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Pre-concert lecture by Rich Capparela, 7pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall


IRISH CHAMBER ORCHESTRA JoAnn Falletta, conductor Sir James Galway, flute Lady Jeanne Galway, flute Sir Hamilton HARTY (1879-1941)

In Ireland

Flute Concerto in D major K. 314

Wolfgang Amadeus MOZART (1756-1791)

Allegro aperto Andante ma non troppo Allegro

Philip HAMMOND (b. 1951)

Carolan Variations

- INTERMISSION Symphony No. 41 Wolfgang Amadeus MOZART in C major, K.551 “Jupiter” Allegro vivace Andante cantabile Menuetto: Allegretto Finale: Allegro molto EXCLUSIVE MANAGEMENT Columbia Artists Management LLC 5 Columbus Circle @ 1790 Broadway New York, NY 10019

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HARTY: IN IRELAND Hamilton Harty had his early training in Ireland, where he learned to play the viola, piano, and organ, and where he became a church organist at age 12. He moved to London at 21 and quickly established himself there as a pianist—he accompanied recitals by Fritz Kreisler, Joseph Szigeti, and John McCormack—and had some early successes as a composer. But Harty found his particular gift as a conductor, raising the Hallé Orchestra of Manchester to a high standard and later becoming conductor of the London Symphony Orchestra. A champion of new music, he led the English premiere of Mahler’s Ninth Symphony (1932) and the world premiere of Walton’s Symphony No. 1 (1934). Harty had considerable success as a conductor in the United States, particularly with the Chicago Symphony Orchestra and at the Hollywood Bowl, where he led memorable concerts as part of the celebration of the Olympics in Los Angeles in 1932. Harty was knighted in 1925, but his final years were plagued with health problems, and he died of a brain tumor at age 61. Harty’s Irish identity remained important to him throughout his life, and it inspired some of his finest music, including his Irish Symphony and the tone poem With the Wild Geese. Harty composed In Ireland in 1918, originally as a piece for flute and piano. He described it as a “Fantasy,” and at the top of the score he inserted a line that suggests the music’s inspiration: “In a Dublin street at dusk, two wandering street musicians are playing.” Harty’s performance marking suggests the character of the performance he wanted: “Not too quick ...and with passion.” The music proved successful with performers and audiences, and some years later Harty recast the piece for flute and harp—two instruments strongly identified with Ireland—and a small orchestra. Music this attractive needs no detailed introduction. There is a haunting beauty, at once nostalgic and passionate, about In Ireland as it leads us through various episodes, all shaped by Harty’s love for the folk music of his native land.

Mozart liked this rondo so much that six years later—in 1784—he adapted it as Blonde’s aria Welche Wonne, welche Lust in Act II of Abduction from the Seraglio, in which she looks ahead to her rescue from Selim’s harem. In its original form, it provides a spirited and happy conclusion to the concerto. Mozart offers the soloist a brief cadenza near the end of all three movements. HAMMOND: CAROLAN VARIATIONS Belfast composer Philip Hammond’s Carolan Variations were inspired by two tunes by Irish harpist Turlough O'Carolan. The first stems from The Lamentation of Owen O’Neill and the second, his famous Carolan’s Concerto, is said to have been the harper’s response to the classical music world of Ireland in the eighteenth century which was obsessed by the style and flair of the Italians. This was first performed as part of the Walled City Music Festival in Derry in August 2011 and this version for string accompaniment was written at the request of Sir James and Lady Jeanne Galway. (From Irish Chamber Orchestra website.)


