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Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

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THE FINALE

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Daniel Alfred Wachs, conductor Orange County Youth Symphony Orchestra The Chapman Orchestra The Chapman University Choir | The Chapman University Singers Stephen Coker, director University of California, Irvine Choral Organizations Joseph Huszti, director Marc Yu, piano Jessica Rivera, soprano | Renee Tatum, mezzo-soprano Nicholas Phan, tenor | Craig Colclough, bass

Piano Concerto No. 1 Op.15 (first movement)

Ludwig van BEETHOVEN (1770-1827)

Allegro con brio Marc Yu, piano

Frieze (2012) (West Coast premiere)

Mark-Anthony TURNAGE (b. 1960)

- INTERMISSION Symphony No. 9 in D minor, Op. 125

Ludwig van BEETHOVEN (1770-1827)

Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile; Andante moderato Presto; Allegro assai

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Jessica Rivera, soprano | Renee Tatum, mezzo-soprano Nicholas Phan, tenor | Craig Colclough, bass

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The Philharmonic Society gratefully acknowledges The Segerstrom Foundation for its generous sponsorship of tonight’s performance with additional support from Anonymous, Joann Leatherby and Greg Bates, and Drs. Adeline and Robert Mah

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We also would like to congratulate the Royal Philharmonic Society on its 200th Anniversary and for co-commissioning the Turnage piece with the BBC and New York Philharmonic. Exclusive Print Sponsor Although rare, all dates, times, artists, programs and prices are subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.

LUDWIG VAN BEETHOVEN

BEETHOVEN: PIANO CONCERTO NO. 1, OP. 15 (FIRST MOVEMENT) Just as Brahms was haunted by the example of Beethoven’s symphonies, Beethoven had a few ghosts of his own to contend with. One was the specter of Mozart’s piano concertos, for Mozart had raised the piano concerto from a mere entertainment vehicle to the sophisticated and expressive form in which he composed some of his greatest music. Beethoven, who knew how good those concertos were, recognized that any concerto he wrote would have to meet that standard. After hearing a performance of Mozart’s Piano Concerto in C minor, Beethoven turned to his friend Johann Baptist Cramer and despaired: “Cramer! Cramer! We shall never be able to do anything like that!” Beethoven had arrived in Vienna in 1792, the year after Mozart’s death, and had quickly established a reputation as a virtuoso pianist. It was expected that the young composer-pianist would write concertos for his own use in Vienna, but—overpowered by Mozart’s example—Beethoven struggled with his first two piano concertos for years,. As might be expected, his First Piano Concerto shows the influence of Mozart: the form and orchestration (flute, pairs of oboes, clarinets, bassoons, trumpets, horns, plus timpani and strings) are right out of Mozart’s final piano concertos. Yet the touch of the young Beethoven is evident throughout. The marking for the first movement—Allegro con brio—was a favorite of the young composer: he used it for the first movement of the Eroica and Fifth Symphonies. The music begins very quietly with the simplest of figures, yet seconds later this same figure thunders to life with all the power one expects from Beethoven. The exposition offers a second subject, a flowing melody for violins, before the piano enters with new material of its

about the program

THURSDAY, MAY 15, 2014, 8PM Pre-concert conversation with Dean Corey and John Koshak, 7pm

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own. The writing for piano here is graceful and accomplished, though not particularly virtuosic: the emphasis is on musical values as an end in themselves rather than on virtuoso display. Beethoven offers the soloist an extended cadenza just before the close. -Program notes by Eric Bromberger TURNAGE: FRIEZE BBC co-commission with the Royal Philharmonic Society and the New York Philharmonic Mark-Anthony Turnage’s Frieze, for large orchestra, was written in the spring of last year in response to a joint commission from BBC Radio 3, the Royal Philharmonic Society and the New York Philharmonic in celebration of the bicentenary of the RPS. Both tonight and in New York (in early October), the work has been programmed alongside Beethoven’s Ninth Symphony, which the Society helped bring in early in its history. Turnage says that Beethoven “has meant a huge amount to me since the age of 9,” and has figured largely in his recent listening. So he chose to write a piece with the overall four-movement outline of a Beethoven symphony (the scherzo placed second, as in the Ninth), in which each movement would be a self-contained, unified entity—“about one idea, as in Beethoven.” The title is a reference to the Beethoven Frieze by the Austrian artist Gustav Klimt, a series of frescoes inspired by the Finale of the Ninth Symphony which were painted in 1902 on the walls of the Vienna Secession Building (and which Turnage saw in a full-size reproduction in a Milan exhibition last year). The piece is a 60th-birthday present to the composer’s teacher and mentor Oliver Knussen—who, Turnage says, “didn’t like Beethoven in his youth but is now liking his music more and more.” The work begins with its clearest allusion to Beethoven’s Ninth, a quotation of the symphony’s bare opening tremolo fifths (later reinforced by a fleeting reference to a motif from the Beethoven in the double basses). The fifths permeate this opening movement, either alone or at the heart of more complex chords. Initially, they provide the harmonic landscape from which a smooth melody emerges in the bass register and blossoms amid changing figuration. In its later stages, the movement acquires some jazzy syncopated rhythms, notably in a trumpet melody which is twice repeated in canon. The second movement is a scherzo in 9/8 time, beginning with repeated sinister eruptions in the bass register, separated (as in the scherzo of the Ninth Symphony) by silences. There are two contrasting interjections, led by the brass, marked “Suddenly loud and raucous.” As in the Ninth, there is a trio section in a contrasting meter, here 4/4, with smooth woodwind phrases answered by the

