THE MARYLAND THEATRE Saturday, February 10, 2024 | 7:30pm Sunday, February 11, 2024 | 3:00pm Elizabeth Schulze conductor CAROLINE SHAW Entr’acte (b. 1982) 11’
BÉLA BARTÓK (1881-1945) 24’
Divertimento for String Orchestra I. Allegro non troppo II. Molto adagio III. Allegro assai -- INTERMISSION --
RICHARD STRAUSS (1864-1949) 10’
JOHANNES BRAHMS (1833-1897) 29’
Serenade for 13 Winds I. Sonatina No. 1 II. Sonatina No. 2 III. Finale Serenade No. 2 I. II. III. IV. V.
Allegro moderato Scherzo: Vivace Adagio non troppo Quasi menuetto Rondo: Allegro
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HONORARY DIRECTORS Dr. J. Emmet Burke Anton T. Dahbura, Ph.D April L. Dowler Patricia F. Enders Frederica Erath John F. Erath Dr. J. Ramsay Farah Brendan Fitzsimmons, Ph.D. Donald R. Harsh, Jr. Marjorie M. Hobbs Howard S. Kaylor Mindy Marsden
Dori Nipps Alan J. Noia Mrs. Georgia Pierné Mr. James G. Pierné Samuel G. Reel, Jr. William J. Reuter Joel L. Rosenthal, M.D. Dr. Hugh Talton Martha “Marty” Talton Cassandra Wantz Richard T. Whisner
The Maryland Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art. SEASON HOSPITALITY PARTNER:
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MARYLAND SYMPHONY ORCHESTRA 2023-2024 SEASON ROSTER
ELIZABETH SCHULZE, MUSIC DIRECTOR & CONDUCTOR FIRST VIOLIN Robert Martin Concertmaster MSO Guild Chair Joanna Natalia Owen Associate Concertmaster Lysiane GravelLacombe + Assistant Concertmaster Brent Price + Thomas Marks Chair Kristin Bakkegard H. Lee Brewster Yen-Jung Chen Mauricio Couto Sarah D’Angelo + Megan Gray Catherine Nelson Petr Skopek SECOND VIOLIN Marissa Murphy Principal J. Emmet Burke Chair Ariadna Buonviri Associate Principal Julianna Chitwood Assistant Principal Karin Kelleher Ruth Erbe Teresa L. Gordon Melanie Kuperstein Swiatek Kuznik Kat Whitesides Patricia WnekSchram VIOLA Phyllis Freeman * Principal Alan J. Noia Chair Magaly Rojas Seay + Acting Principal Daphne Benichou * Associate Principal Stephanie Knutsen + Acting Associate Principal Catherine Amoury+ Assistant Principal
VIOLA (CON’T) Sungah Min Rachel Holaday Alice Tung Heidi Remick + Sean Lyons * CELLO Todd Thiel Principal J. Ramsay Farah Chair Katlyn DeGraw Associate Principal Jessica Albrecht Assistant Principal Aneta Otreba Mauricio Betanzo Youbin Jun Alyssa Moquin Jessica Siegel Weaver BASS Adriane Benvenuti Irving Principal Shawn Alger Associate Principal Alec Hiller Kimberly Parillo Brandon Smith FLUTE Laura Kaufman Mowry+ Acting Principal Marjorie M. Hobbs Chair Nicolette Driehuys Oppelt Elena Yakovleva PICCOLO Elena Yakovleva OBOE Fatma Daglar Principal Joel L. Rosenthal Chair Amanda Dusold Rick Basehore
ENGLISH HORN Rick Basehore CLARINET Beverly Butts Principal John M. Waltersdorf Chair Jay Niepoetter BASS CLARINET Open BASSOON Erich Heckscher Principal Bennett S. Rubin Chair Scott Cassada Susan Copeland Wilson CONTRABASSOON Susan Copeland Wilson FRENCH HORN Open Principal Libby Powell Chair Mark Hughes Assistant Principal Chandra Cervantes James D. Vaughn TRUMPET Nathan Clark Principal Robert T. Kenney Chair Scott A. Nelson Robert W. Grab Chair Matthew Misener TROMBONE Liam Glendening Principal Richard T. Whisner Chair Jeffrey Gaylord Kaz Kruszewski
TUBA Zachary Bridges Principal Claude J. Bryant Chair TIMPANI Jonathan Milke + Principal William J. Reuter Chair PERCUSSION Open Principal Donald R. Harsh, Jr. Chair Julie Angelis Boehler Acting Principal Robert Jenkins HARP Maryanne Meyer + Principal PIANO/KEYBOARD Open James G. Pierné Chair LIBRARIAN D. Marianne Gooding PERSONNEL MANAGER Christian Simmelink + One-Year Position * On Leave
PROGRAM NOTES Entr’acte Caroline Shaw Born August 1, 1982, in Greenville, South Carolina This work was premiered in its original version for string quartet in April 2011 by the Brentano Quartet at Princeton University. This version is scored for string orchestra. Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist. Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs
from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society). Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas. Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Her favorite color is yellow, and her favorite smell is rosemary. Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.