MOZART: CONCERTO NO. 2 IN D MAJOR FOR FLUTE AND ORCHESTRA, K.314 Mozart and his mother arrived in Mannheim in October 1777 as one of the stops in his long journey to Paris in search of a position worthy of his talents. There was no position in Mannheim for Mozart—at 21, he was considered much too young to be a Kapellmeister— but the composer very much enjoyed the four months he spent in that city, where he discovered a first-class orchestra, a sophisticated court, talented colleagues, and (to the dismay of his father Leopold back in Salzburg) an attractive sixteen-year-old soprano. In Mannheim, Mozart was approached by Ferdinand DeJean, a surgeon with the Dutch East India Company and amateur flutist, who commissioned three flute concertos and three flute quartets. The commission was welcome—Leopold had charged the young man with finding a position and earning money on this trip—and Mozart set to work. But he promptly stopped work, and when his father wrote to chide him about his lack of progress, Wolfgang complained: “you know that I become quite powerless whenever I am obliged to write for an instrument which I cannot bear.” Much has been made (probably too much) of Mozart’s dislike for the sound of the flute, and certainly the music he completed for DeJean is very elegantly written for the instrument. But there is not a great deal of it—for DeJean, Mozart wrote only one flute concerto and one flute quartet. And then he had an idea: the previous year he had written an oboe concerto for the new oboist in the Salzburg court orchestra, Giuseppe Ferlendis, and now he had his father mail that concerto to him in Mannheim. He then arranged the oboe concerto for flute and presented it to DeJean. DeJean could not have been fooled (the oboe version was performed in Mannheim while Mozart was there), so he and Mozart reached an accommodation: DeJean got the one new concerto, one arranged concerto, and one new flute quartet, and Mozart got only half the original commission fee. The oboe and flute versions of this concerto are not identical. The Oboe Concerto was in C major, but Mozart transposed it up a step to D major for the flute, and he made other changes in the solo part to make the music more suited to the agility of the flute. Mozart gives the first movement the unusual marking Allegro aperto: aperto means “open” in Italian, and no one is quite sure what the musical indication is—the marking has sometimes been translated “clear and distinct.” A grand orchestral introduction, full of strength and a wealth of ideas, leads to the entrance of the soloist, who is given new material of his own. The emphasis in this music is on lyricism, and much of this movement has the soloist playing gracefully above a quietly-murmuring orchestra. Lyricism also lies at the center of the Andante ma non troppo, in which the soloist and orchestra share the melodic line. Many listeners will discover that they already know the music of the concluding Allegro:

MOZART: SYMPHONY NO. 41 IN C MAJOR, K.551 “JUPITER” The summer of 1788 was an exceptionally difficult time for Mozart, and what must have been particularly dismaying for the composer was the suddenness of his fall from grace. Two years earlier, at the premiere of The Marriage of Figaro, he had been at the summit of the musical world. On a visit to Prague, he could exult “For here they talk about nothing but ‘Figaro.’ Nothing is played, sung, or whistled but ‘Figaro.’” But the indifferent reception of Don Giovanni and evolving musical fashions in Vienna changed this. Within a year Mozart discovered that his audience in Vienna had nearly disappeared: he was unable to mount new concerts or sell music by subscription because now no one seemed interested. Soon he found his financial condition straitened, and he began to borrow heavily. The composer moved his family to a smaller apartment in a suburb of Vienna, where there was at least the consolation of a garden and lower rent, but he remained despondent about his situation. On June 27 he wrote to his friend Michael Puchberg, asking for a loan and admitting that “black thoughts...often come to me, thoughts I push away with a tremendous effort.” Two days later, Mozart’s infant daughter Theresia died. Through that bleak summer, Mozart worked with incredible speed, and—after an eighteen-month pause— he was writing symphonies. He finished the Symphony No. 39 on June 26, the Symphony No. 40 on July 25, and a mere sixteen days after that the Symphony No. 41. The question remains: why did he write these symphonies? Mozart usually wrote music only when performances were planned, but there is no record of any subscription concerts during this period. Perhaps such concerts were planned and then fell through. In any case, 3