MARK-ANTHONY TURNAGE

strings. This is followed by a compressed, subdued reprise of the scherzo. The slow third movement begins with a double strand of melody on high, quiet first violins and woodwind, accompanied by ringing fifths and fourths; this episode later opens out into four-part polyphony, without a change of color. A new section opens with a melody for violins and oboe which is a roughly upsidedown version of the second theme of the slow movement of the Ninth. And there is a more general allusion to Beethoven’s methods in the way a downwardcurling phrase in triplet rhythms spreads across the following series of more volatile episodes and persists under the reprise of the initial double-stranded melody on trumpet and horn. The finale resembles many of Beethoven’s finales, such as that of the Seventh Symphony, in being an exercise in sustained rhythmic energy: the running semiquaver of movement of the melodic line is maintained almost throughout, with none of Turnage’s usual gear-changes of tempo. The jagged syncopations at the very start of the movement return from time to time in short refrains before coming into their own in the frenetic coda. BEETHOVEN: SYMPHONY NO. 9 IN D MINOR, OP. 125 Beethoven’s Ninth is at once his grandest symphony and his most challenging, and its challenges are both moral and musical. The unprecedented grandeur of Beethoven’s music, the first use of voices in a symphony, and in particular the setting of Schiller’s “An die Freude” have made the Ninth Symphony one of the great statements of romantic faith in humankind, a utopian vision of the universal bond of all people.


versally compared to a streak of lightning, and surely that must have been Beethoven’s intention. He introduces a wealth of secondary material—some lyric, some martial—but the opening subject dominates this sonataform movement, returning majestically at crucial moments in the drama. The second movement, marked Molto vivace, is a scherzo built on a five-part fugue. The displaced attacks in the first phrase, which delighted the audience at the premiere, still retain their capacity to surprise; Beethoven breaks the rush of the fugue with a rustic trio for woodwinds and a flowing countermelody for strings. Beethoven at first conceived of the Adagio molto e cantabile in straightforward theme-and-variation form, based on the opening subject. In the course of its composition, however, he came up with a second theme he liked so much that he could not bring himself to leave it out, even though it had no real place in the movement’s variation form. First heard in the second violins and violas, this second theme is of such radiant lyricism that Beethoven considered having the chorus enter here rather than in the last movement. He rejected this idea but decided to keep the second theme in the movement. The clearest way to understand the resulting form is to see it as a set of variations with contrasting interludes based on the second subject. The very opening of the finale has bothered many listeners. After the serenity of the third movement, the orchestra erupts with a dissonant blast. It hardly seems a proper opening for a movement whose ultimate message will be the dignity and brotherhood of man. But Beethoven’s intention here was precise—he referred to this ugly opening noise as a Schrecken-fanfare (“terrorfanfare”), and with it he wanted to shatter the mood of the Adagio and prepare his listeners for the weighty issues to follow. Then begins one of the most remarkable passages in music: in a long recitative, cellos and basses consider a fragment of each of the three previous movements and reject them all. Then, still by themselves, they sing the theme that will serve as the basis of the final movement and are gradually joined by the rest of the orchestra. Again comes the strident opening blast, followed by the entrance of the baritone soloist, who puts into words what the cellos and basses have suggested: “Oh, friends, not these sounds! Rather let us sing something more pleasing and more joyful.” These words are not from Schiller’s text but were written by Beethoven himself, and they help us understand the interrelation of the parts of the Ninth: each of the first three movements represents something entirely different and each has a validity of its own, but none offers the

about the program

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Musically, the Ninth has been a challenge to every composer who came after it, and composers as diverse as Schubert, Bruckner, Brahms, and Mahler have responded to Beethoven’s example, sometimes in quite different ways. Two centuries after its premiere, a performance of the Ninth remains a special occasion, an experience entirely different from a performance of any of the other eight; and it excites quite different responses. The Ninth Symphony has inspired countless audiences to leap to their feet over those two centuries, but it has also troubled those who find themselves trapped between the symphony’s starry vision of a utopian future and our own awareness of how the events of the last two centuries have undercut Beethoven’s hopeful vision. The first performance of the Ninth took place in Vienna on May 7, 1824, when Beethoven was 53. Though he had been deaf for years, Beethoven sat on stage with the orchestra and tried to assist in the direction of the music. This occasion produced one of the classic Beethoven anecdotes. Unaware that the piece had ended, Beethoven continued to beat time and had to be turned around to be shown the applause that he could not hear—the realization that the music they had just heard had been written by a deaf man overwhelmed the audience. A less romantic account of the same event comes from one of the violinists in the orchestra: The work was studied with the diligence and conscientiousness that such a huge and difficult piece of music demanded. It came to the performance. An illustrious, extremely large audience listened with rapt attention and did not stint with enthusiastic, thundering applause. Beethoven himself conducted, that is, he stood in front of the conductor’s stand and threw himself back and forth like a madman. At one moment he stretched to his full height, at the next he crouched down to the floor, he flailed about with his hands and feet as though he wanted to play all the instruments and sing all the chorus parts...The actual direction was in [Umlauf’s] hands; we musicians followed his baton only...Beethoven was so excited that he saw nothing that was going on about him, he paid no heed whatever to the bursts of applause, which his deafness prevented him from hearing in any case...He always had to be told when it was time to acknowledge the applause, which he did in the most ungracious manner imaginable. The opening of the Allegro ma non troppo, quiet and harmonically uncertain, creates a sense of mystery and vast space. Bits of theme flit about in the murk and begin to coalesce, and out of these the main theme suddenly comes crashing downward—this has been uni-

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message that Beethoven will impart in the finale. That will come in Schiller’s text, with its exaltation of the fellowship of mankind and in man’s recognition of his place in a universe presided over by a just and omnipotent god. Beethoven’s choice of “An die Freude” as the text for his finale would probably have surprised Schiller himself, for the poet came to dislike his own poem and spoke of it disparagingly. “An die Freude” was originally a drinking ode, and if the text is full of the spirit of brotherhood, it is also replete with generous praise for the glories of good drink. Beethoven used less than half of Schiller’s original text, cutting all references to drink and certain other stanzas and retaining those that speak most directly to his evocation of a utopian

vision of human brotherhood. Musically, the last movement is a series of variations on his opening theme, the music of each stanza varied to fit its text. In a world that daily belies the utopian message of the Ninth Symphony, it may seem strange that this music continues to work its hold on our imagination—it is difficult for us to take the symphony’s vision of brotherhood seriously when each morning’s headlines show us again the horrors of which man is capable. Perhaps the secret of its continuing appeal is that for the hour it takes us to hear the Ninth Symphony, the music reminds us not of what we too often are, but of what—at our best—we might be. -Program notes by Eric Bromberger

"AN DIE FREUDE"

"TO JOY"

BASS O Freunde, nicht diese Töne! Sondern laßt uns angenehmere, anstimmen und freudenvollere! Freude! Freude!