Divertimento, Sz. 113 Béla Bartók Born March 25, 1881, Nagyszentmiklós, Hungary. Died September 26, 1945, New York, New York
This work was premiered on June 11, 1940, in Basel, Switzerland, by the Basel Chamber Orchestra conducted by Paul Sacher. It is scored for string orchestra. Hungarian composer Béla Bartók had a dedication to music that rivals that of any composer. He had a burning interest in the folk music of Hungary, Romania, and the other countries of Eastern Europe. The area was so rich with folk music that Bartók felt the need to collect and codify it, so he set out in the early years of the twentieth century with a wax cylinder recorder to visit some of the world’s most remote villages. His recordings are still valuable to researchers today, as many of the traditions recorded therein have been lost to modern ideas of progress. In his concert music, Bartók’s dedication reaches a new level. He believed that one of the prime indicators of musical worth is its structure, so he filled his works with structural elements that continue to amaze researchers. Many of his works reflect mathematical principles. For instance, Bartók often used the Golden Ratio of 1.618, a phenomenon that occurs in nature, but was also used by the ancient Greeks as an important element of design. In his music, major events – changes of keys, dynamics, or formal sections – often occur 61.8% of the way through a work. This often goes much further with the same ratio occurring within the resulting sections. Much has been written of these relationships for those who wish to pursue the fascinating subject even further. Bartók’s output is vast and varied. He composed stage works, including the psychological opera Duke Bluebeard’s
Castle and the ballet The Miraculous Mandarin. For the piano, his own instrument, he composed three concerti and numerous solo works, including the multi-volume educational series entitled Mikrokosmos. There are numerous chamber works (his six string quartets are the most significant since Beethoven) and pieces for orchestra, culminating in the famous Concerto for Orchestra composed on his deathbed during the final stages of leukemia. When World War II began its ravages of Europe, many artists fled the encroachment of the Nazi army. A significant number came to America, including Bartók, who arrived in 1940. The last work he composed before immigrating was the Divertimento, composed between August 2 and 17, 1939, at Saanen, Switzerland. It was the culmination of a musical relationship that had begun in 1936, when Bartók composed his Music for Strings, Percussion, and Celesta for the Basel Chamber Orchestra. The impressive speed at when he wrote this work speaks volumes about Bartók’s abilities. It would be his last piece until four years later when he wrote the Concerto for Orchestra. Especially puzzling is the work’s title. A divertimento is historically a light piece for entertainment at a joyful occasion. The year 1939 was anything but joyful for the people of Europe. Hitler’s campaign against the Jewish people was in fullswing. In addition to his earlier invasion of Czechoslovakia, Hitler would invade Poland on September 1, starting official hostilities of World War II. Earlier in the year, Germany had signed pacts with Stalin and Mussolini. From where Bartók
PROGRAM NOTES sat in Switzerland in early August, there was no forecast of joyful occasions in the immediate future. Perhaps Bartók referred to his imminent escape from this smoldering crucible when he came to America. Bartók’s Divertimento is in three movements in the usual fast-slow-fast arrangement. The opening allegro non troppo is a good-natured peasant dance complete with the trademark short-long rhythms usually associated with Bartók’s music. Never growing wild or losing its dignity, this is a carefully-paced dance of rustic dignity. Particularly striking is Bartók’s use of solo instruments drawn from within the texture to provide timbral variety. At the end of the movement, Bartók allows the tempo to relax and the music winds down like an unwound clock. The central slow movement¸ molto adagio, is a highly chromatic masterwork that recalls the composer’s “night music,” meant to represent sounds heard in the dead of night (insects, animal cries, wind, etc.). An especially tense central section is relieved by a more placid section that alternates solo instruments against the full string ensemble. Marked allegro assai, the finale is a wild Hungarian dance that diverts its course repeatedly to provide many delightful surprises. Beginning with an almost-chromatic scale that is offkilter just enough to bend the ear, this movement launches headlong into a highly propulsive dash that is filled with interruptions, each more interesting than the next. Bartók’s famous snap-pizzicato, performed by allowing the plucked string
to rebound against the fingerboard, makes an appearance, as do broken fugues and extended trills. In the center of the movement is a brilliant cadenza for solo violin that leads into a brazen Romani dance. After many surprises, the work ends with a burst of energy.
