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Pre-concert lecture by Dr. Grace Fong, 7pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall A SHANBROM FAMILY CONCERT


Piano Concerto No. 2 in C minor, Op. 18

Carl Maria von WEBER (1786-1826) Sergei RACHMANINOFF (1873-1943)

Moderato Adagio sostenuto Allegro scherzando Roman Rabinovich, piano

- INTERMISSION Symphony No. 4 in F minor, Op. 36

Pyotr Ilyich TCHAIKOVSKY (1840-1893)

Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco EXCLUSIVE MANAGEMENT Columbia Artists Management LLC 5 Columbus Circle at 1790 Broadway New York, NY 10019 |


WEBER: OVERTURE TO EURYANTHE, OP. 81 During his short life, Carl Maria von Weber (1786-1826) produced six operas which are considered to be the cornerstones of German romantic opera. Schumann and Wagner were among those who highly admired Weber’s work in this genre. Completed in 1823, Euryanthe deals with a convoluted plot involving the title character’s betrothal to a Count. The Count wagers with the opera’s villain that Euryanthe will be faithful to him. Intrigue, betrayal, ghosts and serpents all feature in the opera but, in the end, Euryanthe does indeed remain faithful. The vibrant overture is built on two arias sung by the count: “I trust in God and Euryanthe” and “O bliss, I can scarce fathom!” A quietly striking middle section for eight muted violins depicts the ghost of one of the characters. The opera makes early use of the leitmotif: themes associated with different characters, ideas or events. This innovative technique greatly influenced Wagner and permeated his most famous operas. - Notes by Christopher Russell

The Philharmonic Society gratefully acknowledges the Shanbrom Family Foundation for its generous sponsorship of tonight’s performance.

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Rachmaninoff: Piano conceRto no. 2 in c minoR, oP. 18 Rachmaninoff is remembered and loved as one of the greatest pianists of the 20th century. He 17

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was born to an aristocratic family and entered the St. Petersburg Conservatory at the age of nine. Three years later he transferred to the Conservatory at Moscow, from which he graduated with a Gold Medal in 1892. That same year he started on a long concert tour of Russia and appeared in London in 1899 as composer, conductor and pianist. He paid his first visit to the United States in 1909 and wrote his Third Piano Concerto for that occasion. Various inducements to stay failed to tempt him and he returned to live in Moscow. However, in 1917 the Russian Revolution drove him abroad and he was never to see his native country again. He spent most of the rest of his life in the United States and Switzerland and, rather unwillingly, continued to travel widely in Europe and America giving piano recitals. His contribution to the piano literature is significant and, although his works are difficult and demanding to the performer, they are particularly rewarding to the listener and practitioner alike. After the disastrous failure of his first symphony upon its premiere on March 27, 1897, Rachmaninoff succumbed to a depressive neurotic crisis that undermined his creative endeavors for several years. Finally, the composer underwent extensive hypnotic treatment administered by a neurologist, Dr. Nikolai Dahl. Dr. Dahl was successful in bringing the composer back into a creative frame of mind; eventually, Rachmaninoff’s condition was somewhat alleviated, helped along by the composition of the Second Piano Concerto in 1901. The outpouring of inspired melodies that abound in the score certainly attests to this fact. As an expression of deep gratitude, the work bears its dedication to Dr. Dahl. But it was not until the success of his second symphony (1907) that the composer fully regained the confidence in himself that he had been lacking. Work on the Piano Concerto No. 2 in C minor, Op. 18, occupied Rachmaninoff on and off from the summer of 1900 to the spring of 1901. The concerto was given its premiere performance by the Philharmonic Society of Moscow on October 14, 1901, with the composer at the piano. The work proved to be one of his greatest and the performance was a tremendous success, catapulting Rachmaninoff’s fame, both as a composer and as a pianist. Three years later, the Second Piano Concerto was awarded the Glinka Prize; since then it has been heard more often than any other of Rachmaninoff’s large-scale works. Marked Moderato, the first movement is ushered in by a ten-measure introduction for the soloist in which full chords grow in intensity until, at last, the passion-