BASS Oh friends, not these sounds! rather let us strike up, more pleasing and joyful ones! Joy! Joy!

BASS Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

BASS Joy, lovely divine spark, Daughter from Elysium, drunk with ardour we approach, O heavenly one, your sanctuary!

BASS und CHOR Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

BASS and CHOIR Your magic re-unites, what custom sternly separated; all men shall be brothers, wherever your gentle wings tarry.


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SOLOISTS He who has the great luck, of being a friend to a friend, whosoever has won a dear wife, let him mingle his joy with ours!

SOLISTEN und CHOR Ja, wer auch nur eine Seele, Sein nennt auf dem Erdenrund! Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund!

SOLOISTS and CHOIR Yes and he too who has one spirit, on the face of the earth to call his own! And he who cannot do so, let him steal weeping from this assembly!

SOLISTEN Freude trinken alle Wesen, An den Brüsten der Natur; Alle Guten, alle Bösen, Folgen ihrer Rosenspur.

SOLOISTS All creation drinks joy, from the breasts of nature; all the good and all the bad, follows in her rosy path.

SOLISTEN und CHOR Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.

SOLOISTS and CHOIR Kisses she gave to us and wine, and a friend tried in death; even to a worm ecstasy is granted, even the cherubs stand before God.

TENOR und CHOR Froh, wie seine Sonnen fliegen, Durch des Himmels prächt'gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

TENOR and CHOIR Just as gladly as His suns fly, through the mighty path of heaven, so, brothers, run your course, joyfully, like a hero off to victory.

CHOR Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

CHOIR Joy, lovely divine spark, Daughter from Elysium, drunk with ardour we approach, O heavenly one, your sanctuary!

Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Your magic re-unites, what custom sternly separated; all men shall be brothers, wherever you gentle wings tarry.

CHOR Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt! Brüder, über'm Sternenzelt, Muß ein lieber Vater wohnen.

CHOIR O you millions, let me embrace you! Let this kiss be for the whole world! Brothers, above the tent of stars, A loving Father cannot but dwell.

Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such' ihn über'm Sternenzelt! Über Sternen muß er wohnen.

Do you prostrate yourselves millions? Do you sense your Creator, world? Seek Him above the tent of stars! Above the stars he cannot but dwell.

CHOR Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt!

CHOIR O you millions, let me embrace you! Let this kiss be for the whole world!

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SOLISTEN Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein!

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Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

Joy, lovely divine spark, Daughter from Elysium, drunk with ardor we approach, O heavenly one, your sanctuary!

Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such' ihn über'm Sternenzelt! Über Sternen muß er wohnen.

Do you prostrate yourselves millions? Do you sense your Creator, world? Seek Him above the tent of stars! Above the stars he cannot dwell.

SOLISTEN und CHOR Tochter aus Elysium, Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

SOLOISTS AND CHOIR Daughter from Elysium, your magic re-unites, what caution sternly separated; all men shall be brothers, wherever your gentle wings tarry.

CHOR Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt! Brüder, über'm Sternenzelt, Muß ein lieber Vater wohnen.

CHOIR O you millions, let me embrace you! Let this kiss be for the whole world! Brothers, above the tent of stars, a loving Father cannot but dwell.

Seid umschlungen, Diesen Kuß der ganzen Welt! Freude, schöner Götterfunken! Tochter aus Elysium, Freude, schöner Götterfunken.

O you millions, let me embrace you! Let this kiss be for the whole world! Joy, lovely divine spark, Daughter from Elysium, Joy, lovely divine spark.

DANIEl AlFRED wACHS MUSIC DIRECTOR Conductor Daniel Alfred Wachs emerged on the international scene following his debut with the Mozarteum Orchestra of Salzburg in November 2010, leading a world premiere by Toshio Hosokawa at the Grosses Festspielhaus. The Austrian press praised: “Engaging, rhythmically inspired, precise in its execution, the ‘Mambo’ was equal to a performance by Gustavo Dudamel and the Simón Bolívar Youth Orchestra!” Wachs has been entrusted with preparing orchestras for Valery Gergiev to Vladimir Spivakov, and has served as Assistant Conductor to Osmo Vänskä at the Minnesota Orchestra and at the National Orchestra of France under Kurt Masur. He has served as cover conductor for the Houston Symphony and the Rotterdam Philharmonic. Wachs has guest conducted Orange County’s Pacific Symphony, the Auckland Philharmonia, the National 8

Symphony Orchestra (as part of the National Conducting Institute), the Sarasota Orchestra, the Fort Worth Symphony, Sinfonia Gulf Coast, the Oakland East Bay Symphony, the Monterey Symphony, the Spartanburg Philharmonic, and New York City Ballet at Lincoln Center. Wachs has also served as assistant conductor at the Cincinnati Opera and for the French premiere of Bernstein’s Candide at the Théâtre du Châtelet, a co-production with La Scala and the English National Opera, directed by Robert Carsen. A pianist as well as a conductor, Wachs’ performance with the Minnesota Orchestra “proved a revelation, delivering a technically impeccable, emotionally powerful performance of two Mozart piano concertos and a pair of solo works,” raved the St. Paul Pioneer Press. With the encouragement of Zubin Mehta, Wachs began his studies with the late Enrique Barenboim in Tel Aviv before pursuing studies at the Zürich Academy and graduating from the Curtis Institute of Music and the Juilliard School. He has also participat-


