Astor Piazzolla at 100: A Musical Portrait by Philippe Quint Tuesday, April 6, 2021
Tuesday, April 6, 2021, 7pm PDT
ASTOR PIAZZOLLA AT 100: A MUSICAL PORTRAIT BY PHILIPPE QUINT Concept, narrations, visuals by Philippe Quint Philippe Quint, violin Jun Cho, piano Villeguita “Por Una Cabeza” “If I Were a Rich Man” from Fiddler on the Roof Tres Piezas, Op. 6, No. 1, “Cuyana” Scherzo from The Firebird Romanian Folk Dances, Sz. 56, Nos. 1, 4 & 6 Prelude No. 1 Three Pieces for Cello and Piano, No. 3
Tango Triunfal In A Sentimental Mood Oblivion Violin Sonata No. 4 in C minor, BWV 1017, mvt. 1 Muerte del Ángel Le Grand Tango Part of the Eclectic Orange Series sponsored by Judith and Howard Jelinek Co-presented by Irvine Barclay Theatre Concert sponsored by Steven M. Sorenson MD Additional support provided by the Ibex Foundation
Astor PIAZZOLLA (arr. Pedro Giraudo) (1921-1992) Carlos GARDEL (arr. John Williams) (1890-1935) Jerry BOCK (arr. John Williams) (1928-2010) Alberto GINASTERA (arr. Charles Coleman) (1916-1983) Igor STRAVINSKY (arr. Samuel Dushkin) (1882-1971) Béla BARTÓK (1881-1945) Astor PIAZZOLLA Nadia BOULANGER (arr. Charles Coleman) (1887-1979) Astor PIAZZOLLA (arr. Pedro Giraudo) Duke ELLINGTON/Stephane GRAPPELLI (arr. John Novacek) (1899-1974) Astor PIAZZOLLA J.S. BACH (1685-1750) Astor PIAZZOLLA (arr. Pedro Giraudo) Astor PIAZZOLLA (arr. Sofia Gubaidulina) The Philharmonic Society’s 2020-21 season is made possible through the generous support of Donna L. Kendall and the Donna L. Kendall Foundation Anonymous Howard and Judith Jelinek The Segerstrom Foundation Sam and Lyndie Ersan
ABOUT THE PROGRAM Dear friends, Rather than bringing to you traditional program notes after each work, I wanted these to reflect the nature of this program and a story behind. In order to create the necessary narrative of a journey, I felt that it was important to group the notes of certain works together to highlight the trajectory of Piazzolla’s formation as a musician and a composer. —Philippe Quint Program notes compiled by Philippe Quint
PIAZZOLLA: VILLEGUITA (arr. Pedro Giraudo) At age 17, young Astor moved to Buenos Aires. A few years later, around 1946, he was able to form his own Orquesta Tipico. Although having a similar formation to other tango orchestras of the time, this gave him an opportunity to compose new works and experiment with the sound and structures breaking away from traditional tango. “Villeguita” was one of those first, frequently performed Tangos composed by Astor Piazzolla during those years. GARDEL: “POR UNA CABEZA” (arr. John Williams) According to Mariano Rodriguez of the Argentina’s Universidad del Salvador, “He [Astor] snuck into Gardel’s [hotel] room with his dad to meet the superstar, and played bandoneón for him. Not knowing a thing about tango yet, he played classical music and then tried a little bit of a tango. Gardel told him, ‘you are great with that thing, but stay away from the tango.’ Until his tragic death in an airplane crash, Gardel mentored Piazzolla and invited him to join his band on numerous occasions.