ate first theme emerges in the strings. After a brief orchestral interlude, the more tender, almost feminine second theme is introduced by the piano. Both themes are further expounded in the “free,” almost song-like development section that ensues, although there is a definite marked emphasis on the main theme. In the coda that concludes the movement, the main theme is embellished by intriguing passagework from the soloist. The slow movement, Adagio sostenuto, begins with a gentle, hymn-like introduction of sustained harmonies in the muted strings. An atmosphere of surpassing peace and beauty is projected in the lyrical and musing melody for woodwinds and horns. The piano first provides understated accompaniment to the melody before taking over the haunting theme. The tempo quickens for a short, scherzo-like development section, but this is brought short by the beautiful cadenza for the soloist, which in turn leads back to the elegance of the movement’s opening theme. In the vast and contemplative coda, the piano interpolates a new theme before winding down with broad chords and flowing arpeggios to the quiet conclusion of the movement. The Allegro scherzando final movement, which takes the form of a modified rondo structure, is notable for its rhythmic motifs and the complex and sparkling writing for the piano. It commences with a twentymeasure orchestral preface to the theme that the piano introduces. This leads to the statement by the cellos of the famous second theme (which in 1946 was lifted for the popular hit song, “Full Moon and Empty Arms”). The two themes are elaborated in subsequent sections, including an exciting fugato episode. The orchestra majestically proclaims the rhapsodic second theme one last time, supported by piano chords, before a short but exciting coda brings the work to its brilliant conclusion.  1995 Columbia Artists Management Inc.

tchaikoVsky: symPhony no. 4 in f minoR, oP. 36 Although Tchaikovsky frequently lost interest and even lost admiration for some of his pieces, he never lost his fondness for the Fourth Symphony. Years later he said, “I adore terribly this child of mine; it is one of only a few works with which I have not experienced disappointment.”


Of the six Tchaikovsky symphonies, the Fourth is the only one that begins loudly. (A small exception being the Second, which starts with a short, loud chord but then goes immediately to a soft French horn solo.) Writing to his benefactor and the work’s dedicatee, Nadezhda von Meck, Tchaikovsky clearly said what the opening of the Fourth Symphony represents: This is Fate, the power which hinders one in the pursuit of happiness from gaining the goal. This might is overpowering and invincible. There is nothing to do but submit and vainly to complain. Indeed, whenever the Fate motive comes in, it is never subtle and completely interrupts the flow of the music. Even with the lilting, almost waltz-like second theme, the movement is continually active, unsettled and always moving. Fate wins out as the movement drives to a tragic conclusion. A melancholy oboe theme opens the second movement. Throughout the movement, this theme rarely changes and floats throughout the movement in different combinations of instruments, trademarks of Tchaikovsky’s compositional style. The movement comes almost full circle with a lonely bassoon playing one last statement of the main theme. After Tchaikovsky composed the third movement, he wrote to von Meck, “The Scherzo employs a new orchestral effect, which I have designed myself.” This “new orchestral effect” features the strings playing

pizzicato and then the winds performing the contrasting middle section, not exactly original but certainly unusual. He then surprisingly writes this: The third movement expresses no definite feeling. It is made up of capricious arabesques, of elusive images which can rush past in the imagination after drinking a little wine and feeling the first phases of intoxication. The spirit is neither cheerful, nor yet sad. The raucous last movement begins explosively. The main theme quotes from a Russian folk song called “In the Fields there Stood a Birch Tree.” Towards the end of the movement, the Fate motive returns. However, unlike the first movement, the ominous mood is overcome. The symphony triumphantly concludes with one of Tchaikovsky’s most rousing and thrilling endings. - Program notes by Christopher Russell haifa symPhony oRchestRa of isRaeL The Haifa Symphony Orchestra was founded in 1950 and in recent years has become the focal point of musical life in Haifa and the north of Israel. The orchestra, which is the most significant musical institute in the north of Israel, has recently expanded its activities throughout the country. World-acclaimed Maestro Noam Sheriff, one of Israel's most versatile musicians, is the music director of the HSO. 19