ORANGE COUNTY YOUTH SYMPHONY ORCHESTRA The Orange County Youth Symphony Orchestra, now in its 44th season, is the official youth orchestra of Orange County. Winner of the 2012 American Prize in Orchestral Performance—Youth Orchestra Division, the non-profit OCYSO provides the highest level of pre-professional orchestral training for young musicians in Southern California. Conducted by Music Director Daniel Alfred Wachs, OCYSO’s mission, to introduce great music into the lives of young

people, is fulfilled in part through its highly acclaimed “Concerts for Fifth Graders” in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. This series, “kids playing for kids,” presented by the Philharmonic Society of Orange County, has provided music education for more than 500,000 students. Additionally, OCYSO presents a concert series in the historic Memorial Hall Auditorium at Chapman University. The 2013-14 season was presented in conjunction with the Philharmonic Society of Orange County’s Beethoven: The Late Great series and this culminated in this season finale concert presenting the West Coast premiere of Mark-Anthony Turnage’s “Frieze” and Beethoven’s Ninth Symphony. The Orange County Register selected this concert as one of the “Must See” performances of the season and the Los Angeles Times picked it as a top choice for spring 2014. In the 2012-13 season, OCYSO presented a capstone performance at Los Angeles’ famed Disney Hall, home of the LA Philharmonic, as part of the inaugural West Coast Youth Orchestra Festival. During its distinguished history, OCYSO has performed at major music conferences throughout the United States and was featured at the 2013 TEDx held at Chapman University. In the summer of 2013, OCYSO traveled to the United Kingdom and attended the famed Proms Concerts as guests of the Royal Philharmonic Society. Performances in Austria, Italy, Germany, Switzerland, Hong Kong, the People’s Republic of China, Japan and at the United Nations and Carnegie Hall have been lauded by critics and audiences alike. Celebrating its 40th anniversary in 2009-10, OCYSO performed a joint concert with the Mozarteum Orchestra of Salzburg, presenting the United States premiere of Kurt Schwertsik’s Mr. K Discovers America, under the auspices of the Philharmonic Society of Orange County. In his review for the LA Times, Mark Swed wrote "The performance was smashing thanks in no small part to the exceptionally well-practiced preprofessionals, who brought a sparkle to the Salzburgers' sound that wasn't there before...They are the real thing.” For more information, please visit www.ocyso.org MARC YU, PIANO Born in Pasadena, California, Marc Yu made his orchestral debut at the age of 6, playing a piano concerto and a cello concerto on the same evening. Since then he has appeared as a soloist with symphony orchestras around the world, including the National Symphony of Poland in Warsaw. He also has a history that includes solo

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ed at such festivals at Aspen, Tanglewood and Verbier. Committed to the cause of music education, Wachs leads the Orange County Youth Symphony Orchestra (OCYSO) and is Music Director of the Chapman Orchestra at Chapman University. Of a recent OCYSO performance, the Los Angeles Times states, “The performance was smashing, thanks in no small part to the exceptionally well-practiced pre-professionals.” Both orchestras were finalists for the 2012 American Prize in Orchestral Performance and OCYSO was the 2012 winner in the youth category. In May 2014, OCYSO will present the West Coast premiere of “Frieze” by Mark-Anthony Turnage on a subscription concert presented by the Philharmonic Society of Orange County at the Renée & Henry Segerstrom Concert Hall in a performance that includes Beethoven’s Ninth Symphony. This concert was selected by both the Orange County Register and Los Angeles Times as top picks during the 2013-14 season. During Wachs’ tenure, the Chapman Chamber Orchestra completed a survey of Mahler song cycles with baritone Vladimir Chernov and initiated a partnership with LA Opera’s DomingoThornton Young Artist Program, including a performance with soprano Janai Brugger. Wachs’ expertise and experience in developing and infusing new life into education concerts has resulted in an ongoing collaboration with the Monterey and Palm Beach Symphonies. An accomplished opera conductor and collaborative pianist, Wachs has led Albert Herring, Così fan tutte, Le Nozze di Figaro, The Impresario, Suor Angelica, Gianni Schicchi, Amahl and the Night Visitors, acts from La Traviata and Die Fledermaus and the operas La Divina and Signor Deluso by Pasatieri, performances of which were lauded by the composer himself. He has accompanied tenor William Burden in recital and recently made his debut on the LA Philharmonic Chamber Music Series at Walt Disney Concert Hall. For more information, please visit www.danielalfredwachs.com

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recitals and numerous TV appearances such as the Tonight Show with Jay Leno, Oprah and Ellen. He has been the focus of print media worldwide including feature cover stories for both the LA Times and the New York Times Magazine. He was the subject of the National Geographic documentary My Brilliant Brain, a scientific study of development in Marc's brain. February 2008 saw Marc performing solo in tribute to his childhood idol Lang Lang at the Grammy Awards Salute to Classical Music. His first appearance with Lang Lang took place in June 2007 in Las Vegas. Since then, they have performed to sold-out crowds at the BBC Proms, in London's Royal Albert Hall, and in New York’s Carnegie Hall. Beyond his early success on the concert stage, Marc Yu has made for himself a second career as well, leading his generation in speaking out for cultural and planetary concerns. After being presented to Vice Premier of China, Wang Qi-Shan, Marc addressed an assemblage that included Condoleezza Rice, Henry Paulson and other members of the U.S. Cabinet at the 2008 BiAnnual U.S.-China Strategic Economic Dialogue. His speech was a plea for urgency in the matter of global warming. At age six, Marc delivered a speech at the Library of Congress at the ceremony honoring him as the youngest recipient of the prestigious Davidson Fellowship Award. His topic was the role of the arts in a technology-oriented world. Since then, Marc has pitched in with benefit concerts to raise money for what concerns him: to build schools in poor rural areas in China; in Sichuan, for earthquake victims responsible for raising one million U.S. Dollars; for UC Irvine, to fund doctors to perform surgeries on children with heart defects in China; at the University of Maryland, to help rebuild the city of New Orleans after Hurricane Katrina; for the Louisiana Sheriffs' Department, to purchase equipment lost in the hurricane; for the Lupus Foundation in California for victims of the disease. For these efforts and others, Marc was among ten "world luminaries" given a Most Innovative Person Award at the World Summit on Innovation and Entrepreneurship held in Dubai in 2008. Among other recipients was Nobel Peace Prize winner Archbishop Desmond Tutu. Criteria for receiving the award included being a "spiritual agent of change worldwide" and "causing an indelible effect in imparting a sense of significance, community and loftier meaning."