BOCK: “IF I WERE A RICH MAN” FROM FIDDLER ON THE ROOF (arr. John Williams) The suffering, the emotional charge, the melancholy so present in Jewish music is undoubtedly reflected in many works by Astor Piazzolla. Piazzolla often said his favorite 3-32 rhythm was influenced by the Jewish music he heard as a child growing up in Brooklyn, NY. GINASTERA: TRES PIEZAS, OP. 6, NO. 1, “CUYANA” (arr. Charles Coleman) STRAVINSKY: SCHERZO FROM THE FIREBIRD (arr. by Samuel Dushkin) BARTÓK: ROMANIAN FOLK DANCES, SZ. 56, NOS. 1, 4 & 6 Ginastera is considered to be one of the most influential 20th-century classical composers of the Americas. His Tres Piezas for piano were composed only a year before a young student by the name of Astor Piazzolla entered his studio at the suggestion of pianist Arthur Rubinstein. Astor attributes to Ginastera much of the substance of his musical formation, especially in what concerns orchestration techniques: “thanks to musical instruction with Ginastera, I started making new arrangements. I had to understand the orchestra [as a music organism], and started composing string quartets for tango groups.” Among so many examples of Ginastera in Piazzolla, we can hear it clearly in orchestrations such as the tango-operetta María de Buenos Aires and the Concierto para bandoneón. It is also apparent in the dense textures of his String Quartet Four, for Tango, which is reminiscent of Ginastera’s Danzas Argentinas. Delving into scores of Stravinsky, Bartók, Ravel, and many others, at the suggestion of Ginastera, Astor gave up tango temporarily and worked as a modernist classical composer, 3
ABOUT THE PROGRAM Bartók with Stravinskian rhythmic stabs, sparse-textured counterpoint, jazz harmony and driving bass lines to harass the tortured souls of violin and bandoneón into ever more lachrymose and sinuous displays of virtuosity.
which gave him the idea of forming his own octet upon his return to Buenos Aires in 1955.
Piazzolla was tired of tango and tried to hide his tanguero past and bandoneon compositions from Boulanger, thinking that his destiny belongs to classical music. Introducing his works, Piazzolla played her a number of his classically inspired compositions including Prelude No.1 for Violin and Piano, but it was not until he played his Tango Triunfal that she congratulated him and encouraged him to pursue his career in tango, recognizing that this was where his talent lay. This proved to be a historic encounter and a pivotal milestone in Piazzolla’s life. With Boulanger he studied classical composition, including counterpoint, which was to play an important role in his later tango compositions.
After Paris, his approach to tango had changed. Piazzolla formed the Octeto Buenos Aires to play nuevo tango which was distinct from the traditional tango in its incorporation of —Partial notes source: Argentina—Tango.com elements of jazz, klezmer, its use of extended harmonies and dissonance, counterpoint, as well as extended compositional forms. PIAZZOLLA: PRELUDE NO. 1 Jazz played an important role in Astor’s BOULANGER: THREE PIECES FOR formation as a composer from his early days CELLO AND PIANO, NO. 3 in New York, where he frequently attended (arr. Charles Coleman) Harlem jazz clubs, listening to bands of Duke Ellington and Cab Halloway. Like Ellington, PIAZZOLLA: TANGO TRIUNFAL Piazzolla penned short works that are ripe (arr. Pedro Giraudo) for improvisation, implementing complex jazz forms and rhythms. In 1954, after winning a grant from the French government, Piazzolla moved to In fact, some music circles started calling Paris to study with the French composer and Piazzolla—the Duke Ellington of Argentina. conductor, Nadia Boulanger.
