2020/21 North Carolina Symphony Opening Night Concert Program for Mozart: Eine kleine Nachtmusik

MOZART: A LITTLE NIGHT MUSIC SATURDAY, SEPTEMBER 26, 2020 | 8PM Recorded Live from Meymandi Concert Hall Woolner Stage Duke Energy Center for the Performing Arts, Raleigh Joseph Peters, host FILMED AT

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ZUILL BAILEY SAT, OCT 10 | 8PM Schubert: “Trout” Quintet FILMED AT

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MOZART: A LITTLE NIGHT MUSIC Saturday, September 26, 2020 | 8pm Recorded Live from Meymandi Concert Hall Woolner Stage Duke Energy Center for the Performing Arts, Raleigh Joseph Peters, host

Eine kleine Nachtmusik, K. 525 I. Allegro II. Romanze: Andante III. Menuetto: Allegretto IV. Rondo: Allegro Karen Strittmatter Galvin, violin Erin Zehngut, violin Amy Mason, viola Elizabeth Beilman, cello Robert K. Anderson, double bass

Trois Pièces Brèves for Wind Quintet I. Allegro – En pressant jusqu’à la fin II. Andante III. Assez lent – Allegro scherzando – Vivo Anne Whaley Laney, flute Melanie Wilsden, oboe Samuel Almaguer, clarinet Aaron Apaza, bassoon Rebekah Daley, horn

Selections from Six Bagatelles for Wind Quintet III. Allegro grazioso V. Adagio. Mesto (Béla Bartók in memoriam) IV. Presto ruvido Anne Whaley Laney, flute Melanie Wilsden, oboe Samuel Almaguer, clarinet Aaron Apaza, bassoon Rebekah Daley, horn

Divertimento for Brass Quintet and Percussion I. Overture II. Scherzo III. Song IV. Slovak Dance Paul Randall, trumpet Don Eagle, trumpet Kimberly Van Pelt, horn John Ilika, trombone Seth Horner, tuba Richard Motylinski, percussion Rajesh Prasad, percussion Table Music Richard Motylinski, percussion Rajesh Prasad, percussion Colin Hartnett, percussion NORTH CAROLINA SYMPHONY • 3

ABOUT THE MUSIC

Eine kleine Nachtmusik, K. 525 WOLFGANG AMADEUS MOZART (1756-1791) • The title Eine kleine Nachtmusik means “A Little Night Music” and refers simply to the fact that this was a serenade, intended for entertainment at social gatherings.

• This was Mozart’s lucky 13th serenade—it is generally considered his most iconic work.

• Eine kleine Nachtmusik may never have been heard by modern audiences if Mozart’s widow, Constanze, had not been short on money. In 1799—22 years after Mozart composed it—Constanze sold the score, bundled together with many other works.

• Mozart listed five movements in his catalogue of this work—but the original second movement has never been found.

• Eine kleine Nachtmusik can also be performed as a string quartet, without double bass. (NCS Assistant Concertmaster Karen Strittmatter Galvin noted that having now played it with double bass, she could never go back!)

LISTEN FOR: • The famous opening fanfare of the first movement, which immediately sets a joyful tone • A brief moment of tension that interrupts the sweetness halfway through the second movement, Romanze

• The fast-flowing melodies in the clarinet and the puttering, good-natured accompaniment of the horn and bassoon in the finale

Selections from Six Bagatelles for Wind Quintet GYÖRGY LIGETI (1923-2006) • In communist Hungary, experimental music was banned beginning in 1948—but Hungarian composer Ligeti wanted to challenge himself, so he wrote it anyway.

• In 1951, he began composing a set of piano pieces, assuming it would never be permitted to be heard by the public; then he arranged six of these movements for wind quintet, naming them the Six Bagatelles.

• The Bagatelles were finally performed in 1956, post-Stalin.

However, the last movement was omitted in that first performance—still considered too “dangerous” for the public to hear.

• Ligeti was greatly influenced by fellow Hungarian composer Béla Bartók; both composers incorporated folkmusic traditions of their native Hungary into their work.