these symphonies were not performed and instead went onto the composer’s shelf. Evidence suggests that he heard the Symphony No. 40 at a concert in April 1791, but at the time of his death eight months later he had likely not heard a note of the Symphony No. 39 or the Symphony No. 41. The Symphony in C Major was his last, though there is no reason to believe that he knew when writing it that it would be his final symphony, for a normal lifetime would have allowed the composer several more decades of work. The nickname “Jupiter” was not from Mozart. It was in use by the early nineteenth century, but its exact origin is unknown, despite many theories. This is, however, one of those rare instances when an inauthentic nickname makes sense—if ever there were Olympian music, this is it. The first movement—Allegro vivace—is music of genuine grandeur, built on a wealth of thematic material, and we feel that breadth from the first instant, where the opening theme divides into two quite distinct phrases. The first phrase is an almost stern motto of repeated triplets, but the second is lyric and graceful, and the fusion of these two elements within the same theme suggests by itself the emotional scope of the opening movement. The array of material in this movement ranges from an almost military power to an elegant lyricism. One of its themes, in fact, is derived from an aria Mozart had written for a friend a few months earlier. The development is brief (and concerned largely with this aria theme), but the recapitulation is quite lengthy, and Mozart surprises us by bringing back some of it in a minor key. The movement drives to a stirring close in which its martial spirit prevails. The second movement is marked Andante cantabile, and Mozart’s stipulation cantabile (a marking he used infrequently) is important, for this music sounds as if it too might be an aria from an opera. First violins, muted throughout, introduce both themes of this sonata-form movement. The opening seems at first all silky lyricism, but Mozart jolts this peace with unexpected attacks. The second subject is turbulent: over quiet triplet accompaniment, the violin line rises and falls in a series of intensely chromatic phrases, powered by the syncopated shape of this theme. The third movement is in minuet-and-trio form, though no one has ever danced to this brisk music, whose fluid lines are spiced by attacks from brass and timpani. The trio section is dominated by the sound of the solo oboe, though, near its end, strings break into a gentle little waltz that suddenly stops in mid-air. The Molto allegro finale is not simply one of Mozart’s finest movements, it is one of the most impressive pieces of music ever written. It begins with a four-note phrase heard immediately in the first violins, yet this figure is hardly new: Mozart had used it in his Missa Brevis in F Major of 1774, his String Quartet in G Major of 1782, and elsewhere. In fact, he had subtly prepared us for the

finale by slipping this opening phrase into the trio section of the third movement. The finale is not—as many have suggested—a fugue, but is instead a sonata-form movement that puts that opening four-note phrase (and other material) through extensive fugal treatment. However dazzling Mozart’s treatment of his material is in the development section, nothing can prepare the listener for the coda. Horns sound the four-note opening motto, and, in some of the most brilliant polyphonic writing to be found anywhere, Mozart pulls all his themes together in magnificent five-part counterpoint as the symphony hurtles to its close in a blaze of brass and timpani. - Program Notes by Eric Bromberger IRISH CHAMBER ORCHESTRA Under the leadership of Katherine Hunka, the Irish Chamber Orchestra is recognised as one of Ireland’s world-class cultural assets, renowned nationally and internationally for its energy, unique sound, program diversity and outstanding musicianship. Following a succession of illustrious artistic directors including Fionnuala Hunt, Nicholas McGegan and Anthony Marwood, the orchestra has taken a new approach, appointing two artistic partners who are taking the orchestra on a musical voyage of discovery. Working with Gábor Takács-Nagy (Principal Artistic Partner) and Jörg Widmann (Principal Guest Conductor/Artistic Partner), the Irish Chamber Orchestra is breaking boundaries and opening new doors to music. The orchestra continues to tour with much success across Europe, with recent appearances at the prestigious Rheingau (Germany) and Lichfield (United Kingdom) Music Festivals. Other than this U.S. tour, the ICO will perform in Germany at the Heidelberg Spring International Music Festival in April 2014 and the Wurzburg Mozartfest in June 2014. The ICO continues its rich tradition of collaboration with leading international guest soloists in its 2013-14 season, including István Várdai, cello, JoAnn Falletta, conductor, and Tabea Zimmerman, viola. Featured Irish artists include James Galway, Ailish Tynan, soprano, and Michael McHale, piano. The orchestra has worked with some of the world’s finest musicians, including Gérard Korsten, Alison Balsom, Leon Fleisher, Steve Mackey, Jonathan Cohen, Sergeij Nakariakov and Isabelle Van Keulen. The orchestra also has warm relationships with celebrated artists including Steven Isserlis, Stephen Hough and Pekka Kuusisto. The ICO excels in a diverse repertoire ranging from classical to modern day masterpieces and new commissions. Leading Irish composers who have worked with the orchestra include John Kinsella, Linda Buckley, Mícheál Ó Súilleabháin, Bill Whelan and Elaine Agnew.