Marc Yu is currently a piano student of Robert Ward in Los Angeles, California. JESSICA RIVERA, SOPRANO Possessing a voice praised by the San Francisco Chronicle for its “effortless precision and tonal luster,” soprano Jessica Rivera is established as one of the most creatively inspired vocal artists before the public today. The intelligence, dimension, and spirituality with which she infuses her performances on the great international concert and opera stages has garnered the Grammy Award winner unique artistic collaborations with many of today’s most celebrated composers. Ms. Rivera’s 2013-14 season featured performances of Donnacha Dennehy’s That the Night Come with Miguel Harth-Bedoya and the Fort Worth Symphony, Rachmaninoff’s The Bells with Matthew Halls and the Houston Symphony, Golijov’s La Pasión según San Marcos with Roberto Spano and the Boston Symphony Orchestra, Mark Grey’s Fire Angels, Mahler’s Fourth Symphony, and Vaughan Williams’ Dona Nobis Pacem all with Robert Spano and the Atlanta Symphony Orchestra, Philip Glass’ the CIVIL warS “The Rome Section” with Grant Gershon and the Los Angeles Philharmonic Orchestra, and Mozart’s Requiem with David Robertson conducting the Cleveland Orchestra. The artist reprised her acclaimed portrayal of Micaëla in Carmen for the Cincinnati Opera and, in a national recital tour, Jessica Rivera is joined by mezzo-soprano Kelley O’Connor and pianist Robert Spano for concerts at Carnegie Hall, Cal Performances, Berkeley, Kennesaw State University, Pepperdine University, and at Cincinnati’s Constella Festival. Ms. Rivera continues her Artist Residency Program with San Francisco Performances where she conducts workshops in classroom and community settings throughout the Bay Area encouraging young people to open their minds to the beauty and power of music as well as to the poetry and spirit behind the art of song. Jessica Rivera released two recordings this season— an exclusive iTunes release of Robert Spano’s Hölderlin-Lieder and her sophomore release with the Urtext label entitled Classical Spanish Songs with pianist L. Mark Carver. For information, visit www.jessicarivera.com


Consul with Chautauqua Opera. Ms. Tatum is a winner of the 2011 Gerda Lissner Foundation Competition, a finalist of the 2011 George London Foundation Competition, 2010 Grand Prize Winner of The Licia Albanese Puccini Foundation Competition, The Opera Index Competition, The Jensen Foundation Award from Chautauqua Opera, and twotime recipient of the Richard F. Gold Career Grant. A Regional Finalist in the Metropolitan Opera National Council Auditions, Ms. Tatum holds degrees from the Juilliard School and the Manhattan School of Music. NICHOlAS PHAN, TENOR In celebration of the Britten centenary during the 2013-14 season, Mr. Phan performed Serenade for Tenor, Horn and Strings with the Toronto and Kitchener-Waterloo Symphonies, and The Knights, and returned to the Baltimore Symphony for the War Requiem. Other engagements this season included returns to the St. Louis Symphony, Philadelphia Orchestra, Boston Baroque, and the National Arts Centre Orchestra in Ottawa, performances of the Evangelist in Bach’s St. Matthew Passion with the Chicago Bach Project, the Oratorio Society of New York in Carnegie Hall, and the Charlotte Symphony, and recitals in Atlanta, Boston, Chicago, New York, and Istanbul. Mr. Phan has appeared with many of the leading orchestras in North America and Europe, including the New York Philharmonic, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Lucerne Symphony, BBC Symphony, and the English Chamber Orchestra. He toured extensively throughout Europe with Il Complesso Barocco and appeared with the Edinburgh, Ravinia, Rheingau, Saint-Denis and Marlboro music festivals, and at the BBC Proms. In opera, he has appeared with the LA Opera, Houston Grand Opera, Seattle Opera, Glyndebourne Opera, Frankfurt Opera, and the Maggio Musicale in Florence. In recital, he has been presented by Carnegie Hall, the Metropolitan Museum of Art, the Philadelphia Chamber Music Society, Oberlin Conservatory, and the University of Chicago. He is also currently the Artistic Director of Collaborative Arts Institute of Chicago, an organization devoted to promoting the art song and vocal chamber music repertoire. Mr. Phan’s most recent solo album, Still Falls the Rain (AVIE) was named one of the best classical recordings of

about the artIStS

RENEE TATUM, MEZZOSOPRANO Noted for her “commanding and dramatic presence” (Opera News), mezzo-soprano Renée Tatum returned to the Metropolitan Opera in the 2013-14 season for productions of The Magic Flute conducted by Jane Glover, Rusalka led by Yannick Nézet-Séguin, and Die Frau ohne Schatten with Vladimir Jurowski. The California native made her Houston Grand Opera debut as Wellgunde in Das Rheingold under the baton of Music Director Patrick Summers and concert appearances included Salome with Andris Nelsons and the Boston Symphony Orchestra and Beethoven’s Ninth Symphony with conductor Daniel Wachs and the Philharmonic Society of Orange County. A recent alumna of the Lindemann Young Artist Development Program, Miss Tatum’s Metropolitan Opera performances include the roles of Emilia in Otello under the baton of Semyon Bychkov, Adonella in Zandonai’s seldom heard Francesca da Rimini conducted by Marco Armiliato, Fenena in Nabucco with Paolo Carignani, and Flosshilde in Robert Lepage’s landmark production of Der Ring des Nibelungen with Fabio Luisi. Miss Tatum made her Metropolitan Opera debut in the 2010-11 season as Inez in Il trovatore conducted by Marco Armiliato. Highlights of the recent past have featured the artist as Háta in Smetana’s The Bartered Bride in a new production by Stephen Wadsworth, led by James Levine, in a collaboration between the Metropolitan Opera and the Juilliard School, and in the roles of Flosshilde and Grimgerde in San Francisco Opera’s Der Ring des Nibelungen conducted by Donald Runnicles. Other performances include La Haine in Gluck’s Armide in a co-production between the Metropolitan Opera and the Juilliard School and the role of Medea in Handel's Teseo with Chicago Opera Theater. As a member of the Adler Fellowship program, her San Francisco Opera performances have included Inez in Il trovatore, Annina in La traviata, and Emilia in Otello. She has sung Dritte Dame in Die Zauberflöte with the Santa Fe Opera conducted by Lawrence Renes and in a new production at San Francisco Opera led by Rory Macdonald, Amando in Ligeti’s Le Grand Macabre with the New York Philharmonic conducted by Alan Gilbert, and The Secretary in Menotti’s The