• Three movements were selected and re-ordered for this performance.

LISTEN FOR:

• The dance-like quality of the third movement—which you’ll see clearly in the musicians’ body language

• The flute melody gently floating above the bassoon and clarinet in the opening of the Allegro grazioso

• At the end of the finale, a hint of the opening fanfare, but in downward motion—leading to the final grand chords

• The Hungarian folk-music flavors—particularly in the flute melodies—during the fifth movement, which is dedicated to Bartók

Trois Pièces Brèves for Wind Quintet

• Sharply accented notes and dotted rhythms in the Presto ruvido, giving the music an insistent quality

JACQUES IBERT (1890-1962) • After high school, Ibert played the piano in movie theatres and wrote popular music (under the pseudonym William Berty!). Both of these experiences served him well when he began writing music for theatre later in his career.

• Ibert’s wind quintet work Trois Pièces Brèves came from music he composed in 1930 for a French adaptation of the comedy The Beaux’s Stratagem.

• Within months of composing his music for The Beaux’s Stratagem, Ibert chose three selections to stand on their own as a concert work—Trois Pièces Brèves.

LISTEN FOR: • A lively and loud “call to attention” as the first movement begins, followed by a carefree melody in the oboe • A flute and clarinet duo in the Andante—which you’ll see in split-screen view until the rest of the quintet joins to gently conclude the movement

Divertimento for Brass Quintet and Percussion KAREL HUSA (1921-2016) • Karel Husa was born in Czechoslovakia and, in his 30s, immigrated to the U.S. He is the grandfather of NCS violinist Maria Meyer, and lived his final years in Apex, North Carolina.

• Like Ligeti’s Six Bagatelles, Husa’s Divertimento for Brass Quintet and Percussion originated from a piano suite.

• In 1955, with Czechoslovakia under communist rule, Husa thought it would be unlikely that his young daughters would ever be able to visit the country. He wrote a piano suite, Eight Czech Duets, for his children, hoping it would connect them to their Czech heritage.

• Husa remembered his mother singing folk songs when he was a child and incorporated these tunes into the music.

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• In 1958, when Husa was a professor at Cornell University, colleagues at nearby Ithaca College asked him for a work for brass—and he arranged several movements from the piano duets.

• The only instruments used in Table Music are three wooden tables, which are played only with the percussionists’ hands. NCS Principal Percussion Rick Motylinski built the tables used in this performance.

LISTEN FOR:

• De Mey invented his own notational system to represent the different percussive—and non-percussive—motions of the hands. Even the page-turns are specifically choreographed!

• Modal melodies—not built on typical scale patterns—in first movement • The boisterous, rustic character of the second movement, Scherzo—Husa noted that the rhythms must be extremely articulate, the contrasts in loud and soft dynamics must be extreme, and the tempo must be very fast • The gentle tone of the brass instruments—performing with mutes—in the third movement, Song • The tuba’s introduction of the melody in the Slovak Dance, with the music increasing in intensity as it spins toward the conclusion

Table Music

• According to De Mey, the musicians are “drummers as they make sound, but at the same time they are dancers because of the essence of the gesture.”

• Sections of the piece are subtitled with the names of Baroque dance forms, such as Rondo and Gavotte.

LISTEN FOR: • The illusion of many different types of percussion instruments performing—all of these wide-ranging sounds created using only the hands and plywood tables!

THIERRY DE MEY (B. 1956) • Belgian composer Thierry De Mey studied music composition, film, and contemporary dance—and his work often combines these disciplines.

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NORTH CAROLINA SYMPHONY • 5

ABOUT THE ARTISTS Karen Strittmatter Galvin, violin A frequent soloist with NCS, Assistant Concertmaster Karen Strittmatter Galvin has performed chamber music with various ensembles and is an artist faculty member of Brevard Music Center in Brevard, North Carolina. She is curator of New Music Raleigh and maintains an active teaching studio.