This tour is being generously assisted by Culture Ireland. JOANN FALLETTA, CONDUCTOR JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by The New York Times as “one of the finest conductors of her generation,” she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Conductor of the Ulster Orchestra in Belfast, Northern Ireland, and Principal Guest Conductor of both the Phoenix Symphony and the Brevard Music Center. Ms. Falletta is invited to guest conduct many of the world’s finest symphony orchestras. Her upcoming guest conducting highlights include return engagements with the Warsaw, Detroit, Phoenix, Krakow, Puerto Rico and Hawaii Symphony Orchestras and debuts with the Gothenburg Symphony, Stuttgart Philharmonic, Belgrade Philharmonic, Orquestra Filarmônica de Minas Gerais and the Orchestra of St. Luke’s at Carnegie Hall. She has guest conducted more than a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America and Africa. Her North American guest conducting appearances have included the orchestras of Philadelphia, Los Angeles, San Francisco, Dallas, St. Louis, Milwaukee, Indianapolis, Seattle, San Diego, Montreal, Toronto, and the National Symphony, and international appearances have included the London Symphony, Czech Philharmonic, Rotterdam Philharmonic, Korean Broadcast Symphony, Seoul



Plectrum & Bow, a recent CD release, marked a collaborative recording with U.S. composer and guitarist Steve Mackey. It features his concerto for Violin and Strings, Four Iconoclastic Episodes, which was jointly commissioned by the Irish Chamber Orchestra, the Academy of St. Martin in the Fields and the DeBartolo Performing Arts Center, University of Notre Dame, U.S. Other recordings include Night Moves, conducted by Gérard Korsten, and Hommage, which features works by Irish composer John Kinsella. Outside the concert hall, the Irish Chamber Orchestra stimulates minds and hearts with vitality unmatched by other ensembles. It offers music as an instrument of social change, introducing children to music, creativity, innovation, understanding and openness, helping them to reach their full potential as individuals. The Irish Chamber Orchestra is resident at the Irish World Academy of Music and Dance at the University of Limerick and is funded by the Arts Council of Ireland/An Chomhairle Ealaíon.

Philharmonic, China National Symphony, Shanghai Symphony, Liverpool Philharmonic, Manchester BBC Philharmonic, Scottish BBC orchestra, Orchestra National de Lyon, Mannheim Orchestra, Lisbon Metropolitan Orchestra, among others. Ms. Falletta’s summer activities have taken her to numerous music festivals including Aspen, Tanglewood, the Hollywood Bowl, Wolf Trap, Mann Center, Meadow Brook, OK Mozart Festival, Grand Teton Festival and the Brevard Festival. She is also Artistic Advisor to the Hawaii Symphony Orchestra. Falletta is the recipient of many of the most prestigious conducting awards, including the Seaver/National Endowment for the Arts Conductors Award, the coveted Stokowski Competition, and the Toscanini, Ditson and Bruno Walter Awards for conducting, as well as the American Symphony Orchestra League’s prestigious John S. Edwards Award. Falletta has introduced more than 500 works by American composers, including more than 110 world premieres. Hailing her as a “leading force for the music of our time,” she has been honored with eleven ASCAP awards. Ms. Falletta serves as a member of the National Council on the Arts. Under her direction, the Buffalo Philharmonic is continuing its trajectory as one of the most recorded orchestras in America. In 2013, Naxos released three new BPO CDs, Tyberg’s Symphony No. 2, Duke Ellington’s Black, Brown and Beige, and Gershwin’s Rhapsody in Blue, Strike up the Band and Promenade, with a fourth disc, Gliere’s Symphony No. 3, to be released in early 2014. In the coming season, the Orchestra will record music of Béla Bartók for Naxos. Performance highlights include a six-concert Florida tour in February 2014. This past May, the BPO was a featured orchestra at Carnegie Hall in the Spring for Music Festival. Since stepping up to the podium as Music Director of the Buffalo Philharmonic Orchestra in the fall of 1999, Maestro Falletta has been credited with bringing the Philharmonic to a new level of national and internation5