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about the artIStS

2012 by The New York Times. His growing discography includes the Grammy-nominated recording of Stravinksy’s Pulcinella with Pierre Boulez and the Chicago Symphony Orchestra (CSO Resound), his debut solo album, Winter Words (AVIE), and the opera L’Olimpiade with the Venice Baroque Orchestra (Naïve). CRAIG COlClOUGH, BASS Craig Colclough began his career at the Los Angeles Opera. After two seasons appearing with the company in various roles, Mr. Colclough joined Florida Grand Opera’s Young Artist Studio, and in 2012, became a Filene Young Artist at the Wolf Trap Opera Company. During the 2013-14 season, he sang the title role in Don Pasquale at the Arizona Opera, covered the title role in Falstaff for both San Francisco Opera and Los Angeles Opera, appeared as Bosun in Billy Budd at the Los Angeles Opera, and joined the Philharmonic Society of Orange County for Beethoven’s Ninth Symphony. Future seasons include his European debut with English National Opera and a debut with Atlanta Opera in a title role. Past leading roles include Falstaff in Verdi’s Falstaff, Don Giovanni, Leporello and Il Commendatore in Mozart’s Don Giovanni, Nick Shadow in Stravinsky’s The Rake’s Progress, Collatinus in Brittain’s The Rape of Lucretia, Oroveso in Bellini’s Norma, Rambaldo in Puccini’s La Rondine, Raimondo in Donizetti’s Lucia di Lammermoor, Friar Laurence in Gounod’s Romeo and Juliet and Elijah in Mendelssohn’s Elijah. Additional credits include the Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled. THE CHAPMAN ORCHESTRA The Chapman Orchestra (TCO), under the direction of Daniel Alfred Wachs, is considered among the finest university ensembles on the West Coast. Nobel Peace Prize laureate Elie Wiesel lauded TCO following An Evening of Holocaust Remembrance, an interdisciplinary collaboration with the Rogers Center for Holocaust Studies. TCO kicked off its 2013-14 season in collaboration with Orange County’s Pacific Symphony, presenting an ancillary concert as part of its acclaimed Music Unwound Series. In May 2014, TCO and University Choirs will join the Orange County Youth Symphony Orchestra and international soloists

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in a performance of Beethoven’s Ninth Symphony and a West Coast premiere by Mark- Anthony Turnage at the Renée & Henry Segerstrom Concert Hall, presented under the auspices of the Philharmonic Society of Orange County. This concert was selected by the Orange County Register as a “Must See” performance of the 2013-14 season and was also selected as a top pick by the Los Angeles Times for spring 2014. In the fall of 2009, a live recording of Milhaud’s La Création du Monde was selected by the Phillips Collection in Washington, D.C., to accompany its exhibit, “Man Ray, African Art and the Modernist Lens.” In February of 2008, TCO joined forces with the Pacific Symphony as part of its Eighth American Composers Festival. TCO recently completed a survey of Mahler song cycles with baritone Vladimir Chernov and initiated a partnership with the LA Opera DomingoThornton Young Artist Program. Chapman University orchestras have received national recognition when presented the coveted ASCAP (American Society of Composers, Authors and Publishers) award at the American Symphony Orchestra League Annual Conference for performances of music by American composers and the Chapman Chamber Orchestra was a finalist in the 2012 American Prize in Orchestral Performance. In frequent demand, the orchestras have performed at the Music Educators National, Divisional, State, and Southern Section Conferences. The Chamber Orchestra has been the featured performing ensemble for the CMEA (California Music Educators Association) Southern Section Conference. The Chapman Orchestra has toured extensively on the West Coast of the United States and has performed on international tours in Europe, China, Hong Kong, and Japan. Closer to home, TCO performs an annual series of concerts at the Nixon Presidential Library in Yorba Linda and St. John’s Lutheran Church, and serves as the orchestra-in-residence for Opera Chapman. THE CHAPMAN UNIVERSITY CHOIR AND UNIVERSITY SINGERS The Chapman University Choir and University Singers are select ensembles of some thirty-four and fifty-two voices, respectively. Under the direction of Stephen Coker, Director of Choral Activities at Chapman University, the choirs have been acclaimed in performances throughout the United States and beyond. Their concerts feature eclectic mixes of repertoire performed in variety of distinctive ways.


STEPHEN COkER Stephen Coker is Director of Choral Activities and Associate Professor of Music at Chapman University. Prior to this appointment, Dr. Coker served on the faculties of Portland State University, the University of Cincinnati College-Conservatory of Music (CCM), and Oklahoma City University (OCU). At both CCM and OCU, Coker was awarded the Outstanding Teacher Award (2002 and 1991, respectively), and he was given the Director of Distinction Award by the Oklahoma Choral Directors Association in 1995. In frequent demand as a clinician and guest conductor across the nation, Dr. Coker has worked in roughly half of the fifty states and has conducted professional, collegiate, and youth choirs and orchestras in workshops and festivals in Portugal, South Korea, Israel, Sweden, and Taiwan. An avid enthusiast of choral-orchestral performance, Coker has conducted much of that major repertoire including works of Bach, Mozart, Haydn, Brahms, Dvořák, Williams, Duruflé, Poulenc, Orff, and Bernstein, and has prepared choruses for James Levine, James Conlon, and Erich Kunzel. As a professional chorister, he has sung for conductors Helmuth Rilling, Krzysztof Penderecki, Dennis Russell Davies, and the late Robert Shaw. Other interests of Dr. Coker include orchestral conducting, world music, opera and musical theater, and church music. Throughout most of his academic career, he has held choir director positions at Presbyterian, United Methodist, and Episcopal parishes. Currently, he serves as Director of the Sanctuary Choir at Claremont United Methodist Church.