Samuel Almaguer, clarinet Principal Clarinet Samuel Almaguer was a Vandoren Emerging Artist in 2013 and has served as second clarinet with the Detroit Symphony Orchestra. Since joining NCS, he has been featured as a soloist and chamber musician and has appeared on WUNC – North Carolina Public Radio.

Erin Zehngut, violin Before joining the NCS first violin section in 2016, Erin Zehngut was a member of the New World Symphony in Miami. She is a member of the Oak City String Quartet, has served on faculty at the Eastern Music Festival, and teaches privately in Raleigh.

Aaron Apaza, bassoon Before joining NCS as Principal Bassoon in 2020, Aaron Apaza held the positions of Principal Bassoon with the Knoxville Symphony Orchestra and Lecturer of Bassoon at the University of Tennessee Knoxville, as well as acting Assistant Principal positions with the Milwaukee Symphony Orchestra and Colorado Symphony.

Amy Mason, viola In addition to performing in the NCS viola section and with Wisconsin’s Peninsula Music Festival in the summers, Amy Mason is a member of the Oak City String Quartet and the Aurora Musicalis String Quartet, teaches viola at the UNCChapel Hill, and has a private studio.

Elizabeth Beilman, cello A member of NCS since 1988, Associate Principal Cello Elizabeth Beilman is also Co-Founder and Executive Director of the North Carolina Chamber Music Institute and performs with the Aurora Musicalis String Quartet. She recently taught a virtual cello workshop for middle and high school students, inaugurating the NCS Tune-up! program.

Robert K. Anderson, double bass Associate Principal Double Bass Robert Anderson is enjoying an unusual 50th season with NCS. He has performed with the Eastern Music Festival, Skaneateles Chamber Festival, Chautauqua Symphony Orchestra, and more, and serves on the executive board of Local 500 of the American Federation of Musicians. An instructor of double bass at UNC-Chapel Hill, he also has a private studio and has recently taught internationally on Zoom.

Anne Whaley Laney, flute Principal Flute Anne Whaley Laney’s tenure with NCS has included a memorable 1987 concert in Carnegie Hall, performing at The Kennedy Center in 2017, and various appearances as soloist. She had previously been Principal Flute with the Canton Symphony and piccoloist with the Aspen Festival Orchestra.

Melanie Wilsden, oboe After serving as Associate Principal Oboe with the San Francisco Symphony, Melanie Wilsden joined NCS as Principal Oboe in 1989 and has appeared as a soloist and in chamber music programs. She has a private teaching studio and has taught at local institutions including UNC-Chapel Hill and Meredith College.

Rebekah Daley, horn Rebekah Daley won her position as NCS Principal Horn while pursuing her graduate work. NCS has featured her as a soloist and in chamber music concerts, and she has appeared at a variety of music festivals, including the Marlboro Music Festival for several summers.

Kimberly Van Pelt, horn After engagements in Los Angeles and three-and-a-half years with South Africa’s Cape Town Symphony, Kimberly Van Pelt joined NCS in 1993 and was appointed Associate Principal Horn in 2003. She has appeared as a soloist with NCS and in chamber music performances throughout the state.

Paul Randall, trumpet At age 17, Paul Randall won his first-ever audition and joined the New Orleans Symphony in 1973. Four years later he became Principal Trumpet, and went on to win the same position at NCS in 1988. In addition to performing as an orchestral soloist, he has toured with Capital Brass, comprised of NCS colleagues.

Don Eagle, trumpet Don Eagle teaches trumpet at Duke University and has appeared as soloist with the Raleigh Symphony Orchestra, Raleigh Civic Symphony, North Carolina Bach Festival, Elon University Chamber Orchestra, North Carolina State University Band, and Triangle Brass Band, among others.

John Ilika, trombone NCS Principal Trombone since 2001, John Ilika has been a member of many musical organizations including the Delaware Symphony, Pennsylvania Ballet Orchestra and the Eastern Music Festival. Since 2010 he has also been Artist Faculty Trombone at the University of North Carolina School of the Arts.