ELLINGTON/GRAPPELLI: IN A SENTIMENTAL MOOD (arr. John Novacek) Before leaving Paris, he heard the octet of the American jazz saxophonist Gerry Mulligan, 4
BACH: VIOLIN SONATA NO. 4 IN C MINOR, BWV 1017, MVT. 1 PIAZZOLLA: MUERTE DEL ÁNGEL (arr. Pedro Giraudo) The first music that Piazzolla played seriously on the bandoneón was by J.S. Bach, which he learned from one of his first teachers , the Hungarian pianist Bela Wild. It was no surprise that in his later years, juxtaposing the traditional tango with the music of Bach, produced a new and unique approach that transcended all earlier forms of expression. And of course, the majority of Piazzolla’s Bach remakes feature the bandoneón. From the 1960s comes La muerte del ángel (from a series of 5 ‘angel’ milongas), one of the distinctively Bach inspired pieces with which Piazzolla shook the conservative world of tango. “Nuevo
ABOUT THE ARTISTS tango = tango + tragedy + comedy + whorehouse” was a formula Piazzolla used to define his new direction. Oblivion that was written in 1982 and used in the soundtrack of Mario Bellocchio’s film, Enricho IV was another example of harmonic sophistication with chromatic lines over chains of dominant sequences, much like baroque ground bass forms— with recitativo like melody on top. This was yet, another way for Piazzolla to merge melodic virtuosity and implicit polyphony. PIAZZOLLA: LE GRAND TANGO (arr. Sofia Gubaidulina) Le Grand Tango originally written for cello and piano expresses the spirit of nuevo tango, a melding of traditional tango rhythms and jazz-inspired syncopation. Written in 1982, specifically for Russian cellist Mstislav Rostropovich, who did not play it until 1990 nor record it until 1996, Le Grand Tango was published in Paris, thus having French title rather than Spanish. It is one of Piazzolla’s last compositions that encompasses many of his influences, but also making a bold statement as a unique, inimitable, immediately recognizable style known as Piazzolla. With his late compositions, Piazzolla established himself as one of the greatest Argentine composers who renewed both; tango’s universality and its irreducible essence. PHILIPPE QUINT, VIOLIN Multi Grammy Award-nominee violinist Philippe Quint is internationally recognized for his unique and insightful approach to standard repertoire, championing and rediscovering neglected repertoire and embarking on imaginative, exciting journeys of explorations and collaborations with artists of different genres. “Truly phenomenal”
is how BBC Music Magazine recently described him, also adding that “Quint’s tonal opulence, generously inflected with subtle portamentos, sounds like a throwback to the glory days of Fritz Kreisler.” American violinist of Russian heritage, Philippe Quint is constantly in demand and regularly appears with major orchestras and conductors worldwide at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York, while making frequent guest appearances at the most prestigious festivals including Verbier, Aspen, Colmar, Hollywood Bowl and Dresden Festspiele. Quint’s award-winning 17 commercial releases discography includes a recent debut on the Warner Classics label, a CD titled Chaplin’s Smile, that features 13 original arrangements of songs by Charlie Chaplin. The disc received worldwide acclaim, multiple Editor’s Choices from all major radio stations and such publications as Forbes, Gramophone, Limelight, Strad, and Strings. The album also inspired Philippe to create and produce Charlie Chaplin’s Smile, a multimedia show that will have debuted worldwide throughout the 20192020 season, including the opening of the 5th International Tchaikovsky Festival in Klin, Russia, Ravinia Festival, Baltimore Symphony, Philharmonic Society of Orange County as 5
ABOUT THE ARTISTS well as its orchestral premieres of the show in Germany, Poland and Bulgaria to name a few. Highlights of Quint’s 2019-2020 season include performances with Baltimore Symphony, North Carolina Symphony, Bournemouth Symphony, Bochumer Symphoniker, Bilbao Symphony Orchestra, Louisi-ana Philharmonic, Singapore Symphony and Thailand Philharmonic under the batons of Andrew Litton, Steven Sloane, Carlos Miguel Prieto, Rune Bergmann, Jorge Mester and Carolyn Kuan. Making his home in New York since 1991, Philippe Quint was born in Leningrad, Soviet Union (now St. Petersburg, Russia), and studied at the Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov making his orchestral debut at the age of nine. After moving to the United States, he earned both Bachelor’s and Master’s degrees from the Juilliard School. His distinguished pedagogues and mentors included Dorothy Delay, Cho-Liang Lin, Masao Kawasaki, Isaac Stern, Itzhak Perlman, Arnold Steinhardt and Felix Galimir. Philippe Quint plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society®. For more information: www.philippequint.com www.facebook.com/philippequint twitter.com/PhilippeQuint
JUN CHO, PIANO Pianist Jun Cho has appeared as both solo and chamber musician in United States, Italy, Spain, and Korea. He is largely active in New York City, performing a wide range of repertoire in major venues including Carnegie Hall, Merkin Hall, and Alice Tully Hall in Lincoln Center. An avid collaborator, Mr. Cho has performed with renowned musicians including Ithzak Perlman, Kathleen Winkler, and Nicholas Kitchen. He has given extensive collaborative performances at the Aspen Music Festival and the Sejong Music Festival, and served as a collaborative piano faculty at the Heifetz Institute. He currently serves as a faculty member at the Perlman Music Program, and the current studio pianist of violinist Ithzak Perlman. Jun received his Bachelor’s and Master’s of Music degrees at The Juilliard School and currently resides in New York City while pursuing a doctoral degree at The Shepherd School of Music at Rice University. His mentors include Julian Martin, Jon Kimura Parker, and Seymour Bernstein. www.junchopiano.com
UPCOMING EVENTS *PLEASE NOTE: All 2021 concerts will have virtual viewing options. In-person opportunities will be announced on a concert by concert basis.