UNIVERISTY OF CAlIFORNIA, IRVINE CHOIR The University of California, Irvine, choral organizations include Chamber Singers, Harmonium, Men in Blaque, Ushinotes and Alumni Choir. The combined choirs have performed Elijah, Messiah, Carmina Burana and Mozart Requiem in recent years. The UC Irvine choirs have been awarded prizes in Wales (1979, 1984, 1988, 1997, 2004), Hungary, Spain, China (2006, 2010), Korea (2013) and the Netherlands. The Men in Blaque were awarded the World Championship Trophy in Xiamen, China, in 2010. The Women’s Chamber Choir won First Prize at the International Musical Eisteddfod in 2008. The choirs will travel to Hungary and Slovakia in July 2014 and compete in the International Youth Choir Festival in Bratislava. The Men in Blaque have been invited to the International Choral Festival in Puebla to celebrate the 50th anniversary of Chorale Normalista, one of Mexico’s outstanding choral ensembles.

about the artIStS

Recent performances have ranged from Carol Barnett’s The World Beloved: A Bluegrass Mass to Mozart’s Requiem. Founded by William Hall, the choirs have collaborated with such groups as the Los Angeles Philharmonic and the Philharmonic Society of Orange County and have upheld the rich choral traditions of Chapman University such as the annual Invitational Choral Festivals and Holiday Wassail Concerts. Choirs from Chapman have been honored with invitations to perform at numerous national and regional conventions of the American Choral Directors Association and to perform at venues ranging from the Sydney Opera House to the Hollywood Bowl.

JOSEPH HUSZTI Joseph Huszti is Professor of Music and Director of the Choral Activities in the Claire Trevor School of the Arts at the University of California, Irvine. His choirs have performed concerts in the cathedrals of York, Sterling, Westminster, Coventry, Canterbury, Ely, Burgos, Liverpool and Boston as well as formal concerts in Tokyo, Hong Kong, Seoul, Taipei, Budapest, Warsaw, Prague, and Vienna. They also accepted invitations to perform at international festivals in Spain (2000) and Mexico (2002). The Chamber Singers are credited in the IMAX production “To the Limit.” Six choirs currently form the nucleus of the Choral Organizations at Irvine and include singers from most major disciplines in the university. The Madrigal Dinner presentation was selected as one of the outstanding events in the first twenty-five years of history of the University of California, Irvine. Before coming to California, Huszti headed the choral activities at Boston University’s School for the Arts and directed the Young Vocalists Program at Tanglewood, Lenox, Massachusetts, from 1972-1977. Musical collaborations took place with Aaron Copland and Leonard Bernstein as well as artists from the Boston Symphony Orchestra. Huszti is one of 30 outstanding American choral conductors featured in the book, In Quest of Answers published by Hinshaw Press.

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o r C h eS t r a r o S t e r

ORANGE COUNTY YOUTH SYMPHONY ORCHESTRA ARTISTIC MANAGEMENT AND STAFF Daniel Alfred Wachs, Music Director and Conductor Teren Shaffer, General Manager and Associate Conductor Jacob Vogel, Director of Artistic and Orchestra Operations Danielle Culhane, Personnel Manager Michael Fleming, Librarian John Koshak, Music Director and Conductor Emeritus VIOlIN Lauren Song ^ Wendy Wei ^^ William Parker+ Charlene Shong+ Julia Lai Sean Lee Christina Dubell Justin Park Nadaa Kenanga Spencer Mangan David Phung Christopher Noble Grace Lindsay* Jieun Lee Samuel Khoudari Daniel Cramer Madison Clark Alan Ong Delaney Lawson Philip Lue Juliette Thompson Ashley Does Melissa Liu VIOlA Aaron Sy* Claire Li Preston Yamasaki Riley Ormiston Ryan Villahermosa Iris Hou Juwon Lee

CEllO William Tsai* Philip Yoon** Shawn Berry Rebecca Suh Victor Liu Jungwoo Park Christopher Ye Benjamin Sui Stefania Pombo Marco Gutierrez Isabella Pepke Henry Lutz Kayla Whip DOUBlE BASS Timothy Jensen* Noah Bailyn** Ethan Reed Sarina Rubin Hanson Wong Chloe Hopper Rachel Heidemann Alexanda Tomlinson FlUTE Deanna Pyeon* Alexandra Kramer** Hannah Kim Holly Zhou Kita Razin Jacqueline Blackburn OBOE Amina Soliman* Seth Leue** Will Stevens Riyan El-Magharbel

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ENGlISH HORN Will Stevens

TUBA Will Nazareno*

ClARINET Julian Rymar* Tyler Baillie** Youngmoo Ki Brandon Paulson Joshua Lee

TIMPANI Reid Noble

BASSOON Yousef El-Magharbel* Davis Fassett

PERCUSSION Zachary Williams David Bailyn PIANO Ashley Takeshita*

FRENCH HORN Jeremy Sogo* Killian Mulrooney Allison DeMeulle Skyler MacKnight Cooper Johnson