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Seth Horner, tuba Seth Horner joined NCS as Principal Tuba in 2017. He was Acting Principal Tuba of the Baltimore Symphony Orchestra (BSO) for three seasons, where he performed on two BSO recordings. He has held principal positions with several other orchestras throughout the U.S., and has been featured widely as a soloist and chamber musician.

Colin Hartnett, percussion Appointed NCS Principal Timpani in 2016, Colin Hartnett previously was Principal Timpani at the Chattanooga Symphony & Opera, and Principal Timpani and Percussion at Cleveland’s Blue Water Chamber Orchestra. He has appeared as guest principal with the Minnesota Orchestra.

Richard Motylinski, percussion Principal Percussion Richard Motylinski joined NCS in 1974 after playing in the percussion sections of the Zagreb Philharmonic Orchestra and The Cleveland Orchestra. He founded the Raleigh Consort, a group which has performed Renaissance music since 1979.

Rajesh Prasad, percussion Rajesh Prasad joined NCS in 2016 as Acting Assistant Principal Percussion, and became Assistant Principal in 2018.

He was previously a member of the New World Symphony and has performed with major orchestras across the country.

He spends his summers as Principal Percussion with the Breckenridge Music Festival Orchestra and performs in the ProMusica Chamber Orchestra.

Joseph Peters, host Joseph Peters has been NCS Associate Principal Oboe and English Horn since 2018, and previously held Principal Oboe chairs with the Minnesota Orchestra and Buffalo Philharmonic Orchestra. NCS audiences may also know him as a 2019 Holiday Pops conductor! To his role as host, Joe brings a great love for teaching.

Thank you to the members of the Lamar Stringfield Society who support the future of your North Carolina Symphony with estate gifts and endowed funds. Their generosity will help the orchestra share the power of music for generations to come.

Want to make music part of your legacy?

To learn more about including the Symphony in your estate plans, contact Rebecca Watkins, Director of Major Gifts & Planning Giving, rwatkins@ncsymphony.org or 919.789.5497

NORTH CAROLINA SYMPHONY • 7

ORCHESTRA PERSONNEL Grant Llewellyn, Music Director Laureate The Maxine and Benjamin Swalin Chair

Suzanne Kelly

Wesley Schulz, Associate Conductor The Lucy Moore Ruffin Chair

Anton Shelepov

VIOLIN I Brian Reagin, Concertmaster The Annabelle Lundy Fetterman Chair Dovid Friedlander, Associate Concertmaster** The Assad Meymandi and Family Chair To Be Filled, Assistant Concertmaster The Anne Heartt Gregory Chair Karen Strittmatter Galvin, Assistant Concertmaster

Oskar Ozolinch

Jeanine Wynton VIOLA Samuel Gold, Principal The Florence Spinks and Charles Jacob Cate and Alma Yondorf and Sylvan Hirschberg Chair Kurt Tseng, Associate Principal The Betty Ellen Madry Chair To Be Filled, Assistant Principal Petra Berényi

DOUBLE BASS Leonid Finkelshteyn, Principal The Martha and Peyton Woodson Chair Robert K. Anderson, Associate Principal The Dr. and Mrs. Preston H. Gada Chair Craig Brown The Mark W. McClure Foundation Chair Erik Dyke The Harllee H. and Pauline G. Jobe Chair Bruce Ridge The John C. and Margaret P. Parker Chair FLUTE Anne Whaley Laney, Principal The Mr. and Mrs. George M. Stephens Chair

Robert Anemone**

Paul Malcolm

Emily Rist Glover The Jessie Wyatt Ethridge Chair

Christine Martin

Mary E. Boone, Assistant Principal The Dr. and Mrs. Shaler Stidham, Jr. Chair

Amy Mason The J. Sidney Kirk Chair

Elizabeth Anderton Lunsford The Jack and Sing Boddie Chair

Paul Goldsberry The Richard and Joy Cook Chair So Yun Kim The Governor James B. Hunt, Jr. Chair Marilyn Kouba The Phyllis (“Pat”) Conrad Wells Chair Eric McCracken The James C. Byrd and Family Chair Maria Meyer The Tom and Mary Mac Bradshaw Chair Eileen Wynne The Harvey At-Large Chair Erin Zehngut The J. Felix Arnold Chair VIOLIN II Jacqueline Saed Wolborsky, Principal The Nancy Finch Wallace Chair