al prominence. Under her direction, the Buffalo Philharmonic has become one of the leading orchestras for the Naxos label, earning a double Grammy Award in 2009 for its recording with soprano Hila Plitmann of John Corigliano’s Mr. Tambourine Man, and six Grammy nominations. This season, the BPO will once again be featured on national broadcasts of NPR's Performance Today and SymphonyCast, and international broadcasts through the European Broadcasting Union. The Virginia Symphony’s 2013-14 season highlights include a performance of the Strauss Alpine Symphony at the Virginia Arts Festival. In 2012, the Orchestra made its first CD for the NAXOS label with a collection of five pieces, including two world premieres, by composer Adolphus Hailstork. As Principal Conductor of the Ulster Orchestra, Falletta conducts many of the main season programs and select regional concerts and other events. She is the first American and the first woman to lead the Orchestra and made her Proms debut in Royal Albert Hall in August 2012. The Orchestra has a unique exclusive broadcast partnership with BBC, under which its concerts are recorded and streamed for internet broadcasts on BBC Radio 3, Radio Ulster and BBC TV. Under Falletta’s leadership, the Ulster Orchestra entered into a multi-year recording relationship with Naxos, which released the Orchestra’s disc of music of Gustav Holst, two discs of music of Ernest John Moeran, and a recording of music of John Knowles Paine in 2012-13. In the 2013-14 season, the Ulster Orchestra will record four additional CDs for Naxos, including a second disc of music of John Knowles Paine, and music of Victor Herbert, John Field and Samuel Coleridge Taylor. Her Naxos recordings include the double Grammy Award-winning disc of works by John Corigliano and Grammy-nominated discs of works of Tyberg, Dohnányi, Fuchs, Schubert, Respighi, Gershwin, Hailstork and Holst. This season will see the release of two new Naxos discs by Falletta with the Buffalo Philharmonic and the Ulster Orchestra. She will be recording seven additional Naxos discs this season, including two with the London Symphony. Maestro Falletta’s growing discography, which currently includes more than 75 titles, consists of recordings with the London Symphony, Buffalo Philharmonic, Virginia Symphony, Ulster Orchestra, Netherlands Radio Orchestra, Royal Scottish National Orchestra, English Chamber Orchestra, New Zealand Symphony, Long Beach Symphony, Czech National Symphony, Philadelphia Philharmonia and Women’s Philharmonic, among others. Ms. Falletta received her undergraduate degree from the Mannes College of Music in New York and her master’s and doctorate degrees from The Juilliard School.

SIR JAMES GALWAY, FLUTE The living legend of the flute, Sir James Galway is regarded as both the supreme interpreter of the classical flute repertoire and a consummate entertainer whose appeal crosses all musical boundaries. Sir James has made himself a modern musical master whose virtuosity on the flute is equalled only by his limitless ambitions and vision. Through his extensive touring, more than 30 million albums sold and his frequent international television appearances, Sir James has endeared himself to millions worldwide and is a tireless promoter of the arts. Still sharing his love of performing, Sir James opens his 2013-14 season receiving a Lifetime Achievement Award from the National Concert Hall, Dublin, Ireland, in recognition of his tremendous contribution to classical music in Ireland and internationally. This will be followed by a performance with the Ulster Orchestra for the opening of the Queen’s Festival in Belfast, Northern Ireland. Keeping the Irish Theme and Celebrating 35 years since his American debut, he then embarks with his wife Lady Galway on a 14-city concert tour across America with the Irish Chamber Orchestra, conducted by JoAnn Falletta. Continuing on in the U.S., Sir James will perform with the Honolulu Symphony in Hawaii. The U.S. tour concludes with a December concert in Carnegie Hall in aid of musical education, to coincide with the launch of his own online flute teaching series. Sir James and Lady Galway will be seeing the run up to Christmas in with a series of Baroque concerts throughout the UK; “Sir James in the Abbey” with The Orchestra of St. John’s, conducted by John Lubbock. He will usher in the New Year performing and conducting the Zurich Chamber Orchestra in Luzern and Zurich, Switzerland, before heading off to South Africa with the Zurich Chamber Orchestra for a long-awaited tour. Spring will see Sir James performing back in the U.S., as well as tours in Israel, Italy, Turkey, Holland, UK and Switzerland before returning again to the U.S. for the summer festival season. Belfast born, Sir James studied in London and Paris before embarking on his orchestral career in such prestigious orchestras such as the Sadlers Wells and Royal Covent Garden Operas, The BBC, Royal Philharmonic and London Symphony Orchestra, before taking up the coveted position of solo flautist with the Berlin Philharmonic under Herbert von Karajan. Since launching his successful career as a soloist in 1975, his busy touring schedule sees him performing with the world’s leading orchestras and most prestigious conductors. From Galway’s lips have come definitive treatments of classical repertoire and masterworks by Bach, Vivaldi and Mozart. He also features contemporary music in his programs, including new flute works commissioned by