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Audience More than five thousand subscribers of all ages attend six subscription programs: The Classical Series, The Vocal Series, Haifa Proms, Friday Morning Classics, The Children's Series and The Chamber Music Series. The orchestra also offers annual opera productions for the benefit of its northern audience. Community and Outreach The Orchestra produces numerous programs for the community. These include:  Chazanut series (Jewish music)  Popular concerts such as: “Abbey Road” with Jeremy Kaplan, “Sounds of America” with the Hebrew Soul Singers from Dimona, etc.  Performances at City Festivals and events: Light music concerts in the park, Independence Day and Memorial Day concerts. Education The Orchestra takes part in the “Kadma” and “Israeli Notes” programs which educate today's youngsters to become the audiences of tomorrow. This program provides informal meetings and concerts at elementary schools followed by a concert with the full orchestra at the Haifa Auditorium. For many of the 2,500 children, this is their first exposure to classical music. The Orchestra holds master classes uniquely designed for young creative musicians. Promotion of Israeli Culture The Orchestra has a policy of encouraging and promoting original Israeli music and of giving an opportunity for Israeli soloists and conductors to perform. The HSO received the Prime Minister's Award for being the leading performer of original Israeli compositions in Israel. BoGusLaW DaWiDoW Prof. h. c. Principal Guest Conductor Haifa Symphony Orchestra of Israel Principal Guest Conductor, Bogota Symphony Orchestra General Music Director, Chopin Chamber Orchestra Internationally renowned for his musical knowledge, immense enthusiasm, and extraordinarily charismatic stage presence, Maestro Boguslaw Dawidow is a “... conductor of a great stature, musically speaking, with a clear beat and marvelous rapport with the


Orchestra...produced a truly magnificent Viennese sound...with romance and humor in hand...” (Gazzette–U.S.); with “...[as] precise and clear baton technique as we’ve ever seen...”(The Washington Times) and “...a great Slavic soul...”(Wiener Zeitung). Maestro Dawidow served as the General and Music Director of the Opole Philharmonic of Poland from his appointment in September 1999 until 2012. Maestro Dawidow was highly involved in forming the artistic shape and raising the international stature of the Opole Philharmonic in his capacities as both Music Director and General Director of the Philharmonic. In 2010, Maestro Dawidow received the title of Professor honoris causa. Since 2008 he has been represented by Columbia Artists Management Inc. Born in Sopot, Poland, Maestro Dawidow studied conducting under Bohdan Wodiczko in Warsaw and Krzysztof Missona in Krakow, later continuing his conducting studies in Vienna and Italy. The most significant influence on his musical personality came from the legendary composer and conductor Leonard Bernstein. In the 1980s Maestro Dawidow founded the Chopin Chamber Orchestra in Krakow, Poland, with which he toured throughout Europe and South America in 2009 and 2011. From 1991 to 1995 Maestro Dawidow was a resident conductor of the Polish Chamber Philharmonic Orchestra, touring with them around Europe in 1993, 1994, and 1995, as well as recording almost 20 CDs. From 1994 to 2002, he served as Artistic Director and Principal Conductor of the Russian National Academic Symphony Orchestra in Tomsk—one of Russia’s oldest orchestras, established in 1879. They toured extensively around Europe in 1995, 1996, 1997, and 1999, as well as in China in 1997, 1998, and 1999. Maestro Boguslaw Dawidow has cooperated on a regular basis with other orchestras and opera institutions around the world in such places as Paris, Vienna, Berlin, Rome, Zürich, Moscow, London, Haifa, Leningrad, Buenos Aires, São Paulo, Mexico, U.S. and in the Far East—in Seoul, Beijing, Hong Kong and Shanghai. Maestro Dawidow, with his Opole Philharmonic, conducted a number of very successful concerts in Vienna at the Musikverein’s Golden Hall in 2008,

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2009, and 2010. He also took the Opole Philharmonic Symphony Orchestra on numerous tours through Europe, with stops in Austria, France, Luxembourg, Holland, Belgium, Italy, and Germany, as well as on two far-reaching tours through China in 2004, 2005, and 2006. There were also two tours through South America in 2009 and 2011. In 2011, Maestro Dawidow and the Opole Philharmonic Orchestra performed an outstandingly successful U.S. concert tour organized by Columbia Artists Management Inc., embracing 46 concerts in 19 states—one of the longest tours by any European orchestra. The concert tour received critical acclaim and a great public reception. Apart from numerous archive audio and TV recordings, Bogusław Dawidow has also made many CD recordings, including recordings of the Brahms Symphonic Cycle and works by Tchaikovsky, Szymanowski and Elsner, recorded in recent years with the Opole Philharmonic. Plans have brought Maestro Dawidow to the U.S. for a concert tour with the Haifa Symphony Orchestra of Israel in 2014, of which he was appointed Principal Guest Conductor in 2012. Because of his exceptional musical talents, wide range of musical experience and management skills, in 2002 the American Biographical Institute in New York bestowed Maestro Dawidow with the title “Man of the Year” in honor of his musical accomplishments on both sides of the Atlantic and extending to the Far East and Africa. Roman RaBinoVich, Piano The Israeli pianist Roman Rabinovich, "whose mature, self-assured playing belies his chronological age” (San Francisco Classical Voice) is the top prize winner and won four additional prizes at the 2008 Arthur Rubinstein International Piano Master Competition and the 1st prize at the 2007 Animato Competition. Since his Israel Philharmonic debut under the baton of Zubin Mehta at age ten, Mr. Rabinovich has performed as a soloist with most of Israeli orchestras, Ensemble Orchestral de Paris, Buffalo Philharmonic, Ann Arbor Symphony, Delaware Symphony, Dohnanyi Orchestra, and many other orchestras, and was praised for “vivacity and virtuosity” and “impeccable clarity of execution.” He has