HARP/PERCUSSION Melody Tai*

TRUMPET Grant Hibbard* Daniel Choi** Shelby Ogasawara David Faridi

+Assistant Concertmaster

TROMBONE Chistopher Liu* Laura Doumad** Dominic Diaz Samuel Prevost

V C K R L M G M M A S E C

V N W J L S J P

^Concertmaster ^^Co-Concertmaster

*Principal **Co-Principal

S Y J M J M A A S M S T J M


HALL-MUSCO CONSERVATORY OF MUSIC DEPARTMENT OF INSTRUMENTAL STUDIES Daniel Alfred Wachs, Music Director and Conductor Stephanie Calascione, Orchestra Manager Jesse Simons, Operations Manager Robert Loustaunau, Operations Assistant VIOlIN Chloe Tardif ^ Kimberly Levin Rachelle Schouten Laura Schildbach Michael Fleming Gabrielle Stetz Matt Owensby* Marc Rosenfield Alayne Hsieh Suzanne Haitz Emily Fischer Carin Lerma VIOlA Nickolas Kaynor* William Kellogg Javier Chacon Jr. Leehyeon Kuen Stephanie Calascione Jesse Simons Priscilla Peraza

CEllO Connor Bogenreif* Christopher DeFazio Jordan Perez Nathaniel Cook Devin Marcus DOUBlE BASS Ethan Reed* FlUTE Josh Robertson* Casey Dye OBOE Emilia Lopez-Ya単ez* Cynthia Navarrette

ClARINET Ben Lambillotte* Sam Ek FRENCH HORN Alvin Ly* Robert Loustaunau Matthew Bond TRUMPET Jonathan Ballard* Naoto Hall Saul Reynoso

TIMPANI Storm Marquis PERCUSSION Jordan Curcuruto Christina Cheon Brietta Greger ^Concertmaster *Principal

o r C h eS t r a a N D C h o I r r o S t e r

THE CHAPMAN ORCHESTRA

TROMBONE Nolan Delmer*

THE CHAPMAN UNIVERSITY CHOIR Stephen Coker, conductor | Hye-Young Kim, pianist SOPRANO Yllary Cajahuaringa Julia Dwyer Mikayla Feldman Jennie Malinda Harris Megan Henretta Anzhela Kushnirenko Allison Marquez Shannon McBane Megan Mehta Savvy Pletcher Tanja Radic Julianne Ruck Megan Sanborn

AlTO Anna Belmer Rebecca Felman Claire French Shaina Hammer Angelique Hernandez Lourdes Vela Jimenez Bella Lucareli Kristi McKinley Laura Miller Carolynn Schmahl Jenna Wall

TENOR Carl Elson Adam Cash Taylor Darrow Derek DuBay Daniel Goldberg Michael Hamilton Mason Hock Jae-Koo Kang Joe Leone Jeremiah Lussier Aaron Page

BASS Jimmy Clark Dallas Cummaro Ben Finer Arthur Garros Jeffery Goldberg Marqis Griffith Donner Hanson Cole Jackson Jared Jamias Johann Joson Mark Luburic Jared Na Michael Naoumovitch Mark Peng Andrew Siles Michael Levin, guest singer

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ChoIr roSter

THE CHAPMAN UNIVERSITY SINGERS Stephen Coker, conductor | Hye-Young Kim, pianist SOPRANO Sarah Brown Jesse Denny Emily Dyer Christiana Franzetti Amira Fulton Kyla McCarrel Kylena Parks Katie Rock Natalie Uranga

AlTO Kylee Bestenlehner Natasha Bratkovski Keegan Brown Samira Kasraie Annie Kubitschek Janet Orsi Rachel Stoughton Erin Theodorakis Savannah Wade

TENOR Dongwhi Baek Kevin Gino Brett Gray Tyler Johnson Yeonjun Duke Kim Chris Maze Marcus Paige Nathan Wilen

BASS Andrei Bratkovski Ben Finer Daniel Fister Matthew Grifka Anthony Lee Benno Ressa Andrew Schmitt Daniel Emmet Shipley Elliott Wulff

UNIVERSITY OF CALIFORNIA IRVINE CHORAL ORGANIZATIONS Joseph Huszti, director CHAMBER SINGERS Alexa Arronson Annika Arrasmith Elias Berezin Nicholas Bourgault Jennifer Chen Karla Delgado Leon Ding Laura Erath Monique Essex Arianna Flores Michele Ganotis Dina Grubb Victoria GillebrandHenderson Vanessa Kho Jaron Malone Jamie Sanderson Casden Simonson Sebastian Stock Rebecca Taylor Jacob Tulley Jackson Tupy Yinan Zhang

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MEN IN BlAQUE Zachary Aldana Andrew Ball Wendell Ballantyne Elias Berezin Russell Crabtree Scott Crawford Le Van Do Mike Giambone Kenneth Haro Brian Hart Edward Johnson Daniel Joseph Anthony Kaneaster C. Michael Liu Anthony Magturo Mike Malouf Steven Michel Jeff Morris Richard Paul Sebastian Stock Jake Tulley Richard Paul Michael Ushino Caesar Villanueva Leo Wiggins

HARMONIUM Yoko Buhlman Shannon Carey Donna Chato Jennifer Compton Karla Delgado Melody Denghan Kristine Doullard Kelsey Downey April Dwane Cyndy Fitzgerald Shannon Fowler Raven Hagger Jutta Heckhausen Ariel Jones Francesca Junio Gloria Kim Monica Pelcastre Heidi Ramierz Laura Raynes Krystal Schipper Heidy Tamayo Shannon Villanueva Kristina Yoon

USHINOTES Jose Baroza Stephen Chao David Xi Cao Christopher Cavalluzzi Care'n Chato Andy Kao Yi Chen Irene Cheng Rachel Chiou Katherine Chung Jonathan Delgado Tyler Dean Nate Directo Julie Ferguson Jennifer Garstang Ian Harris Rebeccah Helen Hill William Jeng Roxy Kennedy Tat Kitjawat Jonathan Lee Daniel Ngyuen Fatima Rizvi John Romine Katherine Uyeda Grace Wang Iffanie Yang Allison Zema

Beethoven: The Late Great Finale Program Book  

Thursday, May 15, 2014 Renée & Henry Segerstrom Concert Hall

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