MOZART & BRUCKNER
ELIZABETH SCHULZE, conductor
YING LI, piano
Saturday, May 4, 2024 at 7:30pm
Sunday, May 5, 2024 at 3:00pm
The Maryland Theatre
COLERIDGE-TAYLOR PERKINSON
Worship: A Concert Overture (1932-2004)
6’
WOLFGANG AMADEUS MOZART
Piano Concerto No. 14 in E-flat major (1756-1791)
21’
Featuring Ying Li, piano
I. Allegro vivace
II. Andantino
III. Allegro ma non troppo -- INTERMISSION
ANTON BRUCKNER
Symphony No. 4, Romantic (1824-1896)
70’
I. Bewegt, nicht zu schnell
II. Andante
III. Scherzo
IV. Finale
CONCERT RUN TIME IS APPROXIMATELY 2 HOURS AND 20 MINUTES INCLUSIVE OF A 20 MINUTE INTERMISSION
CONCERT SPONSORS:
Jim & Georgia Pierné
--
CLASSICS 2023/24
Maryland Symphony Orchestra
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Elizabeth Schulze Music Director & Conductor
Kimberly Bowen Executive Director
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AUDIO ENGINEERING
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BOARD OF DIRECTORS
Jason Call...........................................................................President
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HONORARY DIRECTORS
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Anton T. Dahbura, Ph.D
April L. Dowler
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Breanna Holloway ...............................Events Assistant
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SEASON SPONSORS
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.
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BRAVO! is published by the Maryland Symphony Orchestra. The publishers have made every effort to ensure the accuracy of the information contained herein and accept no responsibility for errors, changes, or omissions. The publishers retain all rights to this guide, and reproduction of all or a portion of this guide is prohibited without the written permission of the publishers. Publication of an advertisement or article does not imply endorsement by the publishers. © 2023-2024. All rights reserved.
ELIZABETH SCHULZE, MUSIC DIRECTOR & CONDUCTOR
FIRST VIOLIN
Robert Martin Concertmaster MSO Guild Chair
Joanna Natalia Owen Associate Concertmaster
Marty & Hugh Talton Chair
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
VIOLA (CON’T)
Catherine Amoury+ Assistant Principal
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
OBOE (CON’T)
Amanda Dusold
Rick Basehore
ENGLISH HORN
Rick Basehore
CLARINET
Beverly Butts Principal
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BASSOON
Erich Heckscher Principal
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CONTRABASSOON
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FRENCH HORN
Open Principal
Libby Powell Chair
Mark Hughes
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James D. Vaughn
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Kaz Kruszewski
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Claude J. Bryant Chair
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PERCUSSION Open Principal
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HARP
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D. Marianne Gooding
PERSONNEL MANAGER
Christian Simmelink
+ One-Year Position
* On Leave
MARYLAND SYMPHONY ORCHESTRA 2023-2024 SEASON ROSTER
PROGRAM NOTES
Worship
Coleridge-Taylor Perkinson (1932 - 2004)
This work was first performed in 2001. It is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, and strings.
Coleridge-Taylor Perkinson was born into a musical family and named after the Caribbean-British composer Samuel Coleridge-Taylor. His mother was an organist and provided his first musical instruction, which prepared him for acceptance to the High School for Music and Art. He won the LaGuardia Prize in Music and matriculated to New York University. After a few years there, Perkinson transferred to the Manhattan School of Music where he met Stravinsky and became acquainted with his music.
Perkinson taught at Brooklyn College from 1959-62 and directed the Brooklyn Community Symphony Orchestra. Summers were spent studying conducting in the Netherlands and Salzburg, Austria. By the mid-1960s, Perkinson had developed an interest in jazz and studio music and played on sessions with Max Roach, Marvin Gaye, and Harry Belafonte. He composed scores for film and dance ensembles, including the Alvin Ailey Dance Company and Dance Theatre of Harlem. In 1965, he founded the Symphony of the New World.
Perkinson’s compositional output is
impressive with two sinfoniettas, much chamber music, and many choral pieces. His piece entitled Worship: A Concert Overture is a two-part fantasia based on the Doxology. Cast in a slow-fast guise, the work never fully states the familiar hymn tune, but uses its phrase structure and melodic fragments to build a wholly new work. Near the end, the brass plays longer fragments to produce an overwhelming effect (and affect).
Piano Concerto No. 14 in E-flat Major
Wolfgang Amadeus Mozart (1756 - 1791)
The work was premiered on March 17, 1784, at the Trattnerhoff in Vienna with the composer as soloist. It is scored for solo piano, two oboes, two horns, and strings.
The mid-1770s were a happy time in Mozart’s life. In 1773 he traveled from Vienna back to his hometown of Salzburg to introduce his new bride, Constanze Weber, to his father. Although Leopold rejected Constanze (he would have accepted no wife as sufficient for his son), Wolfgang presented parts of his C-minor mass, which was an artistic triumph. The next year, he met Joseph Haydn.
Although we know Mozart as a composer, he was also known as a pianist in his day. Having toured Europe extensively as a child, once he grew into adulthood he could no longer hide behind the façade of a cute kid
with abilities beyond his years. He had to prove himself all over again. To achieve this purpose, he composed a series of eight piano concertos during 1783-84. Most of these were for his own performances, but a few were composed for a special student to perform. Her name was Maria Anna Barbara “Babette” Ployer and, if K. 449 and 453 are any indication, her keyboard abilities were impressive.
The 14th Piano Concerto, K. 449, dates from 1784 and is regarded as his first mature foray into the genre. He composed the work for Babette to perform, but he premiered the concerto himself at one of his regular summer concerts at the Trattnerhoff apartment building, which had a large auditorium. These concerts provided enough money for the Mozarts to live within careful extravagance for a while and raised Wolfgang’s musical reputation.
This concerto has an unusual structure. Although cast in three movements, the first of them is in triple meter. The typical classical-period piano concerto opens with a 4/4 movement that includes martial dotted rhythms. Only three of his twenty-seven piano concertos open in ¾. In addition, this concerto is harmonically adventurous. Furthermore, it uses a technique called cadential extension to fool the listener into thinking a phrase is complete only to add more music onto it. Its character is reminiscent of comic opera scenes of the time.
Mozart’s second movement is elegant and restrained. It unfolds in long overlapping phrases that are spun out with few cadences. It also provides ample opportunities for lyrical phrasing and requires much control on the part of the soloist.
One of the greatest achievements of the classical period is the creation of sonata-rondo form. This hybrid form has the recurring theme and contrasting episodes of a rondo, but it is constructed in a way that has an exposition, development, and recapitulation. Composers who used this form almost always made it their own by adapting it to their needs. Mozart is no exception in the finale of this concerto. Delineation of the theme and episodes is blurred, usually by Mozart’s masterful contrapuntal approach. For example, one of the episodes features slowed-down rhythms and is almost ethereal in character. However, the work comes to an end with a witty coda in 6/8 meter that can be described only as fun.
Symphony No. 4 in E-flat Major Anton Bruckner (1824 - 1886)
This work was premiered in this version on February 20, 1881, in Vienna, Austria, by the Vienna Philharmonic Orchestra conducted by Hans Richter. It is scored for pairs of woodwinds, four horns, three trumpets, three trombones, tuba, timpani, and strings.
PROGRAM NOTES
Just thirty years after the War of the Romantics pitted the progressive camp of composers (Liszt, Wagner, and Berlioz) against the conservatives (Brahms, Schumann, and those who followed the memory of Mendelssohn), it appeared that the progressives had won. Wagner was revered and Liszt had retired to Bayreuth, and the two would leave this world in 1883 and 1886, respectively. Berlioz had died in 1869. Of the conservatives, only Brahms was left and he would outlive all of the others of the group. However, Brahms was viewed by many as old-fashioned during the last decade of his life . He was perhaps the most respected composer alive, but was also one who was writing in an antiquated style. Brahms was an elder master, although he was only in his sixties when he died in 1897. Despite the demise of the original progressives, a new generation of young lions emerged to carry the banner. Chief among them were Richard Strauss, Gustav Mahler, and the one elder composer who acted as a mentor to the new generation – Anton Bruckner.
Bruckner was born in 1824 and was only eleven years younger than Wagner. He was the son of a schoolmaster who was also the local church organist in the country church at Ansfelden, a short distance from Linz. His first formal studies were at age eleven and, after his father’s death, became a chorister at St. Florian Monastery in Ansfelden (now subsumed as part of Linz). He studied violin with Franz Gruber (the composer of the Christmas carol Silent Night)
and organ with the chief organist at the monastery, Anton Kattinger. After leaving St. Florian in 1840, Bruckner followed his father’s lead and became a teacher. For the next sixteen years, Bruckner remained in the classroom, first in two farming communities, but finally returning to St. Florian to teach there. His well-known Requiem in D minor dates from this period.
He became a full-time organist in 1856 at the Dom- und Stadtpfarrkirchen in Linz, which required him to serve as organist at both churches. It was during this time that he studied counterpoint with the renowned theorist Simon Sechter, who had also taught Franz Schubert for a mere two weeks before his death. Sechter insisted that Bruckner compose no original music during his studies and, because of his strictness, influenced the younger composer’s mature style in a positive way. The lessons were done by correspondence and thousands of pages of exercises survive. In November of 1861, Bruckner took the professor’s examination at the Gesellschaft der Musikfreunde in Vienna and passed the test with no problem.
Genius often comes with eccentricity and Bruckner was no exception. He was socially awkward and spoke quietly with a pronounced rural accent. He was a pious man, but had a record of falling in love with girls in their midteens. Bruckner was also just as fragile as he might have seemed. After the emotional stress of losing his mother
(con’t)
in 1860 and the denial of a marriage proposal in 1866, Bruckner suffered an emotional breakdown. This was coupled with “number mania,” which caused him to count objects which, according to the Grove Dictionary of Music and Musicians included “beads on necklaces, dots on clothes, windows in the town, leaves on trees and even stars.” He preferred to wear the same ill-fitting black suit every day. A recent Ph.D. dissertation by Mary Hetzel and a German book on the subject diagnose Bruckner with Asperger’s Syndrome. After a period of treatment for nervous exhaustion, he left the facility at Bad Kreuzen and was soon awarded the post of professor of harmony and counterpoint at the illustrious Vienna Conservatory.
Despite his overwhelming schedule in Vienna, Bruckner became even more active as a composer. The 1870s were occupied by his Symphonies Nos. 2-5, but they also were a time of grave disappointments. There were many scathing reviews from the influential music critic Eduard Hanslick, who had turned against Bruckner once he learned that the composer was a friend and admirer of Wagner. Another major crisis came when Bruckner was accused of impropriety during a brief period of employment at St. Anna’s, a teachers college for women. Although he was emotionally battered, Bruckner emerged from the 1870s as a respected composer, pedagogue, and organist.
Bruckner’s Fourth Symphony exists in seven different versions. The original
symphony dates from 1874, but the composer added a new scherzo and finale in 1878. In 1880 he added a third finale. Other revisions took place in 1881, 1886, 1887, and 1888. The version most often performed today is designated as the “1878/1880 version” with the 1878 “Hunt Scherzo” and the 1880 finale.
The first movement begins with a tremolo in the strings, but a majestic theme emerges in the solo horn part. Before long, the full orchestra enters with a rhythm that is somewhat of a Bruckner signature—two duple notes followed by a triplet. A second theme is in sharp contrast with its gentle folk-like character. As the movement progresses, the two themes go through extensive development and reach a powerful final climax. The opening horn part returns at the end as a breathtaking fanfare.
Bruckner’s second movement, described by the composer as “a song,” is essentially a funeral march, but it is somewhat remote—as if heard from a distant location. During the recapitulation, the music loses its distance and is given a very elaborate presentation by the full orchestra.
The famous “Hunt” scherzo is magnificently brass-heavy from the opening horn calls through the climax to the blazing ending. A central trio is an Austrian ländler that lightens the mood significantly.
Many commentators mention the
tentative beginning of the finale as it revisits the atmosphere of the previous movements. It is a grand and sprawling movement that takes the listener on a meaningful journey with many delightful detours. The usual symphonic impetus that drives a finale from its beginning directly to the end is missing here. Instead, the occasional side-trips only add to the power of the climax when it finally arrives. The movement ends with a reprise of the horn call from the opening of the symphony that grows into a final overwhelming passage.
PROGRAM NOTES (con’t)
©2023 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
Artist rendering of Anton Bruckner (1824-1886)
GUEST ARTIST BIO
Twenty-five-year-old Chinese pianist Ying Li is the First Prize winner of the 2021 Young Concert Artists Susan Wadsworth International Auditions, as well as recipient of The Bridgehampton Chamber Music Festival Prize and the Tri-I Noon Recitals Prize. She has received top awards in numerous national and international competitions including the inaugural Antonio Mormone International Prize, Sarasota Artist Series Piano Competition, Brevard Music Festival, International Liszt Piano Competition for Young Pianists, and was a finalist at Concours musical international de Montréal.
Ying has performed with many leading orchestras such as The Philadelphia Orchestra, New Jersey Symphony, Brevard Music Festival Orchestra, L’Accademia Orchestra del La Scala, NWD-Philharmoniker, and the Stuttgart Philharmonic with conductors such as Lina Gonzalez-Granados, Xian Zhang, Dan Ettinger, Eric Jacobsen, and Jonathon Heyward. This season she makes her debut with the Buffalo Philharmonic and embarks on an 8-city tour of Italy.
Ying made her New York City recital debut at Carnegie Hall’s Zankel Hall and her Washington, DC debut at the Kennedy Center’s Terrace Theater, with additional US recitals at Pepperdine University in Malibu, Evergreen Museum & Library in Baltimore, Sunday Musicale in New Jersey, Southeastern Piano Festival, and the Honest Brook Music Festival.
Upcoming and recent recitals also include Sala Verdi in Milan, Hammerklavier International Piano Festival in Barcelona, Musica Insieme Bologna, Teatro Alighieri in Ravenna, Fazioli Pianoforti in Sacile, and the C. Bechstein Series at the Konzerthaus in Berlin. Ying was also featured on WQXR’s “Eine-kleine Birthday-musik,” a free, all-Mozart live streamed concert from The Greene Space in New York City, to celebrate Mozart’s 266th birthday.
As an avid chamber musician, Ying has appeared at prestigious festivals around the world including the Verbier Festival Academy, ClassicheFORME International Chamber Music festival in Lecce, Ravinia’s Steans Institute, La Jolla Music Society, Great Lakes Chamber Music Festival, Norfolk Chamber Music Festival, the Artists Series Concerts in Sarasota, and the Bridgehampton Chamber Music Festival.
Ying began piano lessons at age five in China and was a student at the Elementary School division of the Central Conservatory of Music in Beijing, then she moved to Philadelphia in 2012, at age fourteen, to study at the Curtis Institute of Music with Jonathan Biss and Seymour Lipkin. After receiving the Bachelor of Music degree at Curtis Institute in 2019, she received her Master of Music degree at The Juilliard School in New York with Robert McDonald and continues her studies with McDonald at the Juilliard School’s Artist Diploma Program.
Ying Li is represented by Young Concert Artists (YCA) for worldwide engagements.
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Vivian Michael
Tereance Moore
Robert & Paige Nitzell
Renee Nutwell
Barry O’Neill
Theresa Norene O’Sullivan
Sarah Polzin
Beverly Plutnick
Jonathan Prince
Mark Reback
Agnes Ritchey
Keith Rodgers
Mary Schultz
Joan & Edward Schupp
Robert Shipley
Anita Shively
Town & Country Garden Club
Clarence White