ALISA WEILERSTEIN, CELLO AND INON BARNATAN, PIANO
2021 Laguna Beach Music Festival COUNTERPOINT
MacArthur Fellow cellist Alisa Weilerstein and Avery Fisher Career Grant recipient pianist Inon Barnatan join together for an evening of musical artistry featuring select Beethoven Cello Sonatas
Duo program with music by Bach, Gershwin, etc.
Thursday, April 8, 2021, 7pm PDT Renée and Henry Segerstrom Concert Hall*
Festival Artistic Director: Conrad Tao, piano Caleb Teicher, dancer Friday, May 14, 2021 Irvine Barclay Theatre*
2021 Laguna Beach Music Festival ITS BRILLIANCE ALMOST FRIGHTENED ME PINCHAS ZUKERMAN, VIOLIN WITH AMANDA FORSYTH, CELLO AND SHAI WOSNER, PIANO Wednesday, April 21, 2021, 7pm PDT Renée and Henry Segerstrom Concert Hall* BEETHOVEN: Variations on ‘Ich bin der Schneider Kakadu’, Op. 121a (“Kakadu Variations”) MOZART: Violin Sonata No. 21 in E minor, K. 304 FAURÉ: Élégie, Op. 24 BRAHMS: Scherzo in C minor from the F.A.E. Sonata (“Sonatensatz”) BRAHMS: Piano Trio No. 2 in C major, Op. 87
JEAN-YVES THIBAUDET, PIANO
Friday, April 23, 2021, 7pm PDT Renée and Henry Segerstrom Concert Hall* DEBUSSY: Préludes Books 1 and 2
Festival Artistic Director: Conrad Tao, piano Saturday, May 15, 2021 Irvine Barclay Theatre*
Laurence CRANE: Prelude No. 1 BERG: “Traumgekrönt” from Seven Early Songs SCHUBERT: “Gretchen am spinnrade” (Gretchen at the Spinning Wheel) Eric WUBBELS: gretchen am spinnrade Ruth Crawford SEEGER: String Quartet BEETHOVEN: String Quartet No. 16, Op. 135
2021 Laguna Beach Music Festival CHANGE THIS THREAD ON WHICH WE MOVE Festival Artistic Director: Conrad Tao, piano Sunday, May 16, 2021 Irvine Barclay Theatre*
Caroline SHAW: Entr’acte (Westerlies arrangement) DEBUSSY: Violin Sonata in G minor GESUALDO: selected Madrigals Other works to be announced. 7
UPCOMING EVENTS SERGIO ASSAD, CLARICE ASSAD, AND THIRD COAST PERCUSSION
Sergio Assad, guitar Clarice Assad, piano/voice Third Coast Percussion Friday, May 28, 2021, 7pm PDT Renée and Henry Segerstrom Concert Hall*
RENÉE FLEMING, SOPRANO
Thursday, June 17, 2021, 7pm PDT Renée and Henry Segerstrom oncert Hall* In a rescheduled performance from the previous season, four-time Grammy winner and legendary soprano Renée Fleming appears in a program of beloved songs and arias.
In an exploration of global music traditions, legendary guitarist Sergio Assad, along with Clarice Assad’s spellbinding vocals and the rhythms of Grammy-winning Third Coast Percussion, will take audiences on a vast musical journey grounded in familiar stories.