performed throughout Europe and the U.S. in such prestigious venues as Lucerne Festival, Davos Festival, Leipzig’s Gewandhaus, Wigmore Hall, and Carnegie’s Weill and Zankel Halls, as well as Great Hall of Moscow Conservatory and Millennium Stage at the Kennedy Center. In 2009, the French TV channel "Mezzo" recorded his recital and it has been broadcast in numerous countries in Europe and Asia. Mr. Rabinovich is also an avid chamber musician. His partners have included Daniel Hope, Ralph Kirshbaum and Miriam Fried. Roman has recently recorded ballets by Ravel, Prokofiev and Stravinsky for the Orchid Classics label. Mr. Rabinovich also excels as a gifted artist. He often combines his concerts with exhibitions of his paintings. His artwork can be viewed on his website at Roman has received financial support from Zfunot Tarbut, Ronen and Rich Foundations, as well as scholarships from the America-Israel Cultural Foundation.


o r C H es t r a r o s t e r


fiRst VioLin Elia Shulman Concert Master Michael Yanovsky Assistant Principal Ruti Bron Gal Eckstein Raanan Elefant Ilaria Lanzoni Ksenia Matukhnov Judith Picker-Saiet Boris Polinovsky Miriam Rapaport Amir Samsonov Vladimir Shmulenson Edith Shulman Milan Todorovich seconD VioLin Cesare Zanfini Principal Mark Zeiger Assistant Principal Polina Bukin Larissa Ginzburg Alexander Gourvich Victor Jacob Hanan Levin Marian Rapaport Noga Ana Maria Mihaes Abramovith Yedidia Schwartz Yana Yout Irena Zatz VioLa Victor Khristosov Principal Lev Kisilev Assistant Principal Nahum Korenblit Liora Kosov Nina Loeterman Alexander Nadelson Beate Prugel Dor Sperber Sergei Vasilchenko


ceLLo Alexander Kotlyar Principal Lev Matiukov Assistant Principal Vladimir Dvorkin Dani Goren Eduard Kaplansy Tatiana Kaplansky Zygmunt Marek Karwowski Igor Tankevich Bass Andrzej Wlodzimierz Szajda Principal Eli Kosov Janusz Lizon Sergei Narinsky Arie Roitman fLute / PiccoLo Rotem Bartan Elisabet Franch Monocunill Anat Nazarathy oBoe Mori Silvia Principal Arielle Alvarez-Pereyre enGLish hoRn Arielle Alvarez-Pereyre cLaRinet Jeffrey Howard Principal Ira Goyfeld Bass cLaRinet Ira Goyfeld

Bassoon Noga Yeshurun Principal Jomart Ospanov hoRn Anatoly Rozenfeld Principal Gregory Bukin Jay Jackler Yuriy Krimshtein tRumPet Naum Birman Principal Erez Hudera Armen Aslanyan tRomBone Denis Vull Principal Erik Vull Greg Vull

tuBa Alexander Chutko timPani David Zien Principal PeRcussion Eldad Shiloah Principal Yana Krichevsky Ofer Malka Joshua Haggerty Hannah Neman GuitaR Uri Jacob

coLumBia aRtists manaGement LLc. 5 Columbus Circle New York, NY 10019 Andrew S. Grossman Senior Vice President and Senior Producer W. Seton Ijams Vice President LiBRaRian Zvi Grizotzky GeneRaL manaGeR Motti Eines staGe manaGeRs Anatoly Rozenfeld Sergei Vasilchenko oRchestRa cooRDinatoR Grigori Bukin aDministRatiVe manaGeR Dina G. Meitner Doron LoGistics cooRDinatoR Offer Malka

Haifa Symphony Orchestra of Israel Program Book  

Wednesday, March 12, 2014 Renée & Henry Segerstrom Concert Hall

Haifa Symphony Orchestra of Israel Program Book  

Wednesday, March 12, 2014 Renée & Henry Segerstrom Concert Hall