnation of innocence” is shared by the two violins. Beethoven then puts the melody through a series of six variations in which it is completely shaped and fashioned to reveal fully all of its expressive potential. The two notes heard at the very end determine the speed of the next movement: they are usually made equal to a full measure of the Presto.

The Presto corresponds to the Classical scherzo movement: playful and humorous in spirit. The lightness of character, though, disguises a score that is treacherously difficult for the musicians. It requires great delicacy of touch and split-second reaction times to interweave the four parts and achieve the smooth flow that is necessary. After the abrupt four-note growl by the cello that opens the movement, the first violin picks up the dancelike tune. Passages of smooth legato articulation interrupt statements of the bright, bouncy main theme. Beethoven directs that the final return of the opening tune be played pointicello (bowed near the bridge), producing a glassy, whistle-like sound. The whirlwind motion continues until two sets of chords effectively end the movement.

The short, introspective Adagio, only 28 measures long, provides a transition between the

gay flight of the preceding Presto and the rhythmic excitement of the finale. Based on a mournful, meditative melody, which is first played by the viola, the Adagio moves directly to the last section.

Two bold, angry unison phrases precede the martial main theme with a dotted (long-short) rhythm, which recalls the last movement of Beethoven’s E minor quartet, Op. 59, No. 2.

Forcefully, and with great thrust, the melody builds up momentum until a quiet contrasting melody, obviously derived from the melody of the opening fugue, intercedes.

The second theme, a long descending line that slows down as it jumps to three high notes at the end, is heard before a shortened development, recapitulation, and full-length coda. In summarizing this movement Richard Wagner wrote: This is the fury of the world’s dance – fierce pleasure, agony, ecstasy of love, joy, anger, passion, and suffering: lightning flashes and thunder rolls: and above the tumult the indomitable fiddler whirls us on to the abyss. Amid the clamour he smiles, for to him it is nothing but a mocking fantasy: at the end, the darkness beckons him away, and his task is done.

— Melvin Berger

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EJ Thomas Performing Arts Hall—The University of Akron Thursday, April 18, 2019 7:30 p.m.

For Lenny Lara Downes, pianist Leonard Bernstein Bernstein Bernstein Bernstein Bernstein Bernstein Bernstein Bernstein Lukas Foss Bernstein John Corigliano Michael Abels Bernstein

The Story of My Life (arr. Distler) Greeting, from Arias and Barcarolles (arr. Downes) Anniversary for Nina Anniversary for Felicia on our 28th birthday & her 52nd Anniversary for Aaron Copland Anniversary for Stephen Sondheim Anniversary for Johnny Mehegan Anniversary for Lukas Foss For Lenny, Variation on New York New York Some Other Time Anniversary for Lenny Iconoclasm/for Lenny Lucky to Be Me

INTERMISSION Gregg Kallor The Answer is Yes

Featuring dance students from Miller South School

for the Visual and Performing Arts in Akron.

Eve Beglarian Another Time/for Lenny Ann Ronell Willow Weep for Me Elena Ruehr Music Pink and Blue Florence Price Memory Mist Hazel Scott Idyll Billie Holiday God Bless the Child

Ain’t Nobody’s Business if I Do Bernstein Big Stuff Bernstein (arr. Leo Smit) Movements from West Side Story Program subject to change.

Lara Downes performs this evening on Tuesday Musical’s Three Graces Steinway D Piano.

Generous support for this performance and related education/community engagement activities comes from Joseph S. Kanfer and other individuals, foundations and corporations listed elsewhere in this program.

Among Tuesday Musical’s season supporters:

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The Artists Lara Downes

in support of non-profit organizations, including the Time In Children’s Arts Initiative, PLAN International, the Sphinx Organization, and NPR’s From The Top, where she is a featured guest host this spring.

Her newest touring and recording project is Holes in the Sky. Released in February

by Sony Masterworks, it celebrates the contributions of phenomenal women to the past, present and future of American music.

L

ara Downes is among the foremost American pianists of her generation, an iconoclast dedicated to expanding the resonance and relevance of live music for diverse audiences.

A trailblazer on and off-stage, she follows a musical roadmap that seeks inspiration from the legacies of history, family, and collective memory. Lara’s playing has been called “ravishing” by Fanfare magazine, “luscious, moody and dreamy” by The New York Times, and “addicting” by the Huffington Post. As a charttopping recording artist, a powerfully charismatic performer, a curator and tastemaker, Lara is recognized as a cultural visionary on the national arts scene.

Lara’s forays into the broad landscape of American music have created a series of acclaimed recordings, including America Again, selected by NPR as one of “10 Albums that Saved 2016,” and hailed as “a balm for a country riven by disunion” by the The Boston Globe.

For Lenny, her Sony Classical debut release, debuted in the Billboard Top 20 and was awarded the 2017 Classical Recording Foundation Award.