him and for him by composers such as Adamo, Amram, Bolcom, Corigliano, Heath, Lieberman and Maazel. Recent commissions include a concerto by Elaine Agnew for the Ulster Orchestra and the Ulster Youth Orchestra and flute commissioned by BBC Radio 3 for the Royal Albert Hall Proms, and a Double Flute concerto for 2 flutes written especially for Sir James and Lady Galway by the Northern Irish composer Philip Hammond. Upcoming commissioned projects include a concerto by Bill Whelan (to be premiered summer 2014 in Ireland and America). Alongside his busy performing schedule, he makes time to share his wisdom and experience with the young through the ten-day “Galway Flute Festival” he holds each year with his wife in Switzerland. Through these, and the numerous other classes they hold worldwide throughout the year, they are able to have hands-on mentoring to the students they meet through their work. Launching December 2013, is the ground-breaking “FIRST FLUTE.” Sir James’ online interactive series of lessons is geared for beginning flute students of all ages. The first fifteen lessons entitled “Foundations” include basics, fingering, tips and warnings, the “practice room” (with downloadable sheet music) and repertoire, in addition to concert footage. In addition, Sir James continues commissioning new works for the flute, publishing articles, flute studies and books (his latest autobiography, entitled The Man with the Golden Flute, a Celtic Minstrel, was published by John Wiley & Son). To celebrate his legacy and commitment to flute players all over the world, he has recently collaborated with Conn-Selmer Inc, in the development of a new, high quality student flute, aptly called “The Galway Spirit,” and with Nagahara Flutes of Boston who have released a special “Galway Gold Nagahara flute.” His website is devoted to students and educators. A discography of more than 65 CDs with BMG Sony Classics and Deutsche Grammophon ranging from the



great classics such as Mozart and Bach, his performing on the sound track of “Lord of the Rings” (Return of the King) and his recording of “O’Reilly Street” with the Cuban timba group, Tiempo Libre, reflects his mastery of musical diversity. Sir James has played for such dignitaries as Queen Elizabeth II, Pope John Paul II, President Clinton, President George W. Bush, President George H.W. Bush, President Mary McAleese, President Michael D. Higgins, Irish Prime Minister Enda Kenny, Prince Charles, HRH The Princess Royal, The Empress of Japan, The Queen of Norway, Princess Diana, TRH The Earl and Countess of Wessex, TRH The Duke and Duchess of Kent, and most recently President Shimon Peres, and shared the stage with an amazing array of entertainers including Stevie Wonder, Henry Mancini, John Denver, Elton John, the Chieftains, Ray Charles, Joni Mitchell, Jessye Norman, Cleo Laine and Andrea Bocelli. He performed with Pink Floyd its their memorable concert at the Berlin Wall, was part of the Nobel Peace concert in Norway and performed at the G Seven summit hosted by Queen Elizabeth II in Buckingham Palace. He also devotes much of his free time supporting charitable organizations such as SOS, FARA, Future Talent, Youth Music (UK), The Caron Keating Foundation, Lorin Maazel’s Châteauxville Foundation, Shimon Peres’ Peace Center educational project, and UNICEF, with which he holds the title of special representative. Among the many honors and awards for his musical achievements are, the Grammy President’s Merit Award; Classic Brits Lifetime Achievement Award; The Hollywood Bowl Hall of Fame; The National Concert Hall Dublin Lifetime Achievement Award, and numerous gold and platinum CDs. In December 2009, Sir James was awarded the honor of being made the first Artist Laureate of the Ulster Orchestra. He has been honored twice by Her Majesty Queen Elizabeth II, with The OBE in 1979 and again in 2001 with a Knighthood for his services to music. Sir James lives with his wife and family in Switzerland and currently plays on the 20K “Galway” Nagahara Flute—especially commissioned for him. LADY JEANNE GALWAY, FLUTE An accomplished flutist, Lady Jeanne Galway continues to grace international platforms with her virtuosity. One of the leading female flute soloists of the decade, Lady Galway brings to the audience her unique style and elegance. Her touring schedule regularly takes her to many of the major cities in the U.S. to perform as soloist with orchestras such as Chicago, Philadelphia, Pittsburgh, Seattle, Denver and the National Symphony. Internationally, she has appeared in the cultural capitals of the world including London, New York, Milan, Rome, Vienna,