Serenade for Winds, Opus 7 Richard Strauss Born June 11, 1864, in Munich, Germany. Died September 8, 1949, in GarmischPartenkirchen, Germany This work was premiered on November 27, 1882, in Dresden, with Franz Wüllner conducting. It is scored for two flutes, two oboes, two clarinets, four horns, two bassoons, and contrabassoon. By the time Richard Strauss reached his sixteenth birthday in 1880, he was a composer on the verge of greatness. Behind him were a series of smaller works – piano pieces, songs, and short orchestra works – that were anything but juvenile in content. Ahead was the series of immortal tone poems – Till Eulenspiegel’s Merry Pranks, Don Juan, and Don Quixote to name but a few – that would establish him as the foremost young composer of his day. His magnificent and iconoclastic operas – Salome and Elektra – were more than two decades away. Strauss’s training had been conservative in nature and was influenced, more than anything else, by his own father’s traditionalist musical background. Franz Strauss was the leading hornist of the day, holding the principal seat in the
Munich court orchestra. Richard had just completed five years of regimented compositional study with Friedrich Meyer, but few realized that the youngster’s unique direction would be far from conformist. At this point in Strauss’s life, he had to concentrate on composing music that he would be able to hear in performance. Composers invariably write for the ensembles that are available for their use. His father’s connection to the court orchestra provided Richard with opportunities that were unavailable to most young composers. His later unparalleled mastery of orchestration is due largely to the experience of having a full orchestra (any many of its individual players) available to play his newest music. In the early 1880s, he composed two works for soloist and orchestra – a violin concerto written for his cousin Benno Walter, and the first horn concerto composed with his father in mind, but dedicated to the young virtuoso Oscar Franz. Although these works gained the most attention, his 1882 wind serenade gets far more performances in modern times. Composed when Strauss was only eighteen years old, this is music that dates from before he became significantly influenced by the music of Wagner. The influence here is that of his father, Franz, and the conservatism of the elder musician. Scored for thirteen wind instruments, the work is a lovely andante that presents occasional glimpses of the composer yet to come. It is dedicated to his teacher, the “highly revered teacher, Royal Bavarian Court Kapellmeister Fr. W. Meyer.”
Strauss’s Serenade begins with a gentle theme in the oboes, clarinets, and bassoons, but the entire ensemble soon enters and warms the texture tremendously. A contrasting second theme enters in the clarinets and the exposition of this sonata-form movement soon comes to a close. The development is largely based on the second theme, but it is introduced by a passage for oboe solo. When the recapitulation occurs, it is presented in a resonant rescoring that relies heavily on the bassoons and horns. The final few measures feature a rising and falling figure in the flute part.almost boorish effect. An elegant trio interrupts the festivities, only to be overpowered by a return of the main theme of the Scherzo. The finale uses a traditional sonata form with a coda but is progressive in its shifting of emphasis to the second beat of the measure to end the symphony with an overwhelming burst of energy.