Lara enjoys creative collaborations with a range of leading artists, including folk icon Judy Collins, cellist Yo-Yo Ma, baritone Thomas Hampson, former U.S. Poet Laureate Rita Dove, and multi-instrumentalist/composer/singer Rhiannon Giddens.

Her close partnerships with prominent composers span genres and generations, with premieres and commissions coming from Jennifer Higdon, John Corigliano, Stephen Schwartz, Paola Prestini, Sarah Kirkland Snider and many others.

Lara’s fierce commitment to arts advocacy, mentorship and education sees her working

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Gregg Kallor, composer

G

regg Kallor, Tuesday Musical’s new composer-in-residence, is a composer and pianist whose music fuses the classical and jazz traditions he loves into a new, deeply personal language.

Opera News calls Kallor “a rising star in the music world” with “a singular compositional voice.” The New York Times writes: “At home in both jazz and classical forms, [Kallor] writes music of unaffected emotional directness.

Leavened with flashes of oddball humor, his works succeed in drawing in the listener — not as consumer or worshipful celebrant, but in a spirit of easygoing camaraderie.”

In 2018, Kallor was named the Classical Recording Foundation’s Composer of the Year for the second consecutive year.

Recent projects include Mouthful DAVID WHITE of Forevers, his work for string orchestra commissioned by Town Hall Seattle, premiered by the Seattle Youth Symphony Orchestra and conducted by Joshua Roman; and Some Not Too Distant Tomorrow, a tribute to the legacy of Martin Luther King, Jr. for piano and string quartet, commissioned by The Classical Recording Foundation.

His newest recording, The Tell-Tale Heart, was released in fall 2018 and coincided with Tuesday Musical’s inclusion of the work on its 2018-19 Fuze series.

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Program Notes

tuesday musical 2018 | 2019

The Answer is Yes

L

eonard Bernstein would have celebrated his 100th birthday in 2018. I composed a short piano piece in honor of the man whose singular ability to communicate passion to audiences around the world continues to inspire me.

Bernstein gave a series of lectures at Harvard University in 1973 in which he took Charles Ives’ metaphysical “Unanswered Question” out for a spin. The wide-ranging discussion encompassed everything from music analysis and history to linguistics, aesthetic philosophy, phonology, and physics. To me, this exploration encapsulates Bernstein: passionate, thoughtful, inclusive, communicative, joyful.

Six lectures culminate in what might be considered Bernstein’s artistic credo: a celebratory, organic synthesis of many styles and ideas, shared with sincerity and exuberance.

Bernstein concludes with an open heart and open arms: “I’m no longer quite sure what the question is, but I do know the answer, and the answer is: Yes.” — Gregg Kallor

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Support: Individuals

W

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s MainStage and Fuze concert series and Education and Community Engagement Programs. (as of February 15, 2019) Director $5,000+ Anne Alexander Ann Allan David and Margaret Hunter Cynthia Knight Kenneth Shafer Tim and Jennifer Smucker Darwin Steele James and Linda Venner Lucinda Weiss “Three Graces Piano” Benefactor $1,500 to $4,999 Peter and Dorothy Lepp Linda and Paul Liesem Marianne and Russ Miller Michael and Lori Mucha Charles and Elizabeth Nelson George Pope Patrick Reilly Donald and Corrine Rohrbacher Pat Sargent Larry and Cyndee Snider Thomas and Meg Stanton Sustainer $700 to $1,499 Eleanor and Richard Aron Lee and Floy Barthel Earl and Judy Baxtresser John Bertsch Kittle B. Clarke Thomas and Mary Lynn Crowley Harloe and Harriet Cutler Barbara and Denis Feld Paul Filon Bob and Beverley Fischer Sue Jeppesen Gillman Joy and Bruce Hagelin

Jarrod Hartzler Patricia and James Hartzler Joseph S. Kanfer James and Maureen Kovach Lawrence B. Levey Mike Magee JoAnn Marcinkoski Lola Rothmann Frederick and Elizabeth Specht Elizabeth and Michael Taipale John Vander Kooi Patron $400 to $699 Anonymous William P. Blair III Rob and Alyssa Briggs Sally Childs John Dalton Lois and Harvey Flanders Ted and Teresa Good DuWayne and Dorothy Hansen Loren Hoch Dr. Tom and Mary Ann Jackson Susan and Allen Kallor Mary Jo Lockshin Mark and Barbara MacGregor Stan and Roberta Marks Dianne and Herb Newman Roger Read Peter and Nanette Ryerson Jean Schooley Sandra and Richey Smith Carol Vandenberg Donor $200 to $399 Anonymous John Arther >> 44 Mark and Sandy Auburn << Carmen Beasley