Salzburg, Zurich, Dublin, Belfast, Tokyo, Beijing and Singapore. Appearing regularly as the premier flute duo partner with her husband Sir James Galway, the two delight audiences and bring a rare freshness to the platform, unique in the music world. The 2013-14 season saw Lady Galway joining her husband in performances right around the globe opening the season in Dublin, Ireland. Following on she will premiere a new work with her husband “Carolan Variations,” written by Philip Hammond, in a 14-city tour of the U.S. with the Irish Chamber Orchestra, conducted by JoAnn Falletta. The U.S. tour concludes with a December concert in Carnegie Hall in aid of Musical Education, to coincide with the James Galway online flute teaching series. Sir James and Lady Galway will be seeing the run up to Christmas in with a series of Baroque concerts throughout the UK; “Sir James in the Abbey” with The Orchestra of St. John’s, conducted by John Lubbock. They will usher in the New Year performing with the Zurich Chamber Orchestra in Luzern and Zurich, Switzerland, before heading off to South Africa with the Zurich Chamber Orchestra for a long-awaited tour. Spring will see Lady Galway performing back in the U.S., as well as tours in Israel, Italy, Turkey, Holland, UK and Switzerland before returning again to the U.S. for the Summer Festival season. In addition to her highly successful career as a soloist, Lady Galway is also an accomplished chamber musician, touring regularly with her trio Zephyr (pianist Jonathan Feldman and cellist Darrett Adkins). Alongside their con-

FIRST VIOLIN Nicola Sweeney Concertmaster Diane Daly Anna Cashell Oonagh Keogh Kenneth Rice Siún Milne SECOND VIOLIN André Swanepoel Cliodhna Ryan Emily Nenniger Louis Roden Maria Ryan Stephanie Mc Cabe

VIOLA Joachim Roewer Mark Coates Smith Cian O Dúill Lisa Grosman CELLO Rudi De Groote Richard Angell Ailbhe Nc Donagh Peggy Nolan DOUBLE BASS Malachy Robinson David Whitla FLUTE Fiona Kelly Emma Roche


cert performances, they look forward to sharing their expertise as a group with the chamber musicians of tomorrow. The group’s first recording, Zephyr-Winds of Romance, includes works by Haydn, Martinů and Weber. Her concert engagements include performances in the presence of The Empress of Japan, HRH The Earl and Countess of Wessex, TRH The Duke and Duchess of Kent, The Queen of Norway, The Queen of Spain, President Shimon Peres, President Mary McAleese, President Michael D. Higgins, and Irish Prime Minister Enda Kenny. Lady Galway serves as a patron to the charity Future Talent headed by the Duchess of Kent. Her concert engagements are often for fundraising events for UNICEF, SOS, FARA and Marie Curie Cancer Care. She has recorded to critical acclaim for RCA Victor, BMG Classics and Deutsche Grammophon. Irish America Magazine awarded Sir James and Lady Jeanne Galway the 2008 Spirit of Ireland award in recognition for their roles as musical ambassadors. A native of New York and graduate of New York City’s Mannes College of Music, Lady Galway lives with her husband Sir James Galway in Switzerland. She is currently performing on a new James Galway edition 18carat gold Nagahara flute.

OBOE Daniel Bates Matthew Draper

TRUMPET Simon Menin Andrea Vonk

CLARINET Katherine Spencer Sarah Beaty

TIMPANI Jonathan Raper

BASSOON Lawrence O’ Donnell Ide Ní Chonaill HORN James Palmer Stephen Nicholls Chris Pointon Tom Kane

PERCUSSION Patrick Nolan HARP Megan Levin PRODUCTION MANAGER Mario Beck CEO Gerard Keenan

Sir James Galway & Irish Chamber Orchestra Program Book  

Monday, November 11, 2013 Renée & Henry Segerstrom Concert Hall

Sir James Galway & Irish Chamber Orchestra Program Book  

Monday, November 11, 2013 Renée & Henry Segerstrom Concert Hall