Serenade No. 2 in A Major, Op. 16 Johannes Brahms Born May 7, 1833, in Hamburg, Germany. Died April 3, 1897, in Vienna, Austria This work was premiered on April 19, 1860, by the Hamburg Philharmonic Society with the composer conducting. It is scored for woodwinds in pairs with added piccolo, two horns, and strings minus violins. In 1853 Robert Schumann lauded the twenty-year-old Johannes Brahms as the “young eagle” among composers. From that moment on, new opportunities
presented themselves regularly as demand grew for new works from this fresh new face on the musical scene. His pen flowed with chamber music, piano pieces, choral works, and art songs. However, it wasn’t until 1858 that his first orchestral work, the Serenade No.1, appeared. The Serenade No. 2 dates from 1860 and was premiered before Brahms moved to Vienna in 1864. While the first serenade began as a nonet, an instrumentation much more akin to the smaller orchestrations found in other works sharing the title – usually light pieces meant for outdoor performance – the second was conceived orchestrally. Cast in five movements, the work offers great variety of musical styles. The central adagio is an expansive movement of great emotional impact. Two dancelike movements appear before and after the adagio. The opening movement deals with hemiola (duple vs. triple rhythms) that sets up a playful quality. The vivace second movement is much quicker but uses similar hemiola patterns. Brahms composed the third movement adagio as the literal and affective heart of the work. It is also a passacaglia, built on a repeating bass pattern over which new material is stated. Those who know the last movement of Brahms’ Fourth Symphony are already familiar with this process. Set as a minuet and trio, the fourth movement is almost a waltz, but the trio bears much contrast to the opening. The final rondo is folksy in character—a peasant dance that ends with a burst of humor.
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ELIZABETH SCHULZE Music Director & Conductor
With passion, verve and illuminating musicianship, Elizabeth Schulze has been conducting orchestras and opera companies, advocating for music education, and electrifying audiences in the States and abroad for more than two and a half decades. Recipient of the 2013 Sorel Medallion in Conducting for her adventurous programming, Schulze is in her 24th season as the Music Director and Conductor of the Maryland Symphony Orchestra and is the recently appointed Music Director and Conductor of the Anchorage Symphony Orchestra in Alaska. Schulze made her European debut leading the Mainz Chamber Orchestra in the Atlantisches Festival in Kaiserslautern, Germany. She appeared in Paris as the assistant guest conductor for the Paris Opera and has also appeared in London, Frankfurt, Amsterdam and Vienna with the National Symphony during its 1997 European tour. Her most recent international work includes conducting in Hong Kong, Jerusalem and Taipei. Schulze’s recent guest conducting in the States includes appearances with the Buffalo Philharmonic and the New Jersey, Detroit, San Francisco and Chautauqua Symphonies. Her positions with U.S. orchestras include an appointment as Associate Conductor of the National Symphony Orchestra, Music Director and Conductor of the Flagstaff, Waterloo/Cedar Falls, and Kenosha Symphony Orchestras, Principal Guest Conductor of the Hudson Valley Philharmonic, Cover Conductor and Conducting Assistant for the New York Philharmonic, and Assistant Conductor of the Buffalo Philharmonic, an appointment sponsored by the National Endowment for the Arts.
Since the beginning of her career, Schulze has been a spirited advocate for music education. Her far-ranging work included a long association with the National Symphony Orchestra’s Summer Music Institute (SMI). For more than 15 years Schulze conducted, taught and mentored dozens of young musicians at SMI at the Kennedy Center. She has also conducted the American Composer’s Orchestra in LinkUp educational and family concerts in Carnegie Hall and throughout New York City. And for six years, Schulze joined her mentor Leonard Slatkin, teaching at the NSO’s National Conducting Institute. Her music education and mentoring work spans the Elementary School to the University. She was an artist-in-residence at Northwestern University and has guest conducted the orchestras of The University of Maryland, the Manhattan School of Music and Catholic University of America. She has also guest lectured at the Juilliard School and the Curtis Institute of Music. Schulze’s own education includes training in Europe and in the States. She graduated cum laude from Bryn Mawr College and was an honors student at the Interlochen Arts Academy. She holds graduate degrees in orchestral and choral conducting from SUNY at Stony Brook. She was the first doctoral fellow in orchestral conducting at Northwestern University and was selected as a conducting fellow at L’École d’Arts Americaines in France. She was the recipient of the first Aspen Music School Conducting Award. At Aspen, she worked with Murry Sidlin, Lawrence Foster and Sergiu Commissiona. As a Tanglewood fellow, she worked with Seiji Ozawa, Gustav Meier and Leonard Bernstein. Schulze is represented by John Such Artists Management, Ltd.
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