Cheryl Boigegrain Jack and Bonnie Barber Sara J. Buck Sara and Alan Burky Robert A. and Susan H. Conrad Gary Devault Barbara Eaton Jon Fiume Elaine Guregian Michael Hayes Patti Hester John and Suzanne Hetrick Moneeb Iqbal and Jessica Haley Mark and Karla Jenkins Cally Gottlieb King Tom and Cheryl Lyon Marjorie Magee Natalie Miahky Jim and Patty Milan Paul and Alicia Mucha Alan and Marjorie Poorman Paula Rabinowitz Sandra and Ben Rexroad Anne Marie Schellin Rachel Schneider Betty and Joel Siegfried Margo Snider Peter and Linda Tilgner Brooks and Dina Toliver Susan and Reid Wagstaff Kathleen Walker Jorene Whitney Jamie Wilding and Caroline Oltmanns Christopher Wilkins Shirley Workman Douglas D. Zook Jr.

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Support: Memorials & Tributes

tuesday musical 2018 | 2019

These gifts to Tuesday Musical are meaningful ways to honor special people.

In Memory of Nancy Anderson

In Memory of Diana Gayer

In Memory of Bud Rodgers

Joy and Bruce Hagelin

Bob and Beverley Fischer

Margaret and David Hunter

In Memory of Elizabeth Dalton

In Memory of Elizabeth Kime

In Memory of Donna Wingard

Bob and Beverley Fischer Joy and Bruce Hagelin Jarrod Hartzler Margaret and David Hunter JoAnn Marcinkoski

Joy and Bruce Hagelin

Joy and Bruce Hagelin

In Memory of Eugene Mancini

In Honor of Barbara and Denis Feld

Toshie Haga

Judi and Jerry Brenner

In Memory of Paul Marcinkoski

In Honor of George Pope

Barbara Eaton Bob and Beverley Fischer Joy and Bruce Hagelin

Betty Sandwick

In Memory of William Eaton Doris St. Clair In Memory of Wanda Fair Kittie B. Clarke

In Memory of Alice Phillips

In Honor of Billie Whittum Harriet Richman

Joan Beach

Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+ GAR Foundation John S. and James L. Knight Foundation Louis S. and Mary Schiller Myers Foundation Ohio Arts Council Peg’s Foundation $10,000 to $24,999 Community Fund—Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation Kulas Foundation John A. McAlonan Fund of Akron Community Foundation Gertrude F. Orr Trust Advised F und of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust Charles E. and Mabel M. Ritchie Memorial Foundation expect great music

Lloyd L. and Louise K. Smith Foundation Welty Family Foundation $1,000 to $4,999 Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund The Lisle M. Buckingham Endowment Fund of Akron Community Foundation Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee KeyBank Foundation Lehner Family Foundation Lubrizol Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation Sisler McFawn Foundation $200 to $999 KeyBank Foundation Community Leadership Fund W. Paul Mills and Thora J. Mills Memorial Foundation Maynard Family Foundation

Laura R. and Lucian Q. Moffitt Foundation Corporate Partners Akron Tool & Die Co. Nelson Development Skoda Minotti Wealth Impact Advisors, LLC Wegman Hessler & Vanderburg In-kind Services Akron Beacon Journal Cally Graphics ClevelandClassical.com Cogneato ideastream® Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls Steinway Piano Gallery— Cleveland The University of Akron School of Music WKSU-FM Wooster Color Point

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tuesday musical

2018-2019 Board of Directors

Executive Committee President Paul Filon

Vice President/President Elect Linda Liesem

Treasurer Stephannie Garrett

Secretary Marianne Miller Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson Student Voucher Chair Magdalena McClure

Finance Chair Stephannie Garrett

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Fred Specht

Member Program Chair Teresa Good

Scholarship Chair George Pope

At-large Members Mary Jo Lockshin, Cheryl Lyon, Mike Magee,

Paul Mucha & James Wilding Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider

Programs Director Moneeb Iqbal

Director of Operations Karla Jenkins

Program art direction by Live Publishing Co.

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—BOSTON GLOBE

FINNEY CHAPEL (90 NORTH PROFESSOR STREET, OBERLIN) TICKETS: $35 ($30 SENIORS, MILITARY, OC STAFF, FACULTY, ALUMNI, $10 STUDENTS) For tickets and program information, visit oberlin.edu/artsguide or call 800-371-0178.

BE A FRIEND! Our season is made possible in part by Oberlin’s Friends of the Artist Recital Series. Please call 440-775-8200 to learn how becoming a Friend supports the arts at Oberlin.

This moment brought to you by you.

Caring isnâ&#x20AC;&#x2122;t just reserved for doctors and nurses. Akron Childrenâ&#x20AC;&#x2122;s Hospital is able to improve the lives of children like Miles and Lucianna because of caring people like you. Every gift, regardless of its size, makes a positive impact on our patients.

What moment will you help make possible? Please give at akronchildrens.org/donate.

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