JUNE AUGUSTIN HADELICH, VIOLIN AND ORION WEISS, PIANO
Monday, June 14, 2021, 7pm PDT Renée and Henry Segerstrom Concert Hall* BEETHOVEN: Violin Sonata No. 4 in A minor, Op. 23 DEBUSSY: Sonata in G minor, L. 140 COLL: Hyperlude No. 5 for Solo Violin YSAŸE: Sonata No. 6 in E major for Solo Violin BRAHMS: Sonata No. 2 in A major, Op. 100 DEBUSSY: L’isle joyeuse, L. 106 ADAMS: Road Movies
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BOARD OF DIRECTORS OFFICERS Donna L. Kendall Chairman, CEO John Flemming Vice Chairman
Sabra Bordas Vice Chairman
Kimberly Dwan Bernatz Immediate Past Chairman
Stephen Amendt Secretary/Treasurer
EXECUTIVE COMMITTEE John W. Benecke Development
JoAnn Fuerbringer Orange County Youth Symphony
Elaine P. Neuss Artistic and Marketing
Sabra Bordas Nominating
Jane K. Grier Member at Large
Douglas H. Smith Foundation
Hung Fan Laguna Beach Music Festival
Jean Felder President, The Committees
Margaret M. Gates
Joanne C. Fernbach
PRESIDENT AND ARTISTIC DIRECTOR Tommy Phillips 14
ADMINISTRATIVE STAFF MARKETING AND PUBLIC RELATIONS Jean Hsu Chief Operating Officer / Vice President of Communications Marie Songco-Torres Senior Marketing & Public Relations Manager Jennifer Niedringhaus Marketing & Public Relations Associate
DEVELOPMENT Halim Kim Senior Director of Development Kevin Kwan Loucks Director of Business Development and Strategic Partnerships Katie Lockie Development Coordinator
ARTISTIC OPERATIONS Kathy Smith Piano Technician
FINANCE Roan Alombro Vice President of Finance Jessica Cho Finance Associate / HR Administrator
PATRON SERVICES Jonathan Mariott Director of Patron Services Angelica Nicolas Marketing & Patron Services Associate Randy Polevoi Musical Concierge
ORANGE COUNTY YOUTH SYMPHONY Johannes Müller Stosch Music Director & Conductor Cathy Olinger General Manager & OCYSE Conductor Danielle Culhane Operations & Personnel Manager
Sarah Little Vice President of Education & Community Engagement Heather Cromleigh Director of Volunteer & Education Services / Board Liaison
Moni Simeonov Coordinator of Strings Mathieu Girardet Coordinator of Winds Tristan Chilvers Assistant Manager & Librarian
THE PHILHARMONIC SOCIETY OF ORANGE COUNTY ABOUT US Founded in 1954 as Orange County’s first music organization, the Philharmonic Society of Orange County presents national and international performances of the highest quality and provides dynamic and innovative music education programs for individuals of all ages to enhance the lives of Orange County audiences through music. For more than 65 years the Philharmonic Society has evolved and grown with the county’s changing landscape, presenting artists and orchestras who set the standard for artistic achievement from Itzhak Perlman, Gustavo Dudamel, Yo-Yo Ma, and Renée Fleming to the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, and many others. In addition, the Philharmonic Society celebrates multi-disciplinary performances under its Eclectic Orange brand and embraces music from a wide range of countries with its World Music performances. Its celebrated family concerts introduce children to classical music with creative and inspiring performances, instilling music appreciation for future generations.
The Philharmonic Society’s nationally recognized Youth Music Education Programs, offered free of charge, engage more than 100,000 students annually through curriculum-based music education programs that aim to inspire, expand imaginations, and encourage learning at all levels. These programs are made possible by the Committees of the Philharmonic Society comprised of 700 volunteer members who provide more than 90,000 hours of in-kind service each year.
As a key youth program, the exceptional Orange County Youth Symphony and String Ensemble provide top-tier training to the area’s most talented young musicians through multi-level ensemble instruction, leadership training, touring opportunities, challenging professional repertoire, and performances in world-class venues. The Philharmonic Society also promotes life-long learning by connecting with colleges and universities to conduct masterclasses and workshops and providing pre-concert lectures to introduce audiences to program selections.
949.553.2422 | PHILHARMONICSOCIETY.ORG