Sandra Schwarcz The Samuel H. and Anne Latham Johnson Viola Chair CELLO Bonnie Thron, Principal The Herman and Marga Roberg Chair Elizabeth Beilman, Associate Principal The Sarah Carlyle Herbert Dorroh Chair Peng Li, Assistant Principal Anonymously Endowed Yewon Ahn Anonymously Endowed Sunrise Kim The William Charles Rankin Chair David Meyer The Nell Hirschberg Chair

PICCOLO Elizabeth Anderton Lunsford The Jean Dunn Williams Chair OBOE Melanie Wilsden, Principal The Hardison and Stoltze Chair Joseph Peters, Associate Principal The Lizette T. Dunham Chair Sandra Posch The Clarence and Alice Aycock Poe Chair ENGLISH HORN Joseph Peters The Bruce and Margaret King Chair

To Be Filled, Associate Principal The Blanche Martin Shaw Chair

Lisa Howard Shaughnessy The Sara Wilson Hodgkins Chair

CLARINET Samuel Almaguer, Principal The Mr. and Mrs. J. Christopher Walker, II Chair

David Kilbride, Assistant Principal

Nathaniel Yaffe The Secretary of Cultural Resources Betty Ray McCain Chair

To Be Filled, Assistant Principal The Kathryn Powell and Green Flavie Cooper Chair

Qi Cao Janet Gayer Hall

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BASSOON Aaron Apaza, Principal The Mr. and Mrs. Fitzgerald S. Hudson Chair Wenmin Zhang, Assistant Principal The Beethoven Chair FRENCH HORN Rebekah Daley, Principal The Mary T. McCurdy Chair Kimberly Van Pelt, Associate Principal The James Marion Poyner Chair Christopher Caudill The Roger Colson and Bobbi Lyon Hackett Chair Rachel Niketopoulos The Paul R. Villard and Gabriel Wolf Chair To Be Filled The Mary Susan Kirk Fulghum Chair TRUMPET Paul Randall, Principal The George Smedes Poyner Chair To Be Filled, Associate Principal The Henry and Martha Zaytoun and Family Chair Don Eagle Anonymously Endowed

TROMBONE John Ilika, Principal The Thomas Warwick Steed, Jr. Family Chair Jonathan Randazzo, Assistant Principal The Frances Armour Bryant Chair BASS TROMBONE Matthew Neff Anonymously Endowed TUBA Seth Horner, Principal The Governor and Mrs. James G. Martin, Jr. Chair HARP Anita Burroughs-Price Vonda Darr TIMPANI Colin Hartnett, Principal The Patricia R., Steven T. and George F. Hackney III Chair

LIBRARY Stephanie Wilson, Principal The Mary Colvert and Banks C. Talley Chair *Acting position **Leave of absence

Named musician chairs are made possible through very meaningful gifts to the Symphony’s endowment. As such, these donor families are also members of the Lamar Stringfield Society.

Learn more.

All string players rotate stands on a periodic basis in each section with the exception of titled players: Principals, Associate Principals, and Assistant Principals.

The North Carolina Symphony is a member of the League of American Orchestras and the International Conference of Symphony and Opera Musicians.

PERCUSSION Richard Motylinski, Principal The Margery and Earl Johnson, Jr. Chair

The North Carolina Master Chorale is the Resident Chorus of the North Carolina Symphony.

Rajesh Prasad, Assistant Principal The Abram and Frances Pascher Kanof Chair

The North Carolina Symphony Foundation gratefully acknowledges the generous gift of the Lupot violin from Arnold and Zena Lerman.

ORGAN To Be Filled The Albert and Susan Jenkins and Family Organ Chair

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CORPORATE SUPPORT 2020/21 SEASON The North Carolina Symphony is grateful for the generous support of the many corporations across the state that have partnered with us to sustain and advance the mission of the orchestra. With their help, the music WILL play